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20220630 Culture 3

2022-06-30T11:41:19Z

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

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

<center>Liu Ting</center>

===Abstract===

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

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

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

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

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

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

===Chinese Science fiction===

Science fiction

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

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

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

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

1.2 Origin and Development of Chinese Science Fiction

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

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

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

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

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

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

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

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

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

<center>刘瑶 Liu Yao</center>

===Abstract===

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

===Introduction===

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

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

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

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

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

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin and It's Development in the Song Dynasty'''</center>

<center>Liu Zhen</center>

===Introduction===
First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

===Guqin and It's Development===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:
Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

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

Performance:
In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument.
They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin.

Playing Technique:
The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:
First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played
The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

===Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty===
At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

===Development of Guqin Music in the Song Dynasty===
The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

===The Song Dynasty guqin school -- Zhejiang school===
The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

===The Cultural Influence of GUqin===
The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.
In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin
The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics
When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture:
As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

===Conclusion===

===Terms and Expressions===
the "Yellow Emperor": 黄帝
tablature：指法谱
the Palace Museum ：故宫博物馆
the Voyager Golden Record：旅行者金唱片
geographical isolation：地理隔绝
tempo：节奏、拍子
Organology：乐器学

===Questions===

===Answers===

===References===

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

<center>Long Hanliang</center>

===Abstract===

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

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

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

===Key words===

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

===Introduction===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

===Means and methods===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(1) Practicality

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

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

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

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

(2) Knowledge

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

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

(3)Scientificity

1. To teach standardized and common Chinese characters

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

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

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

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

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

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

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

(4)Interest

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

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

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

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

===Classroom Teaching===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

===Training of TCSL Teachers===

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

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

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

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

1. modern Chinese knowledge

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

2. linguistic knowledge

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

3. cultural knowledge

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

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

4. foreign language knowledge

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

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

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

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

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

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

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

===Conclusion===

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

===References===

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

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

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

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

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

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

HSK 中国汉语水平考试

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

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

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

mahjong 麻将

chow mein 炒面

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

2.When was HSK officially implemented?

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

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

5.What types of HSK exams are there?

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

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

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

3.Classroom teaching

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

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

Ⅲ. Handle sensitive issues properly and maintain national dignity.

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

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

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

<center>罗姚林 Luo Yaolin</center>

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

===the Origin of Chinese Dialects===

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

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

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

<center>马艳焕</center>

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

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

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

<center>聂薇</center>

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

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

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

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

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

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

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

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

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

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

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

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

(i) Confucian culture

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

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

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

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

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

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

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

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

(ii) ceremonial culture

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

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

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

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

(iii) institutional culture

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

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

(ⅳ) the concept of family-and-nation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

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

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

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

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

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

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

the household registration system：户籍制度

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

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

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

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

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

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

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

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

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

<center>Sun Lijun</center>

===Introduction===

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

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

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

===The Features of Chuanjiang Work Songs===
Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.

Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).

First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).

Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).

Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.

===The Classification of Chuanjiang Work Songs===
Chuanjiang work songs are mainly circulated and spread in Jinsha River（金沙江），Yangtze River, Jialing River(嘉陵江）and the tributaries of Yangtze River, Wujiang River(乌江）, Minjiang River（岷江）and Tuojiang River(沱江), while Sichuan Province and Chongqing Municipality are the cradles and the major inheritance places of Chuanjiang work songs. And in this short essay, several types of Chuanjiang work songs distributed in different places in the Bashu area will be elaborated(Wu Mingshi, 2011:34-42).

First, Fuhe work song(府河号子). Fuhe work song, also called Huanglongxi work song(黄龙溪号子) and Jinjiang work song(锦江号子), is mainly circulated in the Jinjiang River basin, only existing in Huanglongxi Town, Chengdu(成都黄龙溪古镇) at present. With a history of more than 1,700 years, Huanglongxi Town is one of the ten ancient towns hailed as region of rivers and lakes in Sichuan Province, which was established and developed under the impetus of the prosperous Fuhe shipping industry. As the only work song in Chengdu, Fuhe work song is the representative one of Chengdu Plain（成都平原） located in southwest China. Because of the width and smoothness of the Huanglongxi River, the water flow is gentle, the music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies. The Fuhe work song is a true portrayal of the primitive labor modes of boatmen living in Chengdu in successive dynasties, witnessing the history of waterway transportation of Chengdu, a well-known historical and cultural city(Wu Mingshi, 2011:34-42).

Second, Jialing River work song. Jialing River is an important tributary of the upper reaches of the Yangtze River. It originates at the northern foot of the Qinling Mountains(秦岭) situated in Sha'anxi Province（陕西省）, and runs through Guangyuan City（广元市）, Nanchong City（南充市） and Guangan City（广安市） in Sichuan Province, flowing into the Yangtze River in Chongqing area. The major drainage areas Jialing River flows through resemble a folding fan, and there are many winding and zigzag channels, steep mountains and swift torrents this river is beset with, thus it requires the arduous performance of boatmen. Therefore, the Jialing River work song came into being in this special geographical environment(Wu Mingshi, 2011:34-42).

Third, Jinsha River work song. Jinsha River work song is mainly spread from Pingshan County（屏山县） which is located in the lower reaches of the Jinsha River to Yibin City（宜宾市）. Due to the official government set in this place by imperial court in the Ming Dynasty, the productivity rate and social life downstream developed rapidly with unprecedented development achieved in shipping industry in Jiasha River, emerging as the main component of the production, life and social development of people residing in on both sides of Jinsha River. The lower reaches of Jinsha River is the most important section of shipment, and also the main place where the Jinsha River work song came into being, developed and spread. And as a result of torrential water flow and large water level drop, Jinsha River work song has a distinct identity and is now mainly preserved in Pingshan County(Wu Mingshi, 2011:34-42).

Fourth, Minjiang River work song（岷江号子）. Minjiang River, an important tributary of the upper reaches of the Yangtze River, is the most fundamental water resource in Chengdu Plain. Historically, irrigation projects represented by Dujiangyan(都江堰), an ancient engineering initiated by the governor of Sichuan during the reign of Qin Dynasty to prevent floods by water control, fostered the land of abundance. Minshan work song is mainly distributed in Jianwei County, Leshan City（乐山市犍为县）. And due to the multipeaked mountains and densely scattered reefs and rocks in the Jianwei section of Minjiang River, concerted efforts were made to form a unified work song in order to facilitate the unification of the pace and rhythm of boatmen bearing forward. The work songs with different rhythms and emotions called out by the boat trackers on the basis of different water conditions gradually evolved into and compiled in the famous musical collection named Minjiang River Work Song(Wu Mingshi, 2011:34-42).

Fifth, Tuojiang River work song(沱江号子). The Tuojiang River, a tributary of the upper Yangtze River, is located in central Sichuan Province. In the Tuojiang River basin, the ancient people living in the area of Tuojiang River used wooden boats to transport white sugar and sugarcane to other places and carried daily necessities back home. While the origin of Tuojiang River work song can be traced back to the history of wooden boat shipping. As Tuojiang River is close to Jialing River, Minjiang River and other rivers and lakes large and small, Tuojiang River work song has absorbed some elements of other work songs on account of the mutual influence of their geographical environment and freight traffic, thus forming today's Tuojiang work song(Wu Mingshi, 2011:34-42).

The five kinds of work songs mentioned above are only a small part of Chuanjiang work songs, but they are the most representative ones. In addition to Fuhe work song, Jialing River work song, Jinsha River work song, Minjiang River work song and Tuojiang River work song, there are other famous work songs named Tonghe work song(铜河号子), Yongninghe work song(永宁河号子) and so on. From this we can tell that the Chuanjiang work songs are not only diversified in contents but also extensively distributed in many places of Bashu area.

===The Inheritance of Chuanjiang Work Songs===
Chuanjiang work songs are mainly spread among groups of boatmen, mostly transmitted by mouth to mouth, thus passing down naturally from generation to generation. Meanwhile, there are some young boatmen who formally acknowledge those experienced and old boatmen as their masters in order to learn how to sing the Chuanjiang work songs. However, with great changes of people's production and life nowadays, together with many old boatmen's passing away, many Chuanjiang work songs fail to be handed down from past generations. These days, we are living in a world awash in cutting-edge technologies and high-end products, people tend to have little willingness to take the initiative to learn and pass on Chuanjiang work songs, a kind of cultural heritage that does not seem to fit the interests of modern young groups or even is not just their cup of tea, which would raise a host of questions ourselves, chief among them: Is it necessary for youngsters to learn and inherit Chuanjiang work songs now that the technology is so advanced that we can restore old footage in high definition? And how to inherit this kind of cultural inheritage?

As for the first question, the answer is absolutely yes. We definitely have a great need and obligation to take the initiative to carry forward this endangered cultural heritage that may soon be disappeared in this world. For as one of the representative and unique languages and cultures of Bashu region, Chuanjiang work songs contain many aspects of cultural values demonstrating Bashu people's spirits of unswerving determination, team cooperation and opening up.

However, the protection and inheritance of this intangible cultural heritage are by no means easy like talking about empty phrases on a scrap of paper. First of all, Chuanjiang work songs have the particularity of survival, for Chuanjiang work songs resort to sound as the main means of representation, usually passing on through oral instructions, which greatly restricts the inheritance of this folk music to some extent. Then, this folk music arised out of the environment of surging water and serried rocks of rivers in the valley of Bashu area, which made this kind of music show elated artistic characteristics. Without the special geographical environment, it is also hard to spread Chuanjiang work songs. Last but not the least, Chuanjiang work songs are a form of folk music created by the working people who are limited by their living conditions to record and preserve this fabulous folk music, and the reality of the deaths of people and this art have exerted great influence to the protection and inheritance of Chuanjiang work songs(Wang Shuo, 2018(03):54). And according to the field visits and investigations of some experts, among the dozens of boatmen who are able to sing Chuanjiang work songs, the youngest is in their 70s, and there are few boatmen who can be the leader to sing work songs. Therefore, the protection and inheritance of Chuanjiang work songs are of great urgency and demand immediate attention.

With regard to the matter of how to protect and inherit Chuanjiang work songs, the following aspects could be taken into consideration. Firstly, perfect the legislative protection of Chuanjiang work songs and increase the investment in the inheritance of Chuanjiang work songs. Culture is created by the common people and its complexity and diversity determine that no individuals can assume the role of cultural protection. As a kind of unique language culture created by people living in Bashu area, Chuanjiang work songs' protection is not a piece of cake for individuals to take this responsibility. Even the protection of Chuanjiang work songs by civil organizations or groups sometimes presents the chaotic situations. Therefore only through the form of legisation at the national and government levels by including the protection and inheritance of Chuanjiang work songs into the legislation can we determine the detailed rules of legislation so as to perform the tasks of protection and inheritance of Chuanjiang work songs in an orderly way. Moreover, legislative protection is also a consistent practice of international community to protect cultural heritage around the world, which usually can achieve satisfactory results. In recent years, Chinese government has speeded up its pace to the protection and inheritance of Chuanjiang work songs, however, there is still some room for improvement in terms of some concrete measures to this matter. And Chinese government can draw lessons from some advanced and mature foreign protection experiences while combining the specific characteristics of the current situation of Chuanjiang work songs to formulate reasonable legal provisions. In addition to this, a lot of energy and money should be invested into this meaningful project. Secondly, take the combination of scientific technology and tourism as the carrier to better protect and inherit Chuanjiang work songs. With the science and technology develop by leaps and bounds, the protection and inheritance of Chuanjiang work songs are supposed to keep pace with the times. It is universally acknowledged that Tik Tok has gained popularity among all people from different ages, especially the youngsters around the world nowadays. And if we share the videos about the Chuanjiang work songs on Tik Tok and with the promotion of this popular platform, then Chuanjiang work songs can be known by more and more people. Additionally, if the videos of Chuanjiang work songs present an interesting and novel contents with fabulous pictures which cater for youngsters' appetite, there is a possibility that an increasing number of young people will be willing to learn how to sing and perform Chuanjiang work songs. Apart from Tik Tok, Chuanjiang work songs can also be incorporated into movies and plays. And tourism is also a great means to boost popularity of Chuanjiang work songs. As Chengdu and Chongqing becoming the first choice of many people to travel, the local governments can expand the publicity and promotion of scenic spots with Chuanjiang work songs as the main theme. Lastly but most importantly, let Chuanjiang work songs walk into the classroom. Students are the main forces to inherit Chuanjiang work songs. And articles related to Chuanjiang work songs can be compiled into the textbooks of primary and secondary schools so as to cultivate the younger generation's basic cognition of Chuanjiang work songs from an early age. Meanwhile, set up music teaching classes about Chuanjiang work songs in order to enlighten the consciousness of singing the Chuanjiang work songs with enthusiasm. While in colleges and universities, particularly in art colleges, Chuanjiang work songs can set up as a specilized course or an elective course to be taught to students as an art for the purpose of cultivating more high-quality talents proficient in Chuanjiang work songs and encouraging them to engage in the creation of Chuanjiang work songs.

===The Translation of Chuanjiang Work Songs===
Language contains culture, on the other hand, the enrichment and development of culture also benefit from language. Mainly sung in Sichuan dialect, Chuanjiang work songs bear the linguistic and cultural roles to show the abundant and generous history of Bashu area. And due to this characteristic, the translation of Chuanjiang work songs is not an easy task and there are few documents published to study the translation of Chuanjiang work songs. From the CNKI, there are only a few papers that have studied and analyzed the translation of Chuanjiang work songs from the perspective of translation ecology. Liu Xiuming(2021) pointed out that the translation of Chuanjiang work songs must proceed from the specific contexts and consider the quality of the targeted translation following the standards of coherence, logic and aesthetics, so as to ensure the accuracy of the semantic transmission of the translation. For example, “望见兵书峡，心里乱如麻。想起爹和妈，钱也用完哒。过了鳊鱼溪，肚子有点稀。想起儿和女，没带一颗米。”（《秭归的船工号子》）,this verse is translated as "Seeing Bingshu Gorge(兵书峡), I feel sad and panic in the heart. Thinking of Mom and Dad, I begin worry that they may be short of money. Passing the Bream Stream, I feel hungry in the stomach. Missing my wife and children, I feel so sorry for bringing them nothing back."（Liu Xiuming, 2021(28):241-242） From the Chinese version, we can tell that this verse is quite fast-tempoed and rhyming, especially singing in Sichuan dialect. Also, this verse illuminates that those hard-working boatmen miss their parents, wives, kids as well as their hometowns, and their plight-working so hard but suffering the pangs of hunger. Therefore, in order to faithfully convey what this verse really sings about, we should be familiar with the cultural background and thoroughly grasp the inner meaning of the original Chuanjiang work song. Additionally, sometimes we are supposed to translate the primitive beauty and majestic momentum of Chuanjiang work songs, which proves more formidable than we think.

As an intermediary, translation has always been playing a pivotal role in cross-border cultural exchanges and mutual learning. Honestly speaking, the translation of Chuanjiang work songs can also function as a bridge for closer connection between Bashu area and other different places worldwide and bring a brighter future for the protection and inheritance of Chuanjiang work songs. For once foreign friends are caught by Chuanjiang work songs, they would show a great interest in singing Chuanjiang work songs and want to know more about this kind of folk music so that they may do some field investigations, causing local governments to attach great importance to the inheritance and protection of Chuanjiang work songs.

===Conclusion===
Hailed as the Song of the Volga Boatmen in the Yangzte River, Chuanjiang work songs are no less charming than the songs of Volga boatmen. Chuanjiang work songs are also hornored as the clssic masterpiece of river culture in the world together with the Volga boatmen's song. What Chuanjiang work songs leave us is not only a kind of singing mode of folk art, but more importantly, Chuanjiang work songs represent the unique cultural traditions and spiritual values of average people living in the regions of Sichuan Province and Chongqing Municipality.

Nowadays, even though we are at the highway of informationization and industrialization, the ensuing situation of Chuanjiang work songs facing with is not so optimistic. While in the pursuit of high-level scientific and technological development, some Chinese languages and cultures handed down by the ancients gradually came to an end at the same time, which is a pity and requires our deep self-examination. Therefore, the inheritance and protection of Chuanjiang work songs need individuals and governments to take due responsibilities with the help of today's high-tech devices and information-sharing platforms in order to better preserve this folk music and not to let this distinct Chinese language culture teeming with regional characteristics disappear on the earth!

===Terms and Expressions===
Chuanjiang work song:川江号子
Haozi:号子
Kuixing Tower:《魁星楼》
Giant Turtledove:《大斑鸠》
Lanlong work song:《懒龙号子》
Boatman:船工，船夫
The First Batch of National Intangible Cultural Heritage:第一批国家级非物质文化遗产
Bashu area:巴蜀地区
Perilous Journey to the Land of Shu:《蜀道难》
The westbound road to shu, so steep, steeper than Heaven! I plod my way, step by step, sign by sign.:蜀道之难，难于上青天，侧身西望长咨嗟！
Fuhe work song:府河号子
Huanglongxi work song:黄龙溪号子
Jinjiang work song:锦江号子
Tuojiang work song:沱江号子
Minjiang work song:岷江号子
Jinsha River work song:金沙江号子
Jialing River work song:嘉陵江号子
Tonghe work song:铜河号子
Yongninghe work song:永宁河号子

===Questions===
1. What can be regarded as the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song?

2. When did Chuanjiang work song first appeared?

3. When was Chuanjiang work song listed as the First Batch of National Intangible Cultural Heritage?

4. How Chuanjiang work song was produced?

5. What are the characteristics of the music of Fuhe work song?

===Answers===
1. The Neolithic stone anchors and the tracker’s stone figures.

2. In the Spring and Autumn Period.

3. On May 20th, 2006.

4. The leader of a crowd of boatmen created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen’s rowing and pulling.

5. The music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies.

===References===
*Liu Xiuming,Qu Mengwei 刘秀明，曲梦梅（2021）.生态翻译学理论视域下川江号子词汇外译研究[A Study on the External Translation of Chuanjiang Work Song’s Vocabulary from the Perspective of Ecological Translation Theory].“校园英语”[English on Campus]. (44):251-252.

*Liu Xiuming,Zhao Ning 刘秀明，赵宁(2021).生态翻译学语言维度视域下川江号子翻译研究[A Translational Study of Chuanjiang Work Song from the Linguistic Perspective of Ecological Translation Theory].“校园英语”[English on Campus].(28):241-242.

*Sun Haifeng 孙海峰(2020).浅析川江号子的内在价值与文化传承[On the Intrinsic Value and Cultural Inheritance of Chuanjiang Work Song].“艺术家”[The Artist].(01):50.

*Wang Shuo 王朔(2018).探究川江号子非遗民歌的现状与传承[The Exploration of the Current Situation and Inheritance of the Intangible Folk Song—Chuanjiang Work song].“艺术科技”[Art Science and Technology].(03):54.

*Wu Mingshi 伍明实（2011）.川江号子现状调查报告[A Survey Report on the Current Situation of Chuanjiang Work Song].“中华文化论坛”[Forum on Chinese Culture].(03):34-42.

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

<center>仝雨梦</center>

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

===Th

20220630 Culture 3

2022-06-30T11:39:32Z

Sun Lijun: /* Answers */

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

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

<center>Liu Ting</center>

===Abstract===

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

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

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

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

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

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

===Chinese Science fiction===

Science fiction

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

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

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

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

1.2 Origin and Development of Chinese Science Fiction

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

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

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

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

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

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

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

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

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

<center>刘瑶 Liu Yao</center>

===Abstract===

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

===Introduction===

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

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

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

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

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

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin and It's Development in the Song Dynasty'''</center>

<center>Liu Zhen</center>

===Introduction===
First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

===Guqin and It's Development===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:
Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

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

Performance:
In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument.
They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin.

Playing Technique:
The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:
First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played
The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

===Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty===
At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

===Development of Guqin Music in the Song Dynasty===
The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

===The Song Dynasty guqin school -- Zhejiang school===
The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

===The Cultural Influence of GUqin===
The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.
In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin
The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics
When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture:
As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

===Conclusion===

===Terms and Expressions===
the "Yellow Emperor": 黄帝
tablature：指法谱
the Palace Museum ：故宫博物馆
the Voyager Golden Record：旅行者金唱片
geographical isolation：地理隔绝
tempo：节奏、拍子
Organology：乐器学

===Questions===

===Answers===

===References===

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

<center>Long Hanliang</center>

===Abstract===

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

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

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

===Key words===

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

===Introduction===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

===Means and methods===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(1) Practicality

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

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

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

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

(2) Knowledge

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

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

(3)Scientificity

1. To teach standardized and common Chinese characters

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

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

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

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

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

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

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

(4)Interest

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

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

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

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

===Classroom Teaching===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

===Training of TCSL Teachers===

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

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

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

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

1. modern Chinese knowledge

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

2. linguistic knowledge

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

3. cultural knowledge

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

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

4. foreign language knowledge

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

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

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

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

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

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

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

===Conclusion===

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

===References===

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

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

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

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

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

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

HSK 中国汉语水平考试

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

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

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

mahjong 麻将

chow mein 炒面

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

2.When was HSK officially implemented?

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

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

5.What types of HSK exams are there?

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

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

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

3.Classroom teaching

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

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

Ⅲ. Handle sensitive issues properly and maintain national dignity.

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

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

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

<center>罗姚林 Luo Yaolin</center>

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

===the Origin of Chinese Dialects===

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

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

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

<center>马艳焕</center>

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

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

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

<center>聂薇</center>

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

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

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

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

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

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

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

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

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

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

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

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

(i) Confucian culture

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

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

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

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

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

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

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

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

(ii) ceremonial culture

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

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

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

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

(iii) institutional culture

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

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

(ⅳ) the concept of family-and-nation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

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

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

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

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

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

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

the household registration system：户籍制度

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

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

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

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

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

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

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

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

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

<center>Sun Lijun</center>

===Introduction===

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

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

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

===The Features of Chuanjiang Work Songs===
Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.

Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).

First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).

Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).

Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.

===The Classification of Chuanjiang Work Songs===
Chuanjiang work songs are mainly circulated and spread in Jinsha River（金沙江），Yangtze River, Jialing River(嘉陵江）and the tributaries of Yangtze River, Wujiang River(乌江）, Minjiang River（岷江）and Tuojiang River(沱江), while Sichuan Province and Chongqing Municipality are the cradles and the major inheritance places of Chuanjiang work songs. And in this short essay, several types of Chuanjiang work songs distributed in different places in the Bashu area will be elaborated(Wu Mingshi, 2011:34-42).

First, Fuhe work song(府河号子). Fuhe work song, also called Huanglongxi work song(黄龙溪号子) and Jinjiang work song(锦江号子), is mainly circulated in the Jinjiang River basin, only existing in Huanglongxi Town, Chengdu(成都黄龙溪古镇) at present. With a history of more than 1,700 years, Huanglongxi Town is one of the ten ancient towns hailed as region of rivers and lakes in Sichuan Province, which was established and developed under the impetus of the prosperous Fuhe shipping industry. As the only work song in Chengdu, Fuhe work song is the representative one of Chengdu Plain（成都平原） located in southwest China. Because of the width and smoothness of the Huanglongxi River, the water flow is gentle, the music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies. The Fuhe work song is a true portrayal of the primitive labor modes of boatmen living in Chengdu in successive dynasties, witnessing the history of waterway transportation of Chengdu, a well-known historical and cultural city(Wu Mingshi, 2011:34-42).

Second, Jialing River work song. Jialing River is an important tributary of the upper reaches of the Yangtze River. It originates at the northern foot of the Qinling Mountains(秦岭) situated in Sha'anxi Province（陕西省）, and runs through Guangyuan City（广元市）, Nanchong City（南充市） and Guangan City（广安市） in Sichuan Province, flowing into the Yangtze River in Chongqing area. The major drainage areas Jialing River flows through resemble a folding fan, and there are many winding and zigzag channels, steep mountains and swift torrents this river is beset with, thus it requires the arduous performance of boatmen. Therefore, the Jialing River work song came into being in this special geographical environment(Wu Mingshi, 2011:34-42).

Third, Jinsha River work song. Jinsha River work song is mainly spread from Pingshan County（屏山县） which is located in the lower reaches of the Jinsha River to Yibin City（宜宾市）. Due to the official government set in this place by imperial court in the Ming Dynasty, the productivity rate and social life downstream developed rapidly with unprecedented development achieved in shipping industry in Jiasha River, emerging as the main component of the production, life and social development of people residing in on both sides of Jinsha River. The lower reaches of Jinsha River is the most important section of shipment, and also the main place where the Jinsha River work song came into being, developed and spread. And as a result of torrential water flow and large water level drop, Jinsha River work song has a distinct identity and is now mainly preserved in Pingshan County(Wu Mingshi, 2011:34-42).

Fourth, Minjiang River work song（岷江号子）. Minjiang River, an important tributary of the upper reaches of the Yangtze River, is the most fundamental water resource in Chengdu Plain. Historically, irrigation projects represented by Dujiangyan(都江堰), an ancient engineering initiated by the governor of Sichuan during the reign of Qin Dynasty to prevent floods by water control, fostered the land of abundance. Minshan work song is mainly distributed in Jianwei County, Leshan City（乐山市犍为县）. And due to the multipeaked mountains and densely scattered reefs and rocks in the Jianwei section of Minjiang River, concerted efforts were made to form a unified work song in order to facilitate the unification of the pace and rhythm of boatmen bearing forward. The work songs with different rhythms and emotions called out by the boat trackers on the basis of different water conditions gradually evolved into and compiled in the famous musical collection named Minjiang River Work Song(Wu Mingshi, 2011:34-42).

Fifth, Tuojiang River work song(沱江号子). The Tuojiang River, a tributary of the upper Yangtze River, is located in central Sichuan Province. In the Tuojiang River basin, the ancient people living in the area of Tuojiang River used wooden boats to transport white sugar and sugarcane to other places and carried daily necessities back home. While the origin of Tuojiang River work song can be traced back to the history of wooden boat shipping. As Tuojiang River is close to Jialing River, Minjiang River and other rivers and lakes large and small, Tuojiang River work song has absorbed some elements of other work songs on account of the mutual influence of their geographical environment and freight traffic, thus forming today's Tuojiang work song(Wu Mingshi, 2011:34-42).

The five kinds of work songs mentioned above are only a small part of Chuanjiang work songs, but they are the most representative ones. In addition to Fuhe work song, Jialing River work song, Jinsha River work song, Minjiang River work song and Tuojiang River work song, there are other famous work songs named Tonghe work song(铜河号子), Yongninghe work song(永宁河号子) and so on. From this we can tell that the Chuanjiang work songs are not only diversified in contents but also extensively distributed in many places of Bashu area.

===The Inheritance of Chuanjiang Work Songs===
Chuanjiang work songs are mainly spread among groups of boatmen, mostly transmitted by mouth to mouth, thus passing down naturally from generation to generation. Meanwhile, there are some young boatmen who formally acknowledge those experienced and old boatmen as their masters in order to learn how to sing the Chuanjiang work songs. However, with great changes of people's production and life nowadays, together with many old boatmen's passing away, many Chuanjiang work songs fail to be handed down from past generations. These days, we are living in a world awash in cutting-edge technologies and high-end products, people tend to have little willingness to take the initiative to learn and pass on Chuanjiang work songs, a kind of cultural heritage that does not seem to fit the interests of modern young groups or even is not just their cup of tea, which would raise a host of questions ourselves, chief among them: Is it necessary for youngsters to learn and inherit Chuanjiang work songs now that the technology is so advanced that we can restore old footage in high definition? And how to inherit this kind of cultural inheritage?

As for the first question, the answer is absolutely yes. We definitely have a great need and obligation to take the initiative to carry forward this endangered cultural heritage that may soon be disappeared in this world. For as one of the representative and unique languages and cultures of Bashu region, Chuanjiang work songs contain many aspects of cultural values demonstrating Bashu people's spirits of unswerving determination, team cooperation and opening up.

However, the protection and inheritance of this intangible cultural heritage are by no means easy like talking about empty phrases on a scrap of paper. First of all, Chuanjiang work songs have the particularity of survival, for Chuanjiang work songs resort to sound as the main means of representation, usually passing on through oral instructions, which greatly restricts the inheritance of this folk music to some extent. Then, this folk music arised out of the environment of surging water and serried rocks of rivers in the valley of Bashu area, which made this kind of music show elated artistic characteristics. Without the special geographical environment, it is also hard to spread Chuanjiang work songs. Last but not the least, Chuanjiang work songs are a form of folk music created by the working people who are limited by their living conditions to record and preserve this fabulous folk music, and the reality of the deaths of people and this art have exerted great influence to the protection and inheritance of Chuanjiang work songs(Wang Shuo, 2018(03):54). And according to the field visits and investigations of some experts, among the dozens of boatmen who are able to sing Chuanjiang work songs, the youngest is in their 70s, and there are few boatmen who can be the leader to sing work songs. Therefore, the protection and inheritance of Chuanjiang work songs are of great urgency and demand immediate attention.

With regard to the matter of how to protect and inherit Chuanjiang work songs, the following aspects could be taken into consideration. Firstly, perfect the legislative protection of Chuanjiang work songs and increase the investment in the inheritance of Chuanjiang work songs. Culture is created by the common people and its complexity and diversity determine that no individuals can assume the role of cultural protection. As a kind of unique language culture created by people living in Bashu area, Chuanjiang work songs' protection is not a piece of cake for individuals to take this responsibility. Even the protection of Chuanjiang work songs by civil organizations or groups sometimes presents the chaotic situations. Therefore only through the form of legisation at the national and government levels by including the protection and inheritance of Chuanjiang work songs into the legislation can we determine the detailed rules of legislation so as to perform the tasks of protection and inheritance of Chuanjiang work songs in an orderly way. Moreover, legislative protection is also a consistent practice of international community to protect cultural heritage around the world, which usually can achieve satisfactory results. In recent years, Chinese government has speeded up its pace to the protection and inheritance of Chuanjiang work songs, however, there is still some room for improvement in terms of some concrete measures to this matter. And Chinese government can draw lessons from some advanced and mature foreign protection experiences while combining the specific characteristics of the current situation of Chuanjiang work songs to formulate reasonable legal provisions. In addition to this, a lot of energy and money should be invested into this meaningful project. Secondly, take the combination of scientific technology and tourism as the carrier to better protect and inherit Chuanjiang work songs. With the science and technology develop by leaps and bounds, the protection and inheritance of Chuanjiang work songs are supposed to keep pace with the times. It is universally acknowledged that Tik Tok has gained popularity among all people from different ages, especially the youngsters around the world nowadays. And if we share the videos about the Chuanjiang work songs on Tik Tok and with the promotion of this popular platform, then Chuanjiang work songs can be known by more and more people. Additionally, if the videos of Chuanjiang work songs present an interesting and novel contents with fabulous pictures which cater for youngsters' appetite, there is a possibility that an increasing number of young people will be willing to learn how to sing and perform Chuanjiang work songs. Apart from Tik Tok, Chuanjiang work songs can also be incorporated into movies and plays. And tourism is also a great means to boost popularity of Chuanjiang work songs. As Chengdu and Chongqing becoming the first choice of many people to travel, the local governments can expand the publicity and promotion of scenic spots with Chuanjiang work songs as the main theme. Lastly but most importantly, let Chuanjiang work songs walk into the classroom. Students are the main forces to inherit Chuanjiang work songs. And articles related to Chuanjiang work songs can be compiled into the textbooks of primary and secondary schools so as to cultivate the younger generation's basic cognition of Chuanjiang work songs from an early age. Meanwhile, set up music teaching classes about Chuanjiang work songs in order to enlighten the consciousness of singing the Chuanjiang work songs with enthusiasm. While in colleges and universities, particularly in art colleges, Chuanjiang work songs can set up as a specilized course or an elective course to be taught to students as an art for the purpose of cultivating more high-quality talents proficient in Chuanjiang work songs and encouraging them to engage in the creation of Chuanjiang work songs.

===The Translation of Chuanjiang Work Songs===
Language contains culture, on the other hand, the enrichment and development of culture also benefit from language. Mainly sung in Sichuan dialect, Chuanjiang work songs bear the linguistic and cultural roles to show the abundant and generous history of Bashu area. And due to this characteristic, the translation of Chuanjiang work songs is not an easy task and there are few documents published to study the translation of Chuanjiang work songs. From the CNKI, there are only a few papers that have studied and analyzed the translation of Chuanjiang work songs from the perspective of translation ecology. Liu Xiuming(2021) pointed out that the translation of Chuanjiang work songs must proceed from the specific contexts and consider the quality of the targeted translation following the standards of coherence, logic and aesthetics, so as to ensure the accuracy of the semantic transmission of the translation. For example, “望见兵书峡，心里乱如麻。想起爹和妈，钱也用完哒。过了鳊鱼溪，肚子有点稀。想起儿和女，没带一颗米。”（《秭归的船工号子》）,this verse is translated as "Seeing Bingshu Gorge(兵书峡), I feel sad and panic in the heart. Thinking of Mom and Dad, I begin worry that they may be short of money. Passing the Bream Stream, I feel hungry in the stomach. Missing my wife and children, I feel so sorry for bringing them nothing back."（Liu Xiuming, 2021(28):241-242） From the Chinese version, we can tell that this verse is quite fast-tempoed and rhyming, especially singing in Sichuan dialect. Also, this verse illuminates that those hard-working boatmen miss their parents, wives, kids as well as their hometowns, and their plight-working so hard but suffering the pangs of hunger. Therefore, in order to faithfully convey what this verse really sings about, we should be familiar with the cultural background and thoroughly grasp the inner meaning of the original Chuanjiang work song. Additionally, sometimes we are supposed to translate the primitive beauty and majestic momentum of Chuanjiang work songs, which proves more formidable than we think.

As an intermediary, translation has always been playing a pivotal role in cross-border cultural exchanges and mutual learning. Honestly speaking, the translation of Chuanjiang work songs can also function as a bridge for closer connection between Bashu area and other different places worldwide and bring a brighter future for the protection and inheritance of Chuanjiang work songs. For once foreign friends are caught by Chuanjiang work songs, they would show a great interest in singing Chuanjiang work songs and want to know more about this kind of folk music so that they may do some field investigations, causing local governments to attach great importance to the inheritance and protection of Chuanjiang work songs.

===Conclusion===
Hailed as the Song of the Volga Boatmen in the Yangzte River, Chuanjiang work songs are no less charming than the songs of Volga boatmen. Chuanjiang work songs are also hornored as the clssic masterpiece of river culture in the world together with the Volga boatmen's song. What Chuanjiang work songs leave us is not only a kind of singing mode of folk art, but more importantly, Chuanjiang work songs represent the unique cultural traditions and spiritual values of average people living in the regions of Sichuan Province and Chongqing Municipality.

Nowadays, even though we are at the highway of informationization and industrialization, the ensuing situation of Chuanjiang work songs facing with is not so optimistic. While in the pursuit of high-level scientific and technological development, some Chinese languages and cultures handed down by the ancients gradually came to an end at the same time, which is a pity and requires our deep self-examination. Therefore, the inheritance and protection of Chuanjiang work songs need individuals and governments to take due responsibilities with the help of today's high-tech devices and information-sharing platforms in order to better preserve this folk music and not to let this distinct Chinese language culture teeming with regional characteristics disappear on the earth!

===Terms and Expressions===
Chuanjiang work song:川江号子
Haozi:号子
Kuixing Tower:《魁星楼》
Giant Turtledove:《大斑鸠》
Lanlong work song:《懒龙号子》
Boatman:船工，船夫
The First Batch of National Intangible Cultural Heritage:第一批国家级非物质文化遗产
Bashu area:巴蜀地区
Perilous Journey to the Land of Shu:《蜀道难》
The westbound road to shu, so steep, steeper than Heaven! I plod my way, step by step, sign by sign.:蜀道之难，难于上青天，侧身西望长咨嗟！
Fuhe work song:府河号子
Huanglongxi work song:黄龙溪号子
Jinjiang work song:锦江号子
Tuojiang work song:沱江号子
Minjiang work song:岷江号子
Jinsha River work song:金沙江号子
Jialing River work song:嘉陵江号子
Tonghe work song:铜河号子
Yongninghe work song:永宁河号子

===Questions===
1. What can be regarded as the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song?

2. When did Chuanjiang work song first appeared?

3. When was Chuanjiang work song listed as the First Batch of National Intangible Cultural Heritage?

4. How Chuanjiang work song was produced?

5. What are the characteristics of the music of Fuhe work song?

===Answers===
1. The Neolithic stone anchors and the tracker’s stone figures.

2. In the Spring and Autumn Period.

3. On May 20th, 2006.

4. The leader of a crowd of boatmen created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen’s rowing and pulling.

5. The music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies.

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

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

<center>仝雨梦</center>

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

===Th

20220630 Culture 3

2022-06-30T11:37:38Z

Sun Lijun: /* Questions */

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

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

<center>Liu Ting</center>

===Abstract===

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

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

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

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

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

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

===Chinese Science fiction===

Science fiction

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

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

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

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

1.2 Origin and Development of Chinese Science Fiction

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

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

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

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

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

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

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

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

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

<center>刘瑶 Liu Yao</center>

===Abstract===

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

===Introduction===

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

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

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

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

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

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin and It's Development in the Song Dynasty'''</center>

<center>Liu Zhen</center>

===Introduction===
First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

===Guqin and It's Development===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:
Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

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

Performance:
In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument.
They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin.

Playing Technique:
The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:
First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played
The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

===Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty===
At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

===Development of Guqin Music in the Song Dynasty===
The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

===The Song Dynasty guqin school -- Zhejiang school===
The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

===The Cultural Influence of GUqin===
The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.
In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin
The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics
When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture:
As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

===Conclusion===

===Terms and Expressions===
the "Yellow Emperor": 黄帝
tablature：指法谱
the Palace Museum ：故宫博物馆
the Voyager Golden Record：旅行者金唱片
geographical isolation：地理隔绝
tempo：节奏、拍子
Organology：乐器学

===Questions===

===Answers===

===References===

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

<center>Long Hanliang</center>

===Abstract===

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

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

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

===Key words===

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

===Introduction===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

===Means and methods===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(1) Practicality

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

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

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

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

(2) Knowledge

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

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

(3)Scientificity

1. To teach standardized and common Chinese characters

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

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

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

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

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

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

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

(4)Interest

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

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

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

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

===Classroom Teaching===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

===Training of TCSL Teachers===

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

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

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

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

1. modern Chinese knowledge

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

2. linguistic knowledge

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

3. cultural knowledge

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

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

4. foreign language knowledge

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

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

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

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

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

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

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

===Conclusion===

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

===References===

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

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

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

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

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

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

HSK 中国汉语水平考试

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

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

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

mahjong 麻将

chow mein 炒面

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

2.When was HSK officially implemented?

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

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

5.What types of HSK exams are there?

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

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

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

3.Classroom teaching

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

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

Ⅲ. Handle sensitive issues properly and maintain national dignity.

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

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

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

<center>罗姚林 Luo Yaolin</center>

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

===the Origin of Chinese Dialects===

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

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

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

<center>马艳焕</center>

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

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

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

<center>聂薇</center>

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

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

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

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

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

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

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

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

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

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

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

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

(i) Confucian culture

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

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

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

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

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

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

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

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

(ii) ceremonial culture

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

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

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

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

(iii) institutional culture

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

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

(ⅳ) the concept of family-and-nation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

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

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

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

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

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

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

the household registration system：户籍制度

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

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

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

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

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

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

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

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

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

<center>Sun Lijun</center>

===Introduction===

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

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

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

===The Features of Chuanjiang Work Songs===
Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.

Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).

First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).

Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).

Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.

===The Classification of Chuanjiang Work Songs===
Chuanjiang work songs are mainly circulated and spread in Jinsha River（金沙江），Yangtze River, Jialing River(嘉陵江）and the tributaries of Yangtze River, Wujiang River(乌江）, Minjiang River（岷江）and Tuojiang River(沱江), while Sichuan Province and Chongqing Municipality are the cradles and the major inheritance places of Chuanjiang work songs. And in this short essay, several types of Chuanjiang work songs distributed in different places in the Bashu area will be elaborated(Wu Mingshi, 2011:34-42).

First, Fuhe work song(府河号子). Fuhe work song, also called Huanglongxi work song(黄龙溪号子) and Jinjiang work song(锦江号子), is mainly circulated in the Jinjiang River basin, only existing in Huanglongxi Town, Chengdu(成都黄龙溪古镇) at present. With a history of more than 1,700 years, Huanglongxi Town is one of the ten ancient towns hailed as region of rivers and lakes in Sichuan Province, which was established and developed under the impetus of the prosperous Fuhe shipping industry. As the only work song in Chengdu, Fuhe work song is the representative one of Chengdu Plain（成都平原） located in southwest China. Because of the width and smoothness of the Huanglongxi River, the water flow is gentle, the music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies. The Fuhe work song is a true portrayal of the primitive labor modes of boatmen living in Chengdu in successive dynasties, witnessing the history of waterway transportation of Chengdu, a well-known historical and cultural city(Wu Mingshi, 2011:34-42).

Second, Jialing River work song. Jialing River is an important tributary of the upper reaches of the Yangtze River. It originates at the northern foot of the Qinling Mountains(秦岭) situated in Sha'anxi Province（陕西省）, and runs through Guangyuan City（广元市）, Nanchong City（南充市） and Guangan City（广安市） in Sichuan Province, flowing into the Yangtze River in Chongqing area. The major drainage areas Jialing River flows through resemble a folding fan, and there are many winding and zigzag channels, steep mountains and swift torrents this river is beset with, thus it requires the arduous performance of boatmen. Therefore, the Jialing River work song came into being in this special geographical environment(Wu Mingshi, 2011:34-42).

Third, Jinsha River work song. Jinsha River work song is mainly spread from Pingshan County（屏山县） which is located in the lower reaches of the Jinsha River to Yibin City（宜宾市）. Due to the official government set in this place by imperial court in the Ming Dynasty, the productivity rate and social life downstream developed rapidly with unprecedented development achieved in shipping industry in Jiasha River, emerging as the main component of the production, life and social development of people residing in on both sides of Jinsha River. The lower reaches of Jinsha River is the most important section of shipment, and also the main place where the Jinsha River work song came into being, developed and spread. And as a result of torrential water flow and large water level drop, Jinsha River work song has a distinct identity and is now mainly preserved in Pingshan County(Wu Mingshi, 2011:34-42).

Fourth, Minjiang River work song（岷江号子）. Minjiang River, an important tributary of the upper reaches of the Yangtze River, is the most fundamental water resource in Chengdu Plain. Historically, irrigation projects represented by Dujiangyan(都江堰), an ancient engineering initiated by the governor of Sichuan during the reign of Qin Dynasty to prevent floods by water control, fostered the land of abundance. Minshan work song is mainly distributed in Jianwei County, Leshan City（乐山市犍为县）. And due to the multipeaked mountains and densely scattered reefs and rocks in the Jianwei section of Minjiang River, concerted efforts were made to form a unified work song in order to facilitate the unification of the pace and rhythm of boatmen bearing forward. The work songs with different rhythms and emotions called out by the boat trackers on the basis of different water conditions gradually evolved into and compiled in the famous musical collection named Minjiang River Work Song(Wu Mingshi, 2011:34-42).

Fifth, Tuojiang River work song(沱江号子). The Tuojiang River, a tributary of the upper Yangtze River, is located in central Sichuan Province. In the Tuojiang River basin, the ancient people living in the area of Tuojiang River used wooden boats to transport white sugar and sugarcane to other places and carried daily necessities back home. While the origin of Tuojiang River work song can be traced back to the history of wooden boat shipping. As Tuojiang River is close to Jialing River, Minjiang River and other rivers and lakes large and small, Tuojiang River work song has absorbed some elements of other work songs on account of the mutual influence of their geographical environment and freight traffic, thus forming today's Tuojiang work song(Wu Mingshi, 2011:34-42).

The five kinds of work songs mentioned above are only a small part of Chuanjiang work songs, but they are the most representative ones. In addition to Fuhe work song, Jialing River work song, Jinsha River work song, Minjiang River work song and Tuojiang River work song, there are other famous work songs named Tonghe work song(铜河号子), Yongninghe work song(永宁河号子) and so on. From this we can tell that the Chuanjiang work songs are not only diversified in contents but also extensively distributed in many places of Bashu area.

===The Inheritance of Chuanjiang Work Songs===
Chuanjiang work songs are mainly spread among groups of boatmen, mostly transmitted by mouth to mouth, thus passing down naturally from generation to generation. Meanwhile, there are some young boatmen who formally acknowledge those experienced and old boatmen as their masters in order to learn how to sing the Chuanjiang work songs. However, with great changes of people's production and life nowadays, together with many old boatmen's passing away, many Chuanjiang work songs fail to be handed down from past generations. These days, we are living in a world awash in cutting-edge technologies and high-end products, people tend to have little willingness to take the initiative to learn and pass on Chuanjiang work songs, a kind of cultural heritage that does not seem to fit the interests of modern young groups or even is not just their cup of tea, which would raise a host of questions ourselves, chief among them: Is it necessary for youngsters to learn and inherit Chuanjiang work songs now that the technology is so advanced that we can restore old footage in high definition? And how to inherit this kind of cultural inheritage?

As for the first question, the answer is absolutely yes. We definitely have a great need and obligation to take the initiative to carry forward this endangered cultural heritage that may soon be disappeared in this world. For as one of the representative and unique languages and cultures of Bashu region, Chuanjiang work songs contain many aspects of cultural values demonstrating Bashu people's spirits of unswerving determination, team cooperation and opening up.

However, the protection and inheritance of this intangible cultural heritage are by no means easy like talking about empty phrases on a scrap of paper. First of all, Chuanjiang work songs have the particularity of survival, for Chuanjiang work songs resort to sound as the main means of representation, usually passing on through oral instructions, which greatly restricts the inheritance of this folk music to some extent. Then, this folk music arised out of the environment of surging water and serried rocks of rivers in the valley of Bashu area, which made this kind of music show elated artistic characteristics. Without the special geographical environment, it is also hard to spread Chuanjiang work songs. Last but not the least, Chuanjiang work songs are a form of folk music created by the working people who are limited by their living conditions to record and preserve this fabulous folk music, and the reality of the deaths of people and this art have exerted great influence to the protection and inheritance of Chuanjiang work songs(Wang Shuo, 2018(03):54). And according to the field visits and investigations of some experts, among the dozens of boatmen who are able to sing Chuanjiang work songs, the youngest is in their 70s, and there are few boatmen who can be the leader to sing work songs. Therefore, the protection and inheritance of Chuanjiang work songs are of great urgency and demand immediate attention.

With regard to the matter of how to protect and inherit Chuanjiang work songs, the following aspects could be taken into consideration. Firstly, perfect the legislative protection of Chuanjiang work songs and increase the investment in the inheritance of Chuanjiang work songs. Culture is created by the common people and its complexity and diversity determine that no individuals can assume the role of cultural protection. As a kind of unique language culture created by people living in Bashu area, Chuanjiang work songs' protection is not a piece of cake for individuals to take this responsibility. Even the protection of Chuanjiang work songs by civil organizations or groups sometimes presents the chaotic situations. Therefore only through the form of legisation at the national and government levels by including the protection and inheritance of Chuanjiang work songs into the legislation can we determine the detailed rules of legislation so as to perform the tasks of protection and inheritance of Chuanjiang work songs in an orderly way. Moreover, legislative protection is also a consistent practice of international community to protect cultural heritage around the world, which usually can achieve satisfactory results. In recent years, Chinese government has speeded up its pace to the protection and inheritance of Chuanjiang work songs, however, there is still some room for improvement in terms of some concrete measures to this matter. And Chinese government can draw lessons from some advanced and mature foreign protection experiences while combining the specific characteristics of the current situation of Chuanjiang work songs to formulate reasonable legal provisions. In addition to this, a lot of energy and money should be invested into this meaningful project. Secondly, take the combination of scientific technology and tourism as the carrier to better protect and inherit Chuanjiang work songs. With the science and technology develop by leaps and bounds, the protection and inheritance of Chuanjiang work songs are supposed to keep pace with the times. It is universally acknowledged that Tik Tok has gained popularity among all people from different ages, especially the youngsters around the world nowadays. And if we share the videos about the Chuanjiang work songs on Tik Tok and with the promotion of this popular platform, then Chuanjiang work songs can be known by more and more people. Additionally, if the videos of Chuanjiang work songs present an interesting and novel contents with fabulous pictures which cater for youngsters' appetite, there is a possibility that an increasing number of young people will be willing to learn how to sing and perform Chuanjiang work songs. Apart from Tik Tok, Chuanjiang work songs can also be incorporated into movies and plays. And tourism is also a great means to boost popularity of Chuanjiang work songs. As Chengdu and Chongqing becoming the first choice of many people to travel, the local governments can expand the publicity and promotion of scenic spots with Chuanjiang work songs as the main theme. Lastly but most importantly, let Chuanjiang work songs walk into the classroom. Students are the main forces to inherit Chuanjiang work songs. And articles related to Chuanjiang work songs can be compiled into the textbooks of primary and secondary schools so as to cultivate the younger generation's basic cognition of Chuanjiang work songs from an early age. Meanwhile, set up music teaching classes about Chuanjiang work songs in order to enlighten the consciousness of singing the Chuanjiang work songs with enthusiasm. While in colleges and universities, particularly in art colleges, Chuanjiang work songs can set up as a specilized course or an elective course to be taught to students as an art for the purpose of cultivating more high-quality talents proficient in Chuanjiang work songs and encouraging them to engage in the creation of Chuanjiang work songs.

===The Translation of Chuanjiang Work Songs===
Language contains culture, on the other hand, the enrichment and development of culture also benefit from language. Mainly sung in Sichuan dialect, Chuanjiang work songs bear the linguistic and cultural roles to show the abundant and generous history of Bashu area. And due to this characteristic, the translation of Chuanjiang work songs is not an easy task and there are few documents published to study the translation of Chuanjiang work songs. From the CNKI, there are only a few papers that have studied and analyzed the translation of Chuanjiang work songs from the perspective of translation ecology. Liu Xiuming(2021) pointed out that the translation of Chuanjiang work songs must proceed from the specific contexts and consider the quality of the targeted translation following the standards of coherence, logic and aesthetics, so as to ensure the accuracy of the semantic transmission of the translation. For example, “望见兵书峡，心里乱如麻。想起爹和妈，钱也用完哒。过了鳊鱼溪，肚子有点稀。想起儿和女，没带一颗米。”（《秭归的船工号子》）,this verse is translated as "Seeing Bingshu Gorge(兵书峡), I feel sad and panic in the heart. Thinking of Mom and Dad, I begin worry that they may be short of money. Passing the Bream Stream, I feel hungry in the stomach. Missing my wife and children, I feel so sorry for bringing them nothing back."（Liu Xiuming, 2021(28):241-242） From the Chinese version, we can tell that this verse is quite fast-tempoed and rhyming, especially singing in Sichuan dialect. Also, this verse illuminates that those hard-working boatmen miss their parents, wives, kids as well as their hometowns, and their plight-working so hard but suffering the pangs of hunger. Therefore, in order to faithfully convey what this verse really sings about, we should be familiar with the cultural background and thoroughly grasp the inner meaning of the original Chuanjiang work song. Additionally, sometimes we are supposed to translate the primitive beauty and majestic momentum of Chuanjiang work songs, which proves more formidable than we think.

As an intermediary, translation has always been playing a pivotal role in cross-border cultural exchanges and mutual learning. Honestly speaking, the translation of Chuanjiang work songs can also function as a bridge for closer connection between Bashu area and other different places worldwide and bring a brighter future for the protection and inheritance of Chuanjiang work songs. For once foreign friends are caught by Chuanjiang work songs, they would show a great interest in singing Chuanjiang work songs and want to know more about this kind of folk music so that they may do some field investigations, causing local governments to attach great importance to the inheritance and protection of Chuanjiang work songs.

===Conclusion===
Hailed as the Song of the Volga Boatmen in the Yangzte River, Chuanjiang work songs are no less charming than the songs of Volga boatmen. Chuanjiang work songs are also hornored as the clssic masterpiece of river culture in the world together with the Volga boatmen's song. What Chuanjiang work songs leave us is not only a kind of singing mode of folk art, but more importantly, Chuanjiang work songs represent the unique cultural traditions and spiritual values of average people living in the regions of Sichuan Province and Chongqing Municipality.

Nowadays, even though we are at the highway of informationization and industrialization, the ensuing situation of Chuanjiang work songs facing with is not so optimistic. While in the pursuit of high-level scientific and technological development, some Chinese languages and cultures handed down by the ancients gradually came to an end at the same time, which is a pity and requires our deep self-examination. Therefore, the inheritance and protection of Chuanjiang work songs need individuals and governments to take due responsibilities with the help of today's high-tech devices and information-sharing platforms in order to better preserve this folk music and not to let this distinct Chinese language culture teeming with regional characteristics disappear on the earth!

===Terms and Expressions===
Chuanjiang work song:川江号子
Haozi:号子
Kuixing Tower:《魁星楼》
Giant Turtledove:《大斑鸠》
Lanlong work song:《懒龙号子》
Boatman:船工，船夫
The First Batch of National Intangible Cultural Heritage:第一批国家级非物质文化遗产
Bashu area:巴蜀地区
Perilous Journey to the Land of Shu:《蜀道难》
The westbound road to shu, so steep, steeper than Heaven! I plod my way, step by step, sign by sign.:蜀道之难，难于上青天，侧身西望长咨嗟！
Fuhe work song:府河号子
Huanglongxi work song:黄龙溪号子
Jinjiang work song:锦江号子
Tuojiang work song:沱江号子
Minjiang work song:岷江号子
Jinsha River work song:金沙江号子
Jialing River work song:嘉陵江号子
Tonghe work song:铜河号子
Yongninghe work song:永宁河号子

===Questions===
1. What can be regarded as the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song?

2. When did Chuanjiang work song first appeared?

3. When was Chuanjiang work song listed as the First Batch of National Intangible Cultural Heritage?

4. How Chuanjiang work song was produced?

5. What are the characteristics of the music of Fuhe work song?

===Answers===

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

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

<center>仝雨梦</center>

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

===Th

20220630 Culture 3

2022-06-30T11:36:38Z

Sun Lijun: /* Terms and Expressions */

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

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

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

<center>Liu Ting</center>

===Abstract===

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

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

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

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

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

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

===Chinese Science fiction===

Science fiction

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

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

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

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

1.2 Origin and Development of Chinese Science Fiction

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

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

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

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

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

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

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

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

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

<center>刘瑶 Liu Yao</center>

===Abstract===

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

===Introduction===

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

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

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

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

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

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin and It's Development in the Song Dynasty'''</center>

<center>Liu Zhen</center>

===Introduction===
First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

===Guqin and It's Development===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:
Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

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

Performance:
In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument.
They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin.

Playing Technique:
The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:
First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played
The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

===Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty===
At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

===Development of Guqin Music in the Song Dynasty===
The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

===The Song Dynasty guqin school -- Zhejiang school===
The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

===The Cultural Influence of GUqin===
The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.
In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin
The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics
When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture:
As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

===Conclusion===

===Terms and Expressions===
the "Yellow Emperor": 黄帝
tablature：指法谱
the Palace Museum ：故宫博物馆
the Voyager Golden Record：旅行者金唱片
geographical isolation：地理隔绝
tempo：节奏、拍子
Organology：乐器学

===Questions===

===Answers===

===References===

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

<center>Long Hanliang</center>

===Abstract===

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

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

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

===Key words===

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

===Introduction===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

===Means and methods===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(1) Practicality

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

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

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

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

(2) Knowledge

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

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

(3)Scientificity

1. To teach standardized and common Chinese characters

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

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

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

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

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

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

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

(4)Interest

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

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

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

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

===Classroom Teaching===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

===Training of TCSL Teachers===

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

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

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

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

1. modern Chinese knowledge

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

2. linguistic knowledge

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

3. cultural knowledge

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

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

4. foreign language knowledge

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

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

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

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

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

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

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

===Conclusion===

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

===References===

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

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

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

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

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

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

HSK 中国汉语水平考试

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

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

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

mahjong 麻将

chow mein 炒面

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

2.When was HSK officially implemented?

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

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

5.What types of HSK exams are there?

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

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

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

3.Classroom teaching

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

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

Ⅲ. Handle sensitive issues properly and maintain national dignity.

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

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

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

<center>罗姚林 Luo Yaolin</center>

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

===the Origin of Chinese Dialects===

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

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

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

<center>马艳焕</center>

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

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

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

<center>聂薇</center>

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

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

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

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

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

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

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

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

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

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

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

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

(i) Confucian culture

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

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

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

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

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

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

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

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

(ii) ceremonial culture

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

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

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

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

(iii) institutional culture

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

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

(ⅳ) the concept of family-and-nation

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

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

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

As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
===Way of relieving pressure from the rush===
Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
===The prevalence of the Anti-Spring Festival travel rush===
In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)

On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)

But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)

On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)

Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
===Conclusion===
No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)

The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)

The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)

It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)

The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)

Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
===Terms and expressions===
Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）

The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

the system of urban-rural regional segregation：城乡区域隔离制度

the household registration system：户籍制度

the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
===References===
*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
===Questions===
1.How long does the Spring Festival travel rush usually last?
A.30 days
B.40 days
C.50 days
D.60 days

2.Which one of the following group is not the main reason that results to the rush?
A.Migrant workers
B.Students
C.Those planning to visit relatives
D.Tourists

3.Which one of the following cultures is the main factor that encourages family reunion?
A.Confucian culture
B.Taoist culture
C.Buddhist culture
D.Christian culture
===Answers===
1.40days

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

<center>'''Chuanjing Work Songs'''</center>

<center>Sun Lijun</center>

===Introduction===

Work song, nicknamed haozi(号子) in Chinese, is a kind of folk song that is created and sung by the working people in the process of production, bearing a direct relation with the manual work. And the contents of Chuanjiang work songs are rich and colorful, the representative works are Kuixing Tower(《魁星楼》), Giant Turtledove(《大斑鸠》), Lanlong Work Song(《懒龙号子》) and so on. Moreover, work song truthfully reflects the labor conditions and the mental appearance of the boatmen, emerging as an indispensably organic part in those workers' life. Chuanjiang work song, as one kind of work songs, is a traditional folk music originated in the Southwest China, mainly in Sichuan Province and Chongqing Municipality just as its name implies. And Chuanjing work song is a form of folk singing, led by a labor singer and accompanied by a crowd of boatmen in order to unify action and rhythm. It is a song of life cast by blood and sweat of those boatmen when they are struggling with the dangerous shoals and rapids, which is indicative of the working people's hardworking and their courageousness. Affluent in cultural connotations and charismatic in language art, Chuanjiang work song is the crystallization of the labor and wisdom of people living in Sichuan and Chongqing, which demonstrates the unsophisticated nature and tenacious will of them, possessing very high cultural value. However, as time goes on, great progress has been made in science and technology and outstanding improvements have been achieved in raising people's material living conditions, thus there is no need for them to struggle to meet the basic needs. It is not an age of necessities nowadays though, with the acceleration of modernization, Chuanjiang work song has lost its material carrier of its existence and is slowly withdrawing from the stage of history. On May 20th, 2006, with the approval of the State Council of the People's Republic of China, Chuanjing work song was listed as the First Batch of National Intangible Cultural Heritage, and only after then it's protection and inheritance were gradually given attention by all parties, namely all walks of life and the rescue of this intangible cultural heritage became imminent. While just as a common saying goes, "Rome was not built in one day", the protection and inheritance of Chuanjiang work song are not an easy task, which needs massive investment of manpower, physical and financial resource. Mostly attracted by new high-tech products, many modern youngsters don’t have the least idea to understand and learn the Chuanjiang work song, not to mention that a sea of young people have never heard of Chuanjiang work song, which is a pity. Hence, there is a problem that still remains to be solved, that is how to raise youngsters' interests in and willingness to know more about Chuanjiang work song so as to better protect and inherit the endangered Chuanjiang work song.

===The History of Chuanjiang Work Songs===

Chuanjiang work song, which enjoys a long history and is unique among the work songs in Sichuan and Chongqing which is called Bashu area for short, is not only diverse in forms but also rich in contents.
From the Perilous Journey to the Land of Shu, which was composed by Li Bai, one brilliant and great poet in Tang Dynasty, we can tell that Bashu area had an extremely rugged landscape. "The westbound road to Shu, so steep, steeper than Heaven! I plod my way, step by step, sign after sign", these two lines from this poem Perilous Journey to the Land of Shu especially project a vivid picture for us to imagine and illustrate how peculiar and precipitous the Bashu area is since the ancient time! And Bashu area is crisscrossed by rivers and canals with more than 90 rivers and streams of various lengths, in addition to this, the overlapped peaks rise one above the other in Bashu area, inviting traffic inconveniences for this region. Hence, the cargo circulation and passenger transportation all were carried by wooden boats in the ancient time. According to some archaeological discoveries, the Neolithic stone anchors and the tracker's tome figures, which were excavated along the banks of the Yangtze River running through Bashu area, are the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song in Bashu area(Wu Mingshi, 2011:34-42).
However, it was around the middle of Qing Dynasty that the work songs gradually were on the upgrade. And the Chuanjiang work song was the fruit of those industrious boatmen's hardworking and life. According to the water potential and the depth, currents as well as other characteristics of the rivers, the dangers of reefs and submerged rocks to boats, the leader of those boatmen then created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen's rowing and pulling. And this is how Chuanjiang work song was produced. While after the founding of the People's Republic of China, the government began to set about the business of the regulation of inland waterway navigation, therefore rivers and lakes in the Chuanjiang River Basin were destroyed by explosions to the submerged reefs and rocks in order to dredge the rivers and build waterpower stations. So these turbulent rivers and treacherous shoals that inspired boatmen to sing work songs have been a thing of the past. As the motor ships gradually replaced the wooden boats, the old shipping industry lost its competitiveness and living space little by little. The figures of the boatmen of the old days who swept over the rapids and dangerous shoals and climbed the rocks while towing a boat are gradually vanishing from people's sight in modern times, what's more, the appealing sound of the Chuanjiang work songs is fading away, resulting in the adverse conditions faced by Chuanjiang work songs. And scholars in the academic circles generally believe that Chuanjiang work song is cultural treasure in the history of waterway transportation along the Yangtze River and its existence reflects the indomitable fighting spirit, heroic spirit and humorous traits of character of the working people in the Chuanjiang River Basin when in face of a hostile environment. Such kind of intangible inheritage culture is supposed and deserves to be protected well, carried forward and promoted well in order to make Chinese culture and language splendid and glorious.

===The Features of Chuanjiang Work Songs===
Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.

Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).

First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).

Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).

Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.

===The Classification of Chuanjiang Work Songs===
Chuanjiang work songs are mainly circulated and spread in Jinsha River（金沙江），Yangtze River, Jialing River(嘉陵江）and the tributaries of Yangtze River, Wujiang River(乌江）, Minjiang River（岷江）and Tuojiang River(沱江), while Sichuan Province and Chongqing Municipality are the cradles and the major inheritance places of Chuanjiang work songs. And in this short essay, several types of Chuanjiang work songs distributed in different places in the Bashu area will be elaborated(Wu Mingshi, 2011:34-42).

First, Fuhe work song(府河号子). Fuhe work song, also called Huanglongxi work song(黄龙溪号子) and Jinjiang work song(锦江号子), is mainly circulated in the Jinjiang River basin, only existing in Huanglongxi Town, Chengdu(成都黄龙溪古镇) at present. With a history of more than 1,700 years, Huanglongxi Town is one of the ten ancient towns hailed as region of rivers and lakes in Sichuan Province, which was established and developed under the impetus of the prosperous Fuhe shipping industry. As the only work song in Chengdu, Fuhe work song is the representative one of Chengdu Plain（成都平原） located in southwest China. Because of the width and smoothness of the Huanglongxi River, the water flow is gentle, the music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies. The Fuhe work song is a true portrayal of the primitive labor modes of boatmen living in Chengdu in successive dynasties, witnessing the history of waterway transportation of Chengdu, a well-known historical and cultural city(Wu Mingshi, 2011:34-42).

Second, Jialing River work song. Jialing River is an important tributary of the upper reaches of the Yangtze River. It originates at the northern foot of the Qinling Mountains(秦岭) situated in Sha'anxi Province（陕西省）, and runs through Guangyuan City（广元市）, Nanchong City（南充市） and Guangan City（广安市） in Sichuan Province, flowing into the Yangtze River in Chongqing area. The major drainage areas Jialing River flows through resemble a folding fan, and there are many winding and zigzag channels, steep mountains and swift torrents this river is beset with, thus it requires the arduous performance of boatmen. Therefore, the Jialing River work song came into being in this special geographical environment(Wu Mingshi, 2011:34-42).

Third, Jinsha River work song. Jinsha River work song is mainly spread from Pingshan County（屏山县） which is located in the lower reaches of the Jinsha River to Yibin City（宜宾市）. Due to the official government set in this place by imperial court in the Ming Dynasty, the productivity rate and social life downstream developed rapidly with unprecedented development achieved in shipping industry in Jiasha River, emerging as the main component of the production, life and social development of people residing in on both sides of Jinsha River. The lower reaches of Jinsha River is the most important section of shipment, and also the main place where the Jinsha River work song came into being, developed and spread. And as a result of torrential water flow and large water level drop, Jinsha River work song has a distinct identity and is now mainly preserved in Pingshan County(Wu Mingshi, 2011:34-42).

Fourth, Minjiang River work song（岷江号子）. Minjiang River, an important tributary of the upper reaches of the Yangtze River, is the most fundamental water resource in Chengdu Plain. Historically, irrigation projects represented by Dujiangyan(都江堰), an ancient engineering initiated by the governor of Sichuan during the reign of Qin Dynasty to prevent floods by water control, fostered the land of abundance. Minshan work song is mainly distributed in Jianwei County, Leshan City（乐山市犍为县）. And due to the multipeaked mountains and densely scattered reefs and rocks in the Jianwei section of Minjiang River, concerted efforts were made to form a unified work song in order to facilitate the unification of the pace and rhythm of boatmen bearing forward. The work songs with different rhythms and emotions called out by the boat trackers on the basis of different water conditions gradually evolved into and compiled in the famous musical collection named Minjiang River Work Song(Wu Mingshi, 2011:34-42).

Fifth, Tuojiang River work song(沱江号子). The Tuojiang River, a tributary of the upper Yangtze River, is located in central Sichuan Province. In the Tuojiang River basin, the ancient people living in the area of Tuojiang River used wooden boats to transport white sugar and sugarcane to other places and carried daily necessities back home. While the origin of Tuojiang River work song can be traced back to the history of wooden boat shipping. As Tuojiang River is close to Jialing River, Minjiang River and other rivers and lakes large and small, Tuojiang River work song has absorbed some elements of other work songs on account of the mutual influence of their geographical environment and freight traffic, thus forming today's Tuojiang work song(Wu Mingshi, 2011:34-42).

The five kinds of work songs mentioned above are only a small part of Chuanjiang work songs, but they are the most representative ones. In addition to Fuhe work song, Jialing River work song, Jinsha River work song, Minjiang River work song and Tuojiang River work song, there are other famous work songs named Tonghe work song(铜河号子), Yongninghe work song(永宁河号子) and so on. From this we can tell that the Chuanjiang work songs are not only diversified in contents but also extensively distributed in many places of Bashu area.

===The Inheritance of Chuanjiang Work Songs===
Chuanjiang work songs are mainly spread among groups of boatmen, mostly transmitted by mouth to mouth, thus passing down naturally from generation to generation. Meanwhile, there are some young boatmen who formally acknowledge those experienced and old boatmen as their masters in order to learn how to sing the Chuanjiang work songs. However, with great changes of people's production and life nowadays, together with many old boatmen's passing away, many Chuanjiang work songs fail to be handed down from past generations. These days, we are living in a world awash in cutting-edge technologies and high-end products, people tend to have little willingness to take the initiative to learn and pass on Chuanjiang work songs, a kind of cultural heritage that does not seem to fit the interests of modern young groups or even is not just their cup of tea, which would raise a host of questions ourselves, chief among them: Is it necessary for youngsters to learn and inherit Chuanjiang work songs now that the technology is so advanced that we can restore old footage in high definition? And how to inherit this kind of cultural inheritage?

As for the first question, the answer is absolutely yes. We definitely have a great need and obligation to take the initiative to carry forward this endangered cultural heritage that may soon be disappeared in this world. For as one of the representative and unique languages and cultures of Bashu region, Chuanjiang work songs contain many aspects of cultural values demonstrating Bashu people's spirits of unswerving determination, team cooperation and opening up.

However, the protection and inheritance of this intangible cultural heritage are by no means easy like talking about empty phrases on a scrap of paper. First of all, Chuanjiang work songs have the particularity of survival, for Chuanjiang work songs resort to sound as the main means of representation, usually passing on through oral instructions, which greatly restricts the inheritance of this folk music to some extent. Then, this folk music arised out of the environment of surging water and serried rocks of rivers in the valley of Bashu area, which made this kind of music show elated artistic characteristics. Without the special geographical environment, it is also hard to spread Chuanjiang work songs. Last but not the least, Chuanjiang work songs are a form of folk music created by the working people who are limited by their living conditions to record and preserve this fabulous folk music, and the reality of the deaths of people and this art have exerted great influence to the protection and inheritance of Chuanjiang work songs(Wang Shuo, 2018(03):54). And according to the field visits and investigations of some experts, among the dozens of boatmen who are able to sing Chuanjiang work songs, the youngest is in their 70s, and there are few boatmen who can be the leader to sing work songs. Therefore, the protection and inheritance of Chuanjiang work songs are of great urgency and demand immediate attention.

With regard to the matter of how to protect and inherit Chuanjiang work songs, the following aspects could be taken into consideration. Firstly, perfect the legislative protection of Chuanjiang work songs and increase the investment in the inheritance of Chuanjiang work songs. Culture is created by the common people and its complexity and diversity determine that no individuals can assume the role of cultural protection. As a kind of unique language culture created by people living in Bashu area, Chuanjiang work songs' protection is not a piece of cake for individuals to take this responsibility. Even the protection of Chuanjiang work songs by civil organizations or groups sometimes presents the chaotic situations. Therefore only through the form of legisation at the national and government levels by including the protection and inheritance of Chuanjiang work songs into the legislation can we determine the detailed rules of legislation so as to perform the tasks of protection and inheritance of Chuanjiang work songs in an orderly way. Moreover, legislative protection is also a consistent practice of international community to protect cultural heritage around the world, which usually can achieve satisfactory results. In recent years, Chinese government has speeded up its pace to the protection and inheritance of Chuanjiang work songs, however, there is still some room for improvement in terms of some concrete measures to this matter. And Chinese government can draw lessons from some advanced and mature foreign protection experiences while combining the specific characteristics of the current situation of Chuanjiang work songs to formulate reasonable legal provisions. In addition to this, a lot of energy and money should be invested into this meaningful project. Secondly, take the combination of scientific technology and tourism as the carrier to better protect and inherit Chuanjiang work songs. With the science and technology develop by leaps and bounds, the protection and inheritance of Chuanjiang work songs are supposed to keep pace with the times. It is universally acknowledged that Tik Tok has gained popularity among all people from different ages, especially the youngsters around the world nowadays. And if we share the videos about the Chuanjiang work songs on Tik Tok and with the promotion of this popular platform, then Chuanjiang work songs can be known by more and more people. Additionally, if the videos of Chuanjiang work songs present an interesting and novel contents with fabulous pictures which cater for youngsters' appetite, there is a possibility that an increasing number of young people will be willing to learn how to sing and perform Chuanjiang work songs. Apart from Tik Tok, Chuanjiang work songs can also be incorporated into movies and plays. And tourism is also a great means to boost popularity of Chuanjiang work songs. As Chengdu and Chongqing becoming the first choice of many people to travel, the local governments can expand the publicity and promotion of scenic spots with Chuanjiang work songs as the main theme. Lastly but most importantly, let Chuanjiang work songs walk into the classroom. Students are the main forces to inherit Chuanjiang work songs. And articles related to Chuanjiang work songs can be compiled into the textbooks of primary and secondary schools so as to cultivate the younger generation's basic cognition of Chuanjiang work songs from an early age. Meanwhile, set up music teaching classes about Chuanjiang work songs in order to enlighten the consciousness of singing the Chuanjiang work songs with enthusiasm. While in colleges and universities, particularly in art colleges, Chuanjiang work songs can set up as a specilized course or an elective course to be taught to students as an art for the purpose of cultivating more high-quality talents proficient in Chuanjiang work songs and encouraging them to engage in the creation of Chuanjiang work songs.

===The Translation of Chuanjiang Work Songs===
Language contains culture, on the other hand, the enrichment and development of culture also benefit from language. Mainly sung in Sichuan dialect, Chuanjiang work songs bear the linguistic and cultural roles to show the abundant and generous history of Bashu area. And due to this characteristic, the translation of Chuanjiang work songs is not an easy task and there are few documents published to study the translation of Chuanjiang work songs. From the CNKI, there are only a few papers that have studied and analyzed the translation of Chuanjiang work songs from the perspective of translation ecology. Liu Xiuming(2021) pointed out that the translation of Chuanjiang work songs must proceed from the specific contexts and consider the quality of the targeted translation following the standards of coherence, logic and aesthetics, so as to ensure the accuracy of the semantic transmission of the translation. For example, “望见兵书峡，心里乱如麻。想起爹和妈，钱也用完哒。过了鳊鱼溪，肚子有点稀。想起儿和女，没带一颗米。”（《秭归的船工号子》）,this verse is translated as "Seeing Bingshu Gorge(兵书峡), I feel sad and panic in the heart. Thinking of Mom and Dad, I begin worry that they may be short of money. Passing the Bream Stream, I feel hungry in the stomach. Missing my wife and children, I feel so sorry for bringing them nothing back."（Liu Xiuming, 2021(28):241-242） From the Chinese version, we can tell that this verse is quite fast-tempoed and rhyming, especially singing in Sichuan dialect. Also, this verse illuminates that those hard-working boatmen miss their parents, wives, kids as well as their hometowns, and their plight-working so hard but suffering the pangs of hunger. Therefore, in order to faithfully convey what this verse really sings about, we should be familiar with the cultural background and thoroughly grasp the inner meaning of the original Chuanjiang work song. Additionally, sometimes we are supposed to translate the primitive beauty and majestic momentum of Chuanjiang work songs, which proves more formidable than we think.

As an intermediary, translation has always been playing a pivotal role in cross-border cultural exchanges and mutual learning. Honestly speaking, the translation of Chuanjiang work songs can also function as a bridge for closer connection between Bashu area and other different places worldwide and bring a brighter future for the protection and inheritance of Chuanjiang work songs. For once foreign friends are caught by Chuanjiang work songs, they would show a great interest in singing Chuanjiang work songs and want to know more about this kind of folk music so that they may do some field investigations, causing local governments to attach great importance to the inheritance and protection of Chuanjiang work songs.

===Conclusion===
Hailed as the Song of the Volga Boatmen in the Yangzte River, Chuanjiang work songs are no less charming than the songs of Volga boatmen. Chuanjiang work songs are also hornored as the clssic masterpiece of river culture in the world together with the Volga boatmen's song. What Chuanjiang work songs leave us is not only a kind of singing mode of folk art, but more importantly, Chuanjiang work songs represent the unique cultural traditions and spiritual values of average people living in the regions of Sichuan Province and Chongqing Municipality.

Nowadays, even though we are at the highway of informationization and industrialization, the ensuing situation of Chuanjiang work songs facing with is not so optimistic. While in the pursuit of high-level scientific and technological development, some Chinese languages and cultures handed down by the ancients gradually came to an end at the same time, which is a pity and requires our deep self-examination. Therefore, the inheritance and protection of Chuanjiang work songs need individuals and governments to take due responsibilities with the help of today's high-tech devices and information-sharing platforms in order to better preserve this folk music and not to let this distinct Chinese language culture teeming with regional characteristics disappear on the earth!

===Terms and Expressions===
Chuanjiang work song:川江号子
Haozi:号子
Kuixing Tower:《魁星楼》
Giant Turtledove:《大斑鸠》
Lanlong work song:《懒龙号子》
Boatman:船工，船夫
The First Batch of National Intangible Cultural Heritage:第一批国家级非物质文化遗产
Bashu area:巴蜀地区
Perilous Journey to the Land of Shu:《蜀道难》
The westbound road to shu, so steep, steeper than Heaven! I plod my way, step by step, sign by sign.:蜀道之难，难于上青天，侧身西望长咨嗟！
Fuhe work song:府河号子
Huanglongxi work song:黄龙溪号子
Jinjiang work song:锦江号子
Tuojiang work song:沱江号子
Minjiang work song:岷江号子
Jinsha River work song:金沙江号子
Jialing River work song:嘉陵江号子
Tonghe work song:铜河号子
Yongninghe work song:永宁河号子

===Questions===

===Answers===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594==
<center>'''The Influence of Chinese Traditional Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
Chinese traditional philosophy sprang up around the time of the Shang and Zhou Dynasties (1600 B.C.--- 256 B.C.), took shape at the end of the Spring and Autumn Period (770 B.C.--- 476 B.C.), and flourished during the Warring States period (475 B.C.--- 221 B.C.) when a hundred schools of thought were already competing. Developing for more than 3,000 years, Chinese traditional philosophy has long been an integral part of Chinese culture. Up to 1949, its development history can be broadly divided into three stages. First, the period of slavery and the period of transition from slavery to feudalism. Second, the period of feudalism. Third, the period of transition from feudalism to socialism. The philosophy of the first two stages is known as ancient Chinese philosophy. And the last is called modern Chinese philosophy.

===Th

20220630 Culture 3

2022-06-30T11:35:46Z

Sun Lijun: /* 英语笔译孙丽君 Sun Lijun 202170081593 */

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''Dissemination of Chinese Contemporary Literature'''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===

===Key words===
Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

===Introduction===

===Dissemination of Chinese Contemporary Literature in Different Regions===

===Dissemination of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present). In the first stage, Chinese contemporary literature translated to English-speaking countries focused more on social and political aspects than on literary aspects. In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak. Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than propaganda; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and market. The English-speaking world and Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin and It's Development in the Song Dynasty'''</center>

<center>Liu Zhen</center>

===Introduction===
First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

===Guqin and It's Development===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:
Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

In 1977, a recording of "Liu Shui" 【流水】 (Flowing Water, as performed by Guan Pinghu, one of the best qin players of the twentieth century) was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts. It is the longest excerpt included on the disc. In 2003, guqin music was proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.

Performance:
In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument.
They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin.

Playing Technique:
The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:
First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played
The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

===Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty===
At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

===Development of Guqin Music in the Song Dynasty===
The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

===The Song Dynasty guqin school -- Zhejiang school===
The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

===The Cultural Influence of GUqin===
The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.
In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin
The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics
When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture:
As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

===Conclusion===

===Terms and Expressions===
the "Yellow Emperor": 黄帝
tablature：指法谱
the Palace Museum ：故宫博物馆
the Voyager Golden Record：旅行者金唱片
geographical isolation：地理隔绝
tempo：节奏、拍子
Organology：乐器学

===References===

===References===

===References===

==英语笔译龙翰良 Long Hanliang 202170081589==
<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>

<center>Long Hanliang</center>

===Abstract===

At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)

As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)

This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)

===Key words===

Chinese culture; Teaching Chinese as a second language; Cultural Exchange

===Introduction===

As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)

The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)

Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)

===Overall Design===
The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)

To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)

Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)

This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)

Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)

Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)

The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)

Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)

Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)

For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)

For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)

Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)

Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)

The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)

The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)

The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)

===Test Assessment===
The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)

Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)

The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)

The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)

Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)

The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)

In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)

1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)

2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)

3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time.
At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)

Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)

As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)

===Means and methods===

Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)

After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)

Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)

We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)

One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)

For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)

First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)

For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)

This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)

The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)

There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)

The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)

However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)

Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)

===Textbook Compilation===
1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)

(1) Practicality

Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)

The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)

It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)

The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)

(2) Knowledge

The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)

Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)

(3)Scientificity

1. To teach standardized and common Chinese characters

The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)

The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)

In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)

2. The organization of teaching content should conform to the law of language teaching

The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)

The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)

The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)

(4)Interest

Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)

Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)

In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)

In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)

===Classroom Teaching===

Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)

This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)

The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)

The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)

Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)

In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)

The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)

It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)

Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)

At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：

1. Respect each other among different cultures and adhere to the principle of cultural equality.

2. Disseminate the essence of culture and avoid clamoring for attention.

3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)

In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)

===Training of TCSL Teachers===

With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

1. modern Chinese knowledge

Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

2. linguistic knowledge

The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

3. cultural knowledge

Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

4. foreign language knowledge

Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

===Conclusion===

After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)

===References===

Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.

Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.

Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.

Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)

国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm

===Terms and expressions===
Classroom teaching 课堂教学

HSK 中国汉语水平考试

Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）国家汉办

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区

mahjong 麻将

chow mein 炒面

===Questions===
1.What are the four links of the whole process and teaching activities of second language teaching?

2.When was HSK officially implemented?

3.What is the most important link of teaching activities among the four links of teaching activities?

4.What are the principles of spreading Chinese culture in Chinese education abroad?

5.What types of HSK exams are there?

6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?

===Answers===
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.

2.The Chinese Proficiency Test (HSK) was officially implemented in 1990

3.Classroom teaching

4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.

Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.

Ⅲ. Handle sensitive issues properly and maintain national dignity.

5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).

6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.

==英语笔译罗姚林 Luo Yaolin 202170081590==
<center>'''Different Local Dialects in China'''</center>

<center>罗姚林 Luo Yaolin</center>

===Introduction===
Chinese dialects are branches of the Chinese language. The "Law of the People's Republic of China on the Common State Language and Script", promulgated on October 31, 2000, established Mandarin Chinese as the national language. During the development of Han Chinese society, there have been different degrees of differentiation and unification, thus making the Chinese language gradually produce dialects. There are various dialects of modern Chinese, and they are distributed over a wide area. The differences between modern Chinese dialects are phonetic, lexical, and grammatical, and the phonetic aspects are particularly prominent. Some domestic scholars believe that most dialects and common languages have certain phonological correspondence patterns, and many similarities in vocabulary and grammar, so they are not independent languages. Foreign scholars believe that people in each dialect area cannot talk to each other, so they are very independent languages, especially the dialects in Min language. Based on the characteristics of the dialects, the history of their formation and development, and the results of dialect surveys, the dialects of modern Chinese can be divided.

===the Origin of Chinese Dialects===

===Different Features of Dialects in China===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译马艳焕 Ma Yanhuan 202170081591==
<center>'''An overview on the study of Chinese folk stories '''</center>

<center>马艳焕</center>

===Abstract===
Shandong is a famous city of traditional culture with a long history. The traditional culture with local characteristics such as Dongyi culture and Qilu culture has left a valuable spiritual heritage for Shandong, in which folktales are loved by the people. The type of folktales roughly includes "myths", "legends", "stories" and so on, including natural change myths, hero myths, historical figures legends, religious figures legends, fairy legends, mountains and rivers legends, specialty legends, ghosts, foxes and spirits, animal stories, life stories, witty character stories and so on. This article will give an overview of the folk stories of Shandong Province, including the content of the story, the cultural and educational value carried by the story, the enlightenment to future generations, and so on.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592==
<center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center>

<center>聂薇</center>

===Introduction===
Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)

This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)

With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)

The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
===The evolution of the Spring Festival travel rush===
As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)

In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)

(i) The difficulty of travelling during the Spring Festival in ancient times

Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)

In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)

Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)

(ii) The difficulty of travelling during the Spring Festival in modern times

The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)

With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
===Cultural factors behind the Spring Festival travel rush in China===
The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)

(i) Confucian culture

In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)

The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)

It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)

The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)

In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)

A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)

But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)

This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)

(ii) ceremonial culture

In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)

During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)

The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)

Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)

(iii) institutional culture

One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)

The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)

(ⅳ) the concept of family-and-nation

In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)

In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)

However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)

As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
===Way of relieving pressure from the rush===
Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
===The prevalence of the Anti-Spring Festival travel rush===
In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)

On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)

But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)

On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)

Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
===Conclusion===
No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)

The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)

The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)

It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)

The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)

Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
===Terms and expressions===
Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）

The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

the system of urban-rural regional segregation：城乡区域隔离制度

the household registration system：户籍制度

the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
===References===
*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
===Questions===
1.How long does the Spring Festival travel rush usually last?
A.30 days
B.40 days
C.50 days
D.60 days

2.Which one of the following group is not the main reason that results to the rush?
A.Migrant workers
B.Students
C.Those planning to visit relatives
D.Tourists

3.Which one of the following cultures is the main factor that encourages family reunion?
A.Confucian culture
B.Taoist culture
C.Buddhist culture
D.Christian culture
===Answers===
1.40days

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

<center>'''Chuanjing Work Songs'''</center>

<center>Sun Lijun</center>

===Introduction===

Work song, nicknamed haozi(号子) in Chinese, is a kind of folk song that is created and sung by the working people in the process of production, bearing a direct relation with the manual work. And the contents of Chuanjiang work songs are rich and colorful, the representative works are Kuixing Tower(《魁星楼》), Giant Turtledove(《大斑鸠》), Lanlong Work Song(《懒龙号子》) and so on. Moreover, work song truthfully reflects the labor conditions and the mental appearance of the boatmen, emerging as an indispensably organic part in those workers' life. Chuanjiang work song, as one kind of work songs, is a traditional folk music originated in the Southwest China, mainly in Sichuan Province and Chongqing Municipality just as its name implies. And Chuanjing work song is a form of folk singing, led by a labor singer and accompanied by a crowd of boatmen in order to unify action and rhythm. It is a song of life cast by blood and sweat of those boatmen when they are struggling with the dangerous shoals and rapids, which is indicative of the working people's hardworking and their courageousness. Affluent in cultural connotations and charismatic in language art, Chuanjiang work song is the crystallization of the labor and wisdom of people living in Sichuan and Chongqing, which demonstrates the unsophisticated nature and tenacious will of them, possessing very high cultural value. However, as time goes on, great progress has been made in science and technology and outstanding improvements have been achieved in raising people's material living conditions, thus there is no need for them to struggle to meet the basic needs. It is not an age of necessities nowadays though, with the acceleration of modernization, Chuanjiang work song has lost its material carrier of its existence and is slowly withdrawing from the stage of history. On May 20th, 2006, with the approval of the State Council of the People's Republic of China, Chuanjing work song was listed as the First Batch of National Intangible Cultural Heritage, and only after then it's protection and inheritance were gradually given attention by all parties, namely all walks of life and the rescue of this intangible cultural heritage became imminent. While just as a common saying goes, "Rome was not built in one day", the protection and inheritance of Chuanjiang work song are not an easy task, which needs massive investment of manpower, physical and financial resource. Mostly attracted by new high-tech products, many modern youngsters don’t have the least idea to understand and learn the Chuanjiang work song, not to mention that a sea of young people have never heard of Chuanjiang work song, which is a pity. Hence, there is a problem that still remains to be solved, that is how to raise youngsters' interests in and willingness to know more about Chuanjiang work song so as to better protect and inherit the endangered Chuanjiang work song.

===The History of Chuanjiang Work Songs===

Chuanjiang work song, which enjoys a long history and is unique among the work songs in Sichuan and Chongqing which is called Bashu area for short, is not only diverse in forms but also rich in contents.
From the Perilous Journey to the Land of Shu, which was composed by Li Bai, one brilliant and great poet in Tang Dynasty, we can tell that Bashu area had an extremely rugged landscape. "The westbound road to Shu, so steep, steeper than Heaven! I plod my way, step by step, sign after sign", these two lines from this poem Perilous Journey to the Land of Shu especially project a vivid picture for us to imagine and illustrate how peculiar and precipitous the Bashu area is since the ancient time! And Bashu area is crisscrossed by rivers and canals with more than 90 rivers and streams of various lengths, in addition to this, the overlapped peaks rise one above the other in Bashu area, inviting traffic inconveniences for this region. Hence, the cargo circulation and passenger transportation all were carried by wooden boats in the ancient time. According to some archaeological discoveries, the Neolithic stone anchors and the tracker's tome figures, which were excavated along the banks of the Yangtze River running through Bashu area, are the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song in Bashu area(Wu Mingshi, 2011:34-42).
However, it was around the middle of Qing Dynasty that the work songs gradually were on the upgrade. And the Chuanjiang work song was the fruit of those industrious boatmen's hardworking and life. According to the water potential and the depth, currents as well as other characteristics of the rivers, the dangers of reefs and submerged rocks to boats, the leader of those boatmen then created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen's rowing and pulling. And this is how Chuanjiang work song was produced. While after the founding of the People's Republic of China, the government began to set about the business of the regulation of inland waterway navigation, therefore rivers and lakes in the Chuanjiang River Basin were destroyed by explosions to the submerged reefs and rocks in order to dredge the rivers and build waterpower stations. So these turbulent rivers and treacherous shoals that inspired boatmen to sing work songs have been a thing of the past. As the motor ships gradually replaced the wooden boats, the old shipping industry lost its competitiveness and living space little by little. The figures of the boatmen of the old days who swept over the rapids and dangerous shoals and climbed the rocks while towing a boat are gradually vanishing from people's sight in modern times, what's more, the appealing sound of the Chuanjiang work songs is fading away, resulting in the adverse conditions faced by Chuanjiang work songs. And scholars in the academic circles generally believe that Chuanjiang work song is cultural treasure in the history of waterway transportation along the Yangtze River and its existence reflects the indomitable fighting spirit, heroic spirit and humorous traits of character of the working people in the Chuanjiang River Basin when in face of a hostile environment. Such kind of intangible inheritage culture is supposed and deserves to be protected well, carried forward and promoted well in order to make Chinese culture and language splendid and glorious.

===The Features of Chuanjiang Work Songs===
Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.

Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).

First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).

Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).

Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.

===The Classification of Chuanjiang Work Songs===
Chuanjiang work songs are mainly circulated and spread in Jinsha River（金沙江），Yangtze River, Jialing River(嘉陵江）and the tributaries of Yangtze River, Wujiang River(乌江）, Minjiang River（岷江）and Tuojiang River(沱江), while Sichuan Province and Chongqing Municipality are the cradles and the major inheritance places of Chuanjiang work songs. And in this short essay, several types of Chuanjiang work songs distributed in different places in the Bashu area will be elaborated(Wu Mingshi, 2011:34-42).

First, Fuhe work song(府河号子). Fuhe work song, also called Huanglongxi work song(黄龙溪号子) and Jinjiang work song(锦江号子), is mainly circulated in the Jinjiang River basin, only existing in Huanglongxi Town, Chengdu(成都黄龙溪古镇) at present. With a history of more than 1,700 years, Huanglongxi Town is one of the ten ancient towns hailed as region of rivers and lakes in Sichuan Province, which was established and developed under the impetus of the prosperous Fuhe shipping industry. As the only work song in Chengdu, Fuhe work song is the representative one of Chengdu Plain（成都平原） located in southwest China. Because of the width and smoothness of the Huanglongxi River, the water flow is gentle, the music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies. The Fuhe work song is a true portrayal of the primitive labor modes of boatmen living in Chengdu in successive dynasties, witnessing the history of waterway transportation of Chengdu, a well-known historical and cultural city(Wu Mingshi, 2011:34-42).

Second, Jialing River work song. Jialing River is an important tributary of the upper reaches of the Yangtze River. It originates at the northern foot of the Qinling Mountains(秦岭) situated in Sha'anxi Province（陕西省）, and runs through Guangyuan City（广元市）, Nanchong City（南充市） and Guangan City（广安市） in Sichuan Province, flowing into the Yangtze River in Chongqing area. The major drainage areas Jialing River flows through resemble a folding fan, and there are many winding and zigzag channels, steep mountains and swift torrents this river is beset with, thus it requires the arduous performance of boatmen. Therefore, the Jialing River work song came into being in this special geographical environment(Wu Mingshi, 2011:34-42).

Third, Jinsha River work song. Jinsha River work song is mainly spread from Pingshan County（屏山县） which is located in the lower reaches of the Jinsha River to Yibin City（宜宾市）. Due to the official government set in this place by imperial court in the Ming Dynasty, the productivity rate and social life downstream developed rapidly with unprecedented development achieved in shipping industry in Jiasha River, emerging as the main component of the production, life and social development of people residing in on both sides of Jinsha River. The lower reaches of Jinsha River is the most important section of shipment, and also the main place where the Jinsha River work song came into being, developed and spread. And as a result of torrential water flow and large water level drop, Jinsha River work song has a distinct identity and is now mainly preserved in Pingshan County(Wu Mingshi, 2011:34-42).

Fourth, Minjiang River work song（岷江号子）. Minjiang River, an important tributary of the upper reaches of the Yangtze River, is the most fundamental water resource in Chengdu Plain. Historically, irrigation projects represented by Dujiangyan(都江堰), an ancient engineering initiated by the governor of Sichuan during the reign of Qin Dynasty to prevent floods by water control, fostered the land of abundance. Minshan work song is mainly distributed in Jianwei County, Leshan City（乐山市犍为县）. And due to the multipeaked mountains and densely scattered reefs and rocks in the Jianwei section of Minjiang River, concerted efforts were made to form a unified work song in order to facilitate the unification of the pace and rhythm of boatmen bearing forward. The work songs with different rhythms and emotions called out by the boat trackers on the basis of different water conditions gradually evolved into and compiled in the famous musical collection named Minjiang River Work Song(Wu Mingshi, 2011:34-42).

Fifth, Tuojiang River work song(沱江号子). The Tuojiang River, a tributary of the upper Yangtze River, is located in central Sichuan Province. In the Tuojiang River basin, the ancient people living in the area of Tuojiang River used wooden boats to transport white sugar and sugarcane to other places and carried daily necessities back home. While the origin of Tuojiang River work song can be traced back to the history of wooden boat shipping. As Tuojiang River is close to Jialing River, Minjiang River and other rivers and lakes large and small, Tuojiang River work song has absorbed some elements of other work songs on account of the mutual influence of their geographical environment and freight traffic, thus forming today's Tuojiang work song(Wu Mingshi, 2011:34-42).

The five kinds of work songs mentioned above are only a small part of Chuanjiang work songs, but they are the most representative ones. In addition to Fuhe work song, Jialing River work song, Jinsha River work song, Minjiang River work song and Tuojiang River work song, there are other famous work songs named Tonghe work song(铜河号子), Yongninghe work song(永宁河号子) and so on. From this we can tell that the Chuanjiang work songs are not only diversified in contents but also extensively distributed in many places of Bashu area.

===The Inheritance of Chuanjiang Work Songs===
Chuanjiang work songs are mainly spread among groups of boatmen, mostly transmitted by mouth to mouth, thus passing down naturally from generation to generation. Meanwhile, there are some young boatmen who formally acknowledge those experienced and old boatmen as their masters in order to learn how to sing the Chuanjiang work songs. However, with great changes of people's production and life nowadays, together with many old boatmen's passing away, many Chuanjiang work songs fail to be handed down from past generations. These days, we are living in a world awash in cutting-edge technologies and high-end products, people tend to have little willingness to take the initiative to learn and pass on Chuanjiang work songs, a kind of cultural heritage that does not seem to fit the interests of modern young groups or even is not just their cup of tea, which would raise a host of questions ourselves, chief among them: Is it necessary for youngsters to learn and inherit Chuanjiang work songs now that the technology is so advanced that we can restore old footage in high definition? And how to inherit this kind of cultural inheritage?

As for the first question, the answer is absolutely yes. We definitely have a great need and obligation to take the initiative to carry forward this endangered cultural heritage that may soon be disappeared in this world. For as one of the representative and unique languages and cultures of Bashu region, Chuanjiang work songs contain many aspects of cultural values demonstrating Bashu people's spirits of unswerving determination, team cooperation and opening up.

However, the protection and inheritance of this intangible cultural heritage are by no means easy like talking about empty phrases on a scrap of paper. First of all, Chuanjiang work songs have the particularity of survival, for Chuanjiang work songs resort to sound as the main means of representation, usually passing on through oral instructions, which greatly restricts the inheritance of this folk music to some extent. Then, this folk music arised out of the environment of surging water and serried rocks of rivers in the valley of Bashu area, which made this kind of music show elated artistic characteristics. Without the special geographical environment, it is also hard to spread Chuanjiang work songs. Last but not the least, Chuanjiang work songs are a form of folk music created by the working people who are limited by their living conditions to record and preserve this fabulous folk music, and the reality of the deaths of people and this art have exerted great influence to the protection and inheritance of Chuanjiang work songs(Wang Shuo, 2018(03):54). And according to the field visits and investigations of some experts, among the dozens of boatmen who are able to sing Chuanjiang work songs, the youngest is in their 70s, and there are few boatmen who can be the leader to sing work songs. Therefore, the protection and inheritance of Chuanjiang work songs are of great urgency and demand immediate attention.

With regard to the matter of how to protect and inherit Chuanjiang work songs, the following aspects could be taken into consideration. Firstly, perfect the legislative protection of Chuanjiang work songs and increase the investment in the inheritance of Chuanjiang work songs. Culture is created by the common people and its complexity and diversity determine that no individuals can assume the role of cultural protection. As a kind of unique language culture created by people living in Bashu area, Chuanjiang work songs' protection is not a piece of cake for individuals to take this responsibility. Even the protection of Chuanjiang work songs by civil organizations or groups sometimes presents the chaotic situations. Therefore only through the form of legisation at the national and government levels by including the protection and inheritance of Chuanjiang work songs into the legislation can we determine the detailed rules of legislation so as to perform the tasks of protection and inheritance of Chuanjiang work songs in an orderly way. Moreover, legislative protection is also a consistent practice of international community to protect cultural heritage around the world, which usually can achieve satisfactory results. In recent years, Chinese government has speeded up its pace to the protection and inheritance of Chuanjiang work songs, however, there is still some room for improvement in terms of some concrete measures to this matter. And Chinese government can draw lessons from some advanced and mature foreign protection experiences while combining the specific characteristics of the current situation of Chuanjiang work songs to formulate reasonable legal provisions. In addition to this, a lot of energy and money should be invested into this meaningful project. Secondly, take the combination of scientific technology and tourism as the carrier to better protect and inherit Chuanjiang work songs. With the science and technology develop by leaps and bounds, the protection and inheritance of Chuanjiang work songs are supposed to keep pace with the times. It is universally acknowledged that Tik Tok has gained popularity among all people from different ages, especially the youngsters around the world nowadays. And if we share the videos about the Chuanjiang work songs on Tik Tok and with the promotion of this popular platform, then Chuanjiang work songs can be known by more and more people. Additionally, if the videos of Chuanjiang work songs present an interesting and novel contents with fabulous pictures which cater for youngsters' appetite, there is a possibility that an increasing number of young people will be willing to learn how to sing and perform Chuanjiang work songs. Apart from Tik Tok, Chuanjiang work songs can also be incorporated into movies and plays. And tourism is also a great means to boost popularity of Chuanjiang work songs. As Chengdu and Chongqing becoming the first choice of many people to travel, the local governments can expand the publicity and promotion of scenic spots with Chuanjiang work songs as the main theme. Lastly but most importantly, let Chuanjiang work songs walk into the classroom. Students are the main forces to inherit Chuanjiang work songs. And articles related to Chuanjiang work songs can be compiled into the textbooks of primary and secondary schools so as to cultivate the younger generation's basic cognition of Chuanjiang work songs from an early age. Meanwhile, set up music teaching classes about Chuanjiang work songs in order to enlighten the consciousness of singing the Chuanjiang work songs with enthusiasm. While in colleges and universities, particularly in art colleges, Chuanjiang work songs can set up as a specilized course or an elective course to be taught to students as an art for the purpose of cultivating more high-quality talents proficient in Chuanjiang work songs and encouraging them to engage in the creation of Chuanjiang work songs.

===The Translation of Chuanjiang Work Songs===
Language contains culture, on the other hand, the enrichment and development of culture also benefit from language. Mainly sung in Sichuan dialect, Chuanjiang work songs bear the linguistic and cultural roles to show the abundant and generous history of Bashu area. And due to this characteristic, the translation of Chuanjiang work songs is not an easy task and there are few documents published to study the translation of Chuanjiang work songs. From the CNKI, there are only a few papers that have studied and analyzed the translation of Chuanjiang work songs from the perspective of translation ecology. Liu Xiuming(2021) pointed out that the translation of Chuanjiang work songs must proceed from the specific contexts and consider the quality of the targeted translation following the standards of coherence, logic and aesthetics, so as to ensure the accuracy of the semantic transmission of the translation. For example, “望见兵书峡，心里乱如麻。想起爹和妈，钱也用完哒。过了鳊鱼溪，肚子有点稀。想起儿和女，没带一颗米。”（《秭归的船工号子》）,this verse is translated as "Seeing Bingshu Gorge(兵书峡), I feel sad and panic in the heart. Thinking of Mom and Dad, I begin worry that they may be short of money. Passing the Bream Stream, I feel hungry in the stomach. Missing my wife and children, I feel so sorry for bringing them nothing back."（Liu Xiuming, 2021(28):241-242） From the Chinese version, we can tell that this verse is quite fast-tempoed and rhyming, especially singing in Sichuan dialect. Also, this verse illuminates that those hard-working boatmen miss their parents, wives, kids as well as their hometowns, and their plight-working so hard but suffering the pangs of hunger. Therefore, in order to faithfully convey what this verse really sings about, we should be familiar with the cultural background and thoroughly grasp the inner meaning of the original Chuanjiang work song. Additionally, sometimes we are supposed to translate the primitive beauty and majestic momentum of Chuanjiang work songs, which proves more formidable than we think.

As an intermediary, translation has always been playing a pivotal role in cross-border cultural exchanges and mutual learning. Honestly speaking, the translation of Chuanjiang work songs can also function as a bridge for closer connection between Bashu area and other different places worldwide and bring a brighter future for the protection and inheritance of Chuanjiang work songs. For once foreign friends are caught by Chuanjiang work songs, they would show a great interest in singing Chuanjiang work songs and want to know more about this kind of folk music so that they may do some field investigations, causing local governments to attach great importance to the inheritance and protection of Chuanjiang work songs.

===Conclusion===
Hailed as the Song of the Volga Boatmen in the Yangzte River, Chuanjiang work songs are no less charming than the songs of Volga boatmen. Chuanjiang work songs are also hornored as the clssic masterpiece of river culture in the world together with the Volga boatmen's song. What Chuanjiang work songs leave us is not only a kind of singing mode of folk art, but more importantly, Chuanjiang work songs represent the unique cultural traditions and spiritual values of average people living in the regions of Sichuan Province and Chongqing Municipality.

Nowadays, even though we are at the highway of informationization and industrialization, the ensuing situation of Chuanjiang work songs facing with is not so optimistic. While in the pursuit of high-level scientific and technological development, some Chinese languages and cultures handed down by the ancients gradually came to an end at the same time, which is a pity and requires our deep self-examination. Therefore, the inheritance and protection of Chuanjiang work songs need individuals and governments to take due responsibilities with the help of today's high-tech devices and information-sharing platforms in order to better preserve this folk music and not to let this distinct Chinese language culture teeming with regional characteristics disappear on the earth!

===Terms and Expressions===

===Questions===

===Answers===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594==
<center>'''The Influence of Chinese Traditional Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
Chinese traditional philosophy sprang up around the time of the Shang and Zhou Dynasties (1600 B.C.--- 256 B.C.), took shape at the end of the Spring and Autumn Period (770 B.C.--- 476 B.C.), and flourished during the Warring States period (475 B.C.--- 221 B.C.) when a hundred schools of thought were already competing. Developing for more than 3,000 years, Chinese traditional philosophy has long been an integral part of Chinese culture. Up to 1949, its development history can be broadly divided into three stages. First, the period of slavery and the period of transition from slavery to feudalism. Second, the period of feudalism. Third, the period of transition from feudalism to socialism. The philosophy of the first two stages is known as ancient Chinese philosophy. And the last is called modern Chinese philosophy.

===Th

20220630 Culture 3

2022-06-30T11:33:13Z

Sun Lijun: /* Conclusion */

Back to course homepage: [[Chinese_Language_and_Culture_2022]], back to final exam paper overview: [[20220630_Culture]]

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''Dissemination of Chinese Contemporary Literature'''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===

===Key words===
Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

===Introduction===

===Dissemination of Chinese Contemporary Literature in Different Regions===

===Dissemination of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present). In the first stage, Chinese contemporary literature translated to English-speaking countries focused more on social and political aspects than on literary aspects. In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak. Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than propaganda; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and market. The English-speaking world and Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin and It's Development in the Song Dynasty'''</center>

<center>Liu Zhen</center>

===Introduction===
First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

===Guqin and It's Development===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:
Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

In 1977, a recording of "Liu Shui" 【流水】 (Flowing Water, as performed by Guan Pinghu, one of the best qin players of the twentieth century) was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts. It is the longest excerpt included on the disc. In 2003, guqin music was proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.

Performance:
In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument.
They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin.

Playing Technique:
The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:
First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played
The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

===Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty===
At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

===Development of Guqin Music in the Song Dynasty===
The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

===The Song Dynasty guqin school -- Zhejiang school===
The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

===The Cultural Influence of GUqin===
The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.
In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin
The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics
When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture:
As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

===Conclusion===

===Conclusion===

===References===

===References===

===References===

==英语笔译龙翰良 Long Hanliang 202170081589==
<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>

<center>Long Hanliang</center>

===Abstract===

At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)

As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)

This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)

===Key words===

Chinese culture; Teaching Chinese as a second language; Cultural Exchange

===Introduction===

As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)

The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)

Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)

===Overall Design===
The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)

To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)

Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)

This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)

Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)

Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)

The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)

Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)

Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)

For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)

For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)

Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)

Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)

The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)

The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)

The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)

===Test Assessment===
The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)

Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)

The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)

The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)

Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)

The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)

In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)

1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)

2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)

3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time.
At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)

Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)

As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)

===Means and methods===

Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)

After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)

Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)

We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)

One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)

For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)

First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)

For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)

This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)

The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)

There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)

The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)

However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)

Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)

===Textbook Compilation===
1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)

(1) Practicality

Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)

The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)

It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)

The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)

(2) Knowledge

The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)

Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)

(3)Scientificity

1. To teach standardized and common Chinese characters

The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)

The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)

In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)

2. The organization of teaching content should conform to the law of language teaching

The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)

The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)

The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)

(4)Interest

Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)

Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)

In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)

In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)

===Classroom Teaching===

Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)

This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)

The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)

The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)

Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)

In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)

The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)

It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)

Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)

At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：

1. Respect each other among different cultures and adhere to the principle of cultural equality.

2. Disseminate the essence of culture and avoid clamoring for attention.

3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)

In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)

===Training of TCSL Teachers===

With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

1. modern Chinese knowledge

Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

2. linguistic knowledge

The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

3. cultural knowledge

Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

4. foreign language knowledge

Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

===Conclusion===

After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)

===References===

Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.

Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.

Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.

Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)

国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm

===Terms and expressions===
Classroom teaching 课堂教学

HSK 中国汉语水平考试

Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）国家汉办

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区

mahjong 麻将

chow mein 炒面

===Questions===
1.What are the four links of the whole process and teaching activities of second language teaching?

2.When was HSK officially implemented?

3.What is the most important link of teaching activities among the four links of teaching activities?

4.What are the principles of spreading Chinese culture in Chinese education abroad?

5.What types of HSK exams are there?

6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?

===Answers===
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.

2.The Chinese Proficiency Test (HSK) was officially implemented in 1990

3.Classroom teaching

4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.

Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.

Ⅲ. Handle sensitive issues properly and maintain national dignity.

5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).

6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.

==英语笔译罗姚林 Luo Yaolin 202170081590==
<center>'''Different Local Dialects in China'''</center>

<center>罗姚林 Luo Yaolin</center>

===Introduction===
Chinese dialects are branches of the Chinese language. The "Law of the People's Republic of China on the Common State Language and Script", promulgated on October 31, 2000, established Mandarin Chinese as the national language. During the development of Han Chinese society, there have been different degrees of differentiation and unification, thus making the Chinese language gradually produce dialects. There are various dialects of modern Chinese, and they are distributed over a wide area. The differences between modern Chinese dialects are phonetic, lexical, and grammatical, and the phonetic aspects are particularly prominent. Some domestic scholars believe that most dialects and common languages have certain phonological correspondence patterns, and many similarities in vocabulary and grammar, so they are not independent languages. Foreign scholars believe that people in each dialect area cannot talk to each other, so they are very independent languages, especially the dialects in Min language. Based on the characteristics of the dialects, the history of their formation and development, and the results of dialect surveys, the dialects of modern Chinese can be divided.

===the Origin of Chinese Dialects===

===Different Features of Dialects in China===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译马艳焕 Ma Yanhuan 202170081591==
<center>'''An overview on the study of Chinese folk stories '''</center>

<center>马艳焕</center>

===Abstract===
Shandong is a famous city of traditional culture with a long history. The traditional culture with local characteristics such as Dongyi culture and Qilu culture has left a valuable spiritual heritage for Shandong, in which folktales are loved by the people. The type of folktales roughly includes "myths", "legends", "stories" and so on, including natural change myths, hero myths, historical figures legends, religious figures legends, fairy legends, mountains and rivers legends, specialty legends, ghosts, foxes and spirits, animal stories, life stories, witty character stories and so on. This article will give an overview of the folk stories of Shandong Province, including the content of the story, the cultural and educational value carried by the story, the enlightenment to future generations, and so on.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592==
<center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center>

<center>聂薇</center>

===Introduction===
Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)

This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)

With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)

The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
===The evolution of the Spring Festival travel rush===
As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)

In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)

(i) The difficulty of travelling during the Spring Festival in ancient times

Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)

In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)

Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)

(ii) The difficulty of travelling during the Spring Festival in modern times

The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)

With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
===Cultural factors behind the Spring Festival travel rush in China===
The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)

(i) Confucian culture

In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)

The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)

It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)

The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)

In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)

A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)

But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)

This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)

(ii) ceremonial culture

In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)

During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)

The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)

Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)

(iii) institutional culture

One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)

The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)

(ⅳ) the concept of family-and-nation

In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)

In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)

However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)

As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
===Way of relieving pressure from the rush===
Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
===The prevalence of the Anti-Spring Festival travel rush===
In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)

On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)

But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)

On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)

Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
===Conclusion===
No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)

The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)

The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)

It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)

The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)

Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
===Terms and expressions===
Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）

The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

the system of urban-rural regional segregation：城乡区域隔离制度

the household registration system：户籍制度

the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
===References===
*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
===Questions===
1.How long does the Spring Festival travel rush usually last?
A.30 days
B.40 days
C.50 days
D.60 days

2.Which one of the following group is not the main reason that results to the rush?
A.Migrant workers
B.Students
C.Those planning to visit relatives
D.Tourists

3.Which one of the following cultures is the main factor that encourages family reunion?
A.Confucian culture
B.Taoist culture
C.Buddhist culture
D.Christian culture
===Answers===
1.40days

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

<center>'''Chuanjing Work Songs'''</center>

<center>Sun Lijun</center>

===Introduction===

Work song, nicknamed haozi(号子) in Chinese, is a kind of folk song that is created and sung by the working people in the process of production, bearing a direct relation with the manual work. And the contents of Chuanjiang work songs are rich and colorful, the representative works are Kuixing Tower(《魁星楼》), Giant Turtledove(《大斑鸠》), Lanlong Work Song(《懒龙号子》) and so on. Moreover, work song truthfully reflects the labor conditions and the mental appearance of the boatmen, emerging as an indispensably organic part in those workers' life. Chuanjiang work song, as one kind of work songs, is a traditional folk music originated in the Southwest China, mainly in Sichuan Province and Chongqing Municipality just as its name implies. And Chuanjing work song is a form of folk singing, led by a labor singer and accompanied by a crowd of boatmen in order to unify action and rhythm. It is a song of life cast by blood and sweat of those boatmen when they are struggling with the dangerous shoals and rapids, which is indicative of the working people's hardworking and their courageousness. Affluent in cultural connotations and charismatic in language art, Chuanjiang work song is the crystallization of the labor and wisdom of people living in Sichuan and Chongqing, which demonstrates the unsophisticated nature and tenacious will of them, possessing very high cultural value. However, as time goes on, great progress has been made in science and technology and outstanding improvements have been achieved in raising people's material living conditions, thus there is no need for them to struggle to meet the basic needs. It is not an age of necessities nowadays though, with the acceleration of modernization, Chuanjiang work song has lost its material carrier of its existence and is slowly withdrawing from the stage of history. On May 20th, 2006, with the approval of the State Council of the People's Republic of China, Chuanjing work song was listed as the First Batch of National Intangible Cultural Heritage, and only after then it's protection and inheritance were gradually given attention by all parties, namely all walks of life and the rescue of this intangible cultural heritage became imminent. While just as a common saying goes, "Rome was not built in one day", the protection and inheritance of Chuanjiang work song are not an easy task, which needs massive investment of manpower, physical and financial resource. Mostly attracted by new high-tech products, many modern youngsters don’t have the least idea to understand and learn the Chuanjiang work song, not to mention that a sea of young people have never heard of Chuanjiang work song, which is a pity. Hence, there is a problem that still remains to be solved, that is how to raise youngsters' interests in and willingness to know more about Chuanjiang work song so as to better protect and inherit the endangered Chuanjiang work song.

===The History of Chuanjiang Work Songs===

Chuanjiang work song, which enjoys a long history and is unique among the work songs in Sichuan and Chongqing which is called Bashu area for short, is not only diverse in forms but also rich in contents.
From the Perilous Journey to the Land of Shu, which was composed by Li Bai, one brilliant and great poet in Tang Dynasty, we can tell that Bashu area had an extremely rugged landscape. "The westbound road to Shu, so steep, steeper than Heaven! I plod my way, step by step, sign after sign", these two lines from this poem Perilous Journey to the Land of Shu especially project a vivid picture for us to imagine and illustrate how peculiar and precipitous the Bashu area is since the ancient time! And Bashu area is crisscrossed by rivers and canals with more than 90 rivers and streams of various lengths, in addition to this, the overlapped peaks rise one above the other in Bashu area, inviting traffic inconveniences for this region. Hence, the cargo circulation and passenger transportation all were carried by wooden boats in the ancient time. According to some archaeological discoveries, the Neolithic stone anchors and the tracker's tome figures, which were excavated along the banks of the Yangtze River running through Bashu area, are the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song in Bashu area(Wu Mingshi, 2011:34-42).
However, it was around the middle of Qing Dynasty that the work songs gradually were on the upgrade. And the Chuanjiang work song was the fruit of those industrious boatmen's hardworking and life. According to the water potential and the depth, currents as well as other characteristics of the rivers, the dangers of reefs and submerged rocks to boats, the leader of those boatmen then created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen's rowing and pulling. And this is how Chuanjiang work song was produced. While after the founding of the People's Republic of China, the government began to set about the business of the regulation of inland waterway navigation, therefore rivers and lakes in the Chuanjiang River Basin were destroyed by explosions to the submerged reefs and rocks in order to dredge the rivers and build waterpower stations. So these turbulent rivers and treacherous shoals that inspired boatmen to sing work songs have been a thing of the past. As the motor ships gradually replaced the wooden boats, the old shipping industry lost its competitiveness and living space little by little. The figures of the boatmen of the old days who swept over the rapids and dangerous shoals and climbed the rocks while towing a boat are gradually vanishing from people's sight in modern times, what's more, the appealing sound of the Chuanjiang work songs is fading away, resulting in the adverse conditions faced by Chuanjiang work songs. And scholars in the academic circles generally believe that Chuanjiang work song is cultural treasure in the history of waterway transportation along the Yangtze River and its existence reflects the indomitable fighting spirit, heroic spirit and humorous traits of character of the working people in the Chuanjiang River Basin when in face of a hostile environment. Such kind of intangible inheritage culture is supposed and deserves to be protected well, carried forward and promoted well in order to make Chinese culture and language splendid and glorious.

===The Features of Chuanjiang Work Songs===
Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.

Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).

First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).

Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).

Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.

===The Classification of Chuanjiang Work Songs===
Chuanjiang work songs are mainly circulated and spread in Jinsha River（金沙江），Yangtze River, Jialing River(嘉陵江）and the tributaries of Yangtze River, Wujiang River(乌江）, Minjiang River（岷江）and Tuojiang River(沱江), while Sichuan Province and Chongqing Municipality are the cradles and the major inheritance places of Chuanjiang work songs. And in this short essay, several types of Chuanjiang work songs distributed in different places in the Bashu area will be elaborated(Wu Mingshi, 2011:34-42).

First, Fuhe work song(府河号子). Fuhe work song, also called Huanglongxi work song(黄龙溪号子) and Jinjiang work song(锦江号子), is mainly circulated in the Jinjiang River basin, only existing in Huanglongxi Town, Chengdu(成都黄龙溪古镇) at present. With a history of more than 1,700 years, Huanglongxi Town is one of the ten ancient towns hailed as region of rivers and lakes in Sichuan Province, which was established and developed under the impetus of the prosperous Fuhe shipping industry. As the only work song in Chengdu, Fuhe work song is the representative one of Chengdu Plain（成都平原） located in southwest China. Because of the width and smoothness of the Huanglongxi River, the water flow is gentle, the music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies. The Fuhe work song is a true portrayal of the primitive labor modes of boatmen living in Chengdu in successive dynasties, witnessing the history of waterway transportation of Chengdu, a well-known historical and cultural city(Wu Mingshi, 2011:34-42).

Second, Jialing River work song. Jialing River is an important tributary of the upper reaches of the Yangtze River. It originates at the northern foot of the Qinling Mountains(秦岭) situated in Sha'anxi Province（陕西省）, and runs through Guangyuan City（广元市）, Nanchong City（南充市） and Guangan City（广安市） in Sichuan Province, flowing into the Yangtze River in Chongqing area. The major drainage areas Jialing River flows through resemble a folding fan, and there are many winding and zigzag channels, steep mountains and swift torrents this river is beset with, thus it requires the arduous performance of boatmen. Therefore, the Jialing River work song came into being in this special geographical environment(Wu Mingshi, 2011:34-42).

Third, Jinsha River work song. Jinsha River work song is mainly spread from Pingshan County（屏山县） which is located in the lower reaches of the Jinsha River to Yibin City（宜宾市）. Due to the official government set in this place by imperial court in the Ming Dynasty, the productivity rate and social life downstream developed rapidly with unprecedented development achieved in shipping industry in Jiasha River, emerging as the main component of the production, life and social development of people residing in on both sides of Jinsha River. The lower reaches of Jinsha River is the most important section of shipment, and also the main place where the Jinsha River work song came into being, developed and spread. And as a result of torrential water flow and large water level drop, Jinsha River work song has a distinct identity and is now mainly preserved in Pingshan County(Wu Mingshi, 2011:34-42).

Fourth, Minjiang River work song（岷江号子）. Minjiang River, an important tributary of the upper reaches of the Yangtze River, is the most fundamental water resource in Chengdu Plain. Historically, irrigation projects represented by Dujiangyan(都江堰), an ancient engineering initiated by the governor of Sichuan during the reign of Qin Dynasty to prevent floods by water control, fostered the land of abundance. Minshan work song is mainly distributed in Jianwei County, Leshan City（乐山市犍为县）. And due to the multipeaked mountains and densely scattered reefs and rocks in the Jianwei section of Minjiang River, concerted efforts were made to form a unified work song in order to facilitate the unification of the pace and rhythm of boatmen bearing forward. The work songs with different rhythms and emotions called out by the boat trackers on the basis of different water conditions gradually evolved into and compiled in the famous musical collection named Minjiang River Work Song(Wu Mingshi, 2011:34-42).

Fifth, Tuojiang River work song(沱江号子). The Tuojiang River, a tributary of the upper Yangtze River, is located in central Sichuan Province. In the Tuojiang River basin, the ancient people living in the area of Tuojiang River used wooden boats to transport white sugar and sugarcane to other places and carried daily necessities back home. While the origin of Tuojiang River work song can be traced back to the history of wooden boat shipping. As Tuojiang River is close to Jialing River, Minjiang River and other rivers and lakes large and small, Tuojiang River work song has absorbed some elements of other work songs on account of the mutual influence of their geographical environment and freight traffic, thus forming today's Tuojiang work song(Wu Mingshi, 2011:34-42).

The five kinds of work songs mentioned above are only a small part of Chuanjiang work songs, but they are the most representative ones. In addition to Fuhe work song, Jialing River work song, Jinsha River work song, Minjiang River work song and Tuojiang River work song, there are other famous work songs named Tonghe work song(铜河号子), Yongninghe work song(永宁河号子) and so on. From this we can tell that the Chuanjiang work songs are not only diversified in contents but also extensively distributed in many places of Bashu area.

===The Inheritance of Chuanjiang Work Songs===
Chuanjiang work songs are mainly spread among groups of boatmen, mostly transmitted by mouth to mouth, thus passing down naturally from generation to generation. Meanwhile, there are some young boatmen who formally acknowledge those experienced and old boatmen as their masters in order to learn how to sing the Chuanjiang work songs. However, with great changes of people's production and life nowadays, together with many old boatmen's passing away, many Chuanjiang work songs fail to be handed down from past generations. These days, we are living in a world awash in cutting-edge technologies and high-end products, people tend to have little willingness to take the initiative to learn and pass on Chuanjiang work songs, a kind of cultural heritage that does not seem to fit the interests of modern young groups or even is not just their cup of tea, which would raise a host of questions ourselves, chief among them: Is it necessary for youngsters to learn and inherit Chuanjiang work songs now that the technology is so advanced that we can restore old footage in high definition? And how to inherit this kind of cultural inheritage?

As for the first question, the answer is absolutely yes. We definitely have a great need and obligation to take the initiative to carry forward this endangered cultural heritage that may soon be disappeared in this world. For as one of the representative and unique languages and cultures of Bashu region, Chuanjiang work songs contain many aspects of cultural values demonstrating Bashu people's spirits of unswerving determination, team cooperation and opening up.

However, the protection and inheritance of this intangible cultural heritage are by no means easy like talking about empty phrases on a scrap of paper. First of all, Chuanjiang work songs have the particularity of survival, for Chuanjiang work songs resort to sound as the main means of representation, usually passing on through oral instructions, which greatly restricts the inheritance of this folk music to some extent. Then, this folk music arised out of the environment of surging water and serried rocks of rivers in the valley of Bashu area, which made this kind of music show elated artistic characteristics. Without the special geographical environment, it is also hard to spread Chuanjiang work songs. Last but not the least, Chuanjiang work songs are a form of folk music created by the working people who are limited by their living conditions to record and preserve this fabulous folk music, and the reality of the deaths of people and this art have exerted great influence to the protection and inheritance of Chuanjiang work songs(Wang Shuo, 2018(03):54). And according to the field visits and investigations of some experts, among the dozens of boatmen who are able to sing Chuanjiang work songs, the youngest is in their 70s, and there are few boatmen who can be the leader to sing work songs. Therefore, the protection and inheritance of Chuanjiang work songs are of great urgency and demand immediate attention.

With regard to the matter of how to protect and inherit Chuanjiang work songs, the following aspects could be taken into consideration. Firstly, perfect the legislative protection of Chuanjiang work songs and increase the investment in the inheritance of Chuanjiang work songs. Culture is created by the common people and its complexity and diversity determine that no individuals can assume the role of cultural protection. As a kind of unique language culture created by people living in Bashu area, Chuanjiang work songs' protection is not a piece of cake for individuals to take this responsibility. Even the protection of Chuanjiang work songs by civil organizations or groups sometimes presents the chaotic situations. Therefore only through the form of legisation at the national and government levels by including the protection and inheritance of Chuanjiang work songs into the legislation can we determine the detailed rules of legislation so as to perform the tasks of protection and inheritance of Chuanjiang work songs in an orderly way. Moreover, legislative protection is also a consistent practice of international community to protect cultural heritage around the world, which usually can achieve satisfactory results. In recent years, Chinese government has speeded up its pace to the protection and inheritance of Chuanjiang work songs, however, there is still some room for improvement in terms of some concrete measures to this matter. And Chinese government can draw lessons from some advanced and mature foreign protection experiences while combining the specific characteristics of the current situation of Chuanjiang work songs to formulate reasonable legal provisions. In addition to this, a lot of energy and money should be invested into this meaningful project. Secondly, take the combination of scientific technology and tourism as the carrier to better protect and inherit Chuanjiang work songs. With the science and technology develop by leaps and bounds, the protection and inheritance of Chuanjiang work songs are supposed to keep pace with the times. It is universally acknowledged that Tik Tok has gained popularity among all people from different ages, especially the youngsters around the world nowadays. And if we share the videos about the Chuanjiang work songs on Tik Tok and with the promotion of this popular platform, then Chuanjiang work songs can be known by more and more people. Additionally, if the videos of Chuanjiang work songs present an interesting and novel contents with fabulous pictures which cater for youngsters' appetite, there is a possibility that an increasing number of young people will be willing to learn how to sing and perform Chuanjiang work songs. Apart from Tik Tok, Chuanjiang work songs can also be incorporated into movies and plays. And tourism is also a great means to boost popularity of Chuanjiang work songs. As Chengdu and Chongqing becoming the first choice of many people to travel, the local governments can expand the publicity and promotion of scenic spots with Chuanjiang work songs as the main theme. Lastly but most importantly, let Chuanjiang work songs walk into the classroom. Students are the main forces to inherit Chuanjiang work songs. And articles related to Chuanjiang work songs can be compiled into the textbooks of primary and secondary schools so as to cultivate the younger generation's basic cognition of Chuanjiang work songs from an early age. Meanwhile, set up music teaching classes about Chuanjiang work songs in order to enlighten the consciousness of singing the Chuanjiang work songs with enthusiasm. While in colleges and universities, particularly in art colleges, Chuanjiang work songs can set up as a specilized course or an elective course to be taught to students as an art for the purpose of cultivating more high-quality talents proficient in Chuanjiang work songs and encouraging them to engage in the creation of Chuanjiang work songs.

===The Translation of Chuanjiang Work Songs===
Language contains culture, on the other hand, the enrichment and development of culture also benefit from language. Mainly sung in Sichuan dialect, Chuanjiang work songs bear the linguistic and cultural roles to show the abundant and generous history of Bashu area. And due to this characteristic, the translation of Chuanjiang work songs is not an easy task and there are few documents published to study the translation of Chuanjiang work songs. From the CNKI, there are only a few papers that have studied and analyzed the translation of Chuanjiang work songs from the perspective of translation ecology. Liu Xiuming(2021) pointed out that the translation of Chuanjiang work songs must proceed from the specific contexts and consider the quality of the targeted translation following the standards of coherence, logic and aesthetics, so as to ensure the accuracy of the semantic transmission of the translation. For example, “望见兵书峡，心里乱如麻。想起爹和妈，钱也用完哒。过了鳊鱼溪，肚子有点稀。想起儿和女，没带一颗米。”（《秭归的船工号子》）,this verse is translated as "Seeing Bingshu Gorge(兵书峡), I feel sad and panic in the heart. Thinking of Mom and Dad, I begin worry that they may be short of money. Passing the Bream Stream, I feel hungry in the stomach. Missing my wife and children, I feel so sorry for bringing them nothing back."（Liu Xiuming, 2021(28):241-242） From the Chinese version, we can tell that this verse is quite fast-tempoed and rhyming, especially singing in Sichuan dialect. Also, this verse illuminates that those hard-working boatmen miss their parents, wives, kids as well as their hometowns, and their plight-working so hard but suffering the pangs of hunger. Therefore, in order to faithfully convey what this verse really sings about, we should be familiar with the cultural background and thoroughly grasp the inner meaning of the original Chuanjiang work song. Additionally, sometimes we are supposed to translate the primitive beauty and majestic momentum of Chuanjiang work songs, which proves more formidable than we think.

As an intermediary, translation has always been playing a pivotal role in cross-border cultural exchanges and mutual learning. Honestly speaking, the translation of Chuanjiang work songs can also function as a bridge for closer connection between Bashu area and other different places worldwide and bring a brighter future for the protection and inheritance of Chuanjiang work songs. For once foreign friends are caught by Chuanjiang work songs, they would show a great interest in singing Chuanjiang work songs and want to know more about this kind of folk music so that they may do some field investigations, causing local governments to attach great importance to the inheritance and protection of Chuanjiang work songs.

===Conclusion===
Hailed as the Song of the Volga Boatmen in the Yangzte River, Chuanjiang work songs are no less charming than the songs of Volga boatmen. Chuanjiang work songs are also hornored as the clssic masterpiece of river culture in the world together with the Volga boatmen's song. What Chuanjiang work songs leave us is not only a kind of singing mode of folk art, but more importantly, Chuanjiang work songs represent the unique cultural traditions and spiritual values of average people living in the regions of Sichuan Province and Chongqing Municipality.

Nowadays, even though we are at the highway of informationization and industrialization, the ensuing situation of Chuanjiang work songs facing with is not so optimistic. While in the pursuit of high-level scientific and technological development, some Chinese languages and cultures handed down by the ancients gradually came to an end at the same time, which is a pity and requires our deep self-examination. Therefore, the inheritance and protection of Chuanjiang work songs need individuals and governments to take due responsibilities with the help of today's high-tech devices and information-sharing platforms in order to better preserve this folk music and not to let this distinct Chinese language culture teeming with regional characteristics disappear on the earth!

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594==
<center>'''The Influence of Chinese Traditional Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
Chinese traditional philosophy sprang up around the time of the Shang and Zhou Dynasties (1600 B.C.--- 256 B.C.), took shape at the end of the Spring and Autumn Period (770 B.C.--- 476 B.C.), and flourished during the Warring States period (475 B.C.--- 221 B.C.) when a hundred schools of thought were already competing. Developing for more than 3,000 years, Chinese traditional philosophy has long been an integral part of Chinese culture. Up to 1949, its development history can be broadly divided into three stages. First, the period of slavery and the period of transition from slavery to feudalism. Second, the period of feudalism. Third, the period of transition from feudalism to socialism. The philosophy of the first two stages is known as ancient Chinese philosophy. And the last is called modern Chinese philosophy.

===Th

20220630 Culture 3

2022-06-30T11:32:28Z

Sun Lijun: /* The Translation of Chuanjiang Work Songs */

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
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*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''Dissemination of Chinese Contemporary Literature'''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===

===Key words===
Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

===Introduction===

===Dissemination of Chinese Contemporary Literature in Different Regions===

===Dissemination of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present). In the first stage, Chinese contemporary literature translated to English-speaking countries focused more on social and political aspects than on literary aspects. In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak. Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than propaganda; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and market. The English-speaking world and Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin and It's Development in the Song Dynasty'''</center>

<center>Liu Zhen</center>

===Introduction===
First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

===Guqin and It's Development===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:
Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

In 1977, a recording of "Liu Shui" 【流水】 (Flowing Water, as performed by Guan Pinghu, one of the best qin players of the twentieth century) was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts. It is the longest excerpt included on the disc. In 2003, guqin music was proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.

Performance:
In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument.
They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin.

Playing Technique:
The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:
First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played
The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

===Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty===
At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

===Development of Guqin Music in the Song Dynasty===
The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

===The Song Dynasty guqin school -- Zhejiang school===
The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

===The Cultural Influence of GUqin===
The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.
In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin
The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics
When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture:
As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

===Conclusion===

===Conclusion===

===References===

===References===

===References===

==英语笔译龙翰良 Long Hanliang 202170081589==
<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>

<center>Long Hanliang</center>

===Abstract===

At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)

As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)

This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)

===Key words===

Chinese culture; Teaching Chinese as a second language; Cultural Exchange

===Introduction===

As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)

The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)

Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)

===Overall Design===
The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)

To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)

Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)

This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)

Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)

Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)

The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)

Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)

Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)

For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)

For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)

Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)

Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)

The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)

The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)

The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)

===Test Assessment===
The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)

Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)

The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)

The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)

Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)

The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)

In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)

1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)

2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)

3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time.
At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)

Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)

As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)

===Means and methods===

Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)

After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)

Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)

We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)

One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)

For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)

First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)

For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)

This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)

The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)

There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)

The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)

However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)

Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)

===Textbook Compilation===
1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)

(1) Practicality

Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)

The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)

It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)

The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)

(2) Knowledge

The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)

Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)

(3)Scientificity

1. To teach standardized and common Chinese characters

The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)

The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)

In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)

2. The organization of teaching content should conform to the law of language teaching

The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)

The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)

The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)

(4)Interest

Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)

Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)

In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)

In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)

===Classroom Teaching===

Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)

This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)

The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)

The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)

Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)

In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)

The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)

It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)

Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)

At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：

1. Respect each other among different cultures and adhere to the principle of cultural equality.

2. Disseminate the essence of culture and avoid clamoring for attention.

3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)

In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)

===Training of TCSL Teachers===

With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

1. modern Chinese knowledge

Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

2. linguistic knowledge

The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

3. cultural knowledge

Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

4. foreign language knowledge

Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

===Conclusion===

After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)

===References===

Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.

Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.

Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.

Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)

国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm

===Terms and expressions===
Classroom teaching 课堂教学

HSK 中国汉语水平考试

Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）国家汉办

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区

mahjong 麻将

chow mein 炒面

===Questions===
1.What are the four links of the whole process and teaching activities of second language teaching?

2.When was HSK officially implemented?

3.What is the most important link of teaching activities among the four links of teaching activities?

4.What are the principles of spreading Chinese culture in Chinese education abroad?

5.What types of HSK exams are there?

6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?

===Answers===
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.

2.The Chinese Proficiency Test (HSK) was officially implemented in 1990

3.Classroom teaching

4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.

Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.

Ⅲ. Handle sensitive issues properly and maintain national dignity.

5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).

6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.

==英语笔译罗姚林 Luo Yaolin 202170081590==
<center>'''Different Local Dialects in China'''</center>

<center>罗姚林 Luo Yaolin</center>

===Introduction===
Chinese dialects are branches of the Chinese language. The "Law of the People's Republic of China on the Common State Language and Script", promulgated on October 31, 2000, established Mandarin Chinese as the national language. During the development of Han Chinese society, there have been different degrees of differentiation and unification, thus making the Chinese language gradually produce dialects. There are various dialects of modern Chinese, and they are distributed over a wide area. The differences between modern Chinese dialects are phonetic, lexical, and grammatical, and the phonetic aspects are particularly prominent. Some domestic scholars believe that most dialects and common languages have certain phonological correspondence patterns, and many similarities in vocabulary and grammar, so they are not independent languages. Foreign scholars believe that people in each dialect area cannot talk to each other, so they are very independent languages, especially the dialects in Min language. Based on the characteristics of the dialects, the history of their formation and development, and the results of dialect surveys, the dialects of modern Chinese can be divided.

===the Origin of Chinese Dialects===

===Different Features of Dialects in China===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译马艳焕 Ma Yanhuan 202170081591==
<center>'''An overview on the study of Chinese folk stories '''</center>

<center>马艳焕</center>

===Abstract===
Shandong is a famous city of traditional culture with a long history. The traditional culture with local characteristics such as Dongyi culture and Qilu culture has left a valuable spiritual heritage for Shandong, in which folktales are loved by the people. The type of folktales roughly includes "myths", "legends", "stories" and so on, including natural change myths, hero myths, historical figures legends, religious figures legends, fairy legends, mountains and rivers legends, specialty legends, ghosts, foxes and spirits, animal stories, life stories, witty character stories and so on. This article will give an overview of the folk stories of Shandong Province, including the content of the story, the cultural and educational value carried by the story, the enlightenment to future generations, and so on.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592==
<center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center>

<center>聂薇</center>

===Introduction===
Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)

This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)

With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)

The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
===The evolution of the Spring Festival travel rush===
As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)

In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)

(i) The difficulty of travelling during the Spring Festival in ancient times

Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)

In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)

Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)

(ii) The difficulty of travelling during the Spring Festival in modern times

The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)

With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
===Cultural factors behind the Spring Festival travel rush in China===
The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)

(i) Confucian culture

In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)

The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)

It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)

The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)

In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)

A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)

But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)

This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)

(ii) ceremonial culture

In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)

During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)

The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)

Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)

(iii) institutional culture

One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)

The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)

(ⅳ) the concept of family-and-nation

In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)

In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)

However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)

As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
===Way of relieving pressure from the rush===
Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
===The prevalence of the Anti-Spring Festival travel rush===
In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)

On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)

But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)

On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)

Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
===Conclusion===
No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)

The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)

The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)

It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)

The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)

Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
===Terms and expressions===
Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）

The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

the system of urban-rural regional segregation：城乡区域隔离制度

the household registration system：户籍制度

the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
===References===
*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
===Questions===
1.How long does the Spring Festival travel rush usually last?
A.30 days
B.40 days
C.50 days
D.60 days

2.Which one of the following group is not the main reason that results to the rush?
A.Migrant workers
B.Students
C.Those planning to visit relatives
D.Tourists

3.Which one of the following cultures is the main factor that encourages family reunion?
A.Confucian culture
B.Taoist culture
C.Buddhist culture
D.Christian culture
===Answers===
1.40days

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

<center>'''Chuanjing Work Songs'''</center>

<center>Sun Lijun</center>

===Introduction===

Work song, nicknamed haozi(号子) in Chinese, is a kind of folk song that is created and sung by the working people in the process of production, bearing a direct relation with the manual work. And the contents of Chuanjiang work songs are rich and colorful, the representative works are Kuixing Tower(《魁星楼》), Giant Turtledove(《大斑鸠》), Lanlong Work Song(《懒龙号子》) and so on. Moreover, work song truthfully reflects the labor conditions and the mental appearance of the boatmen, emerging as an indispensably organic part in those workers' life. Chuanjiang work song, as one kind of work songs, is a traditional folk music originated in the Southwest China, mainly in Sichuan Province and Chongqing Municipality just as its name implies. And Chuanjing work song is a form of folk singing, led by a labor singer and accompanied by a crowd of boatmen in order to unify action and rhythm. It is a song of life cast by blood and sweat of those boatmen when they are struggling with the dangerous shoals and rapids, which is indicative of the working people's hardworking and their courageousness. Affluent in cultural connotations and charismatic in language art, Chuanjiang work song is the crystallization of the labor and wisdom of people living in Sichuan and Chongqing, which demonstrates the unsophisticated nature and tenacious will of them, possessing very high cultural value. However, as time goes on, great progress has been made in science and technology and outstanding improvements have been achieved in raising people's material living conditions, thus there is no need for them to struggle to meet the basic needs. It is not an age of necessities nowadays though, with the acceleration of modernization, Chuanjiang work song has lost its material carrier of its existence and is slowly withdrawing from the stage of history. On May 20th, 2006, with the approval of the State Council of the People's Republic of China, Chuanjing work song was listed as the First Batch of National Intangible Cultural Heritage, and only after then it's protection and inheritance were gradually given attention by all parties, namely all walks of life and the rescue of this intangible cultural heritage became imminent. While just as a common saying goes, "Rome was not built in one day", the protection and inheritance of Chuanjiang work song are not an easy task, which needs massive investment of manpower, physical and financial resource. Mostly attracted by new high-tech products, many modern youngsters don’t have the least idea to understand and learn the Chuanjiang work song, not to mention that a sea of young people have never heard of Chuanjiang work song, which is a pity. Hence, there is a problem that still remains to be solved, that is how to raise youngsters' interests in and willingness to know more about Chuanjiang work song so as to better protect and inherit the endangered Chuanjiang work song.

===The History of Chuanjiang Work Songs===

Chuanjiang work song, which enjoys a long history and is unique among the work songs in Sichuan and Chongqing which is called Bashu area for short, is not only diverse in forms but also rich in contents.
From the Perilous Journey to the Land of Shu, which was composed by Li Bai, one brilliant and great poet in Tang Dynasty, we can tell that Bashu area had an extremely rugged landscape. "The westbound road to Shu, so steep, steeper than Heaven! I plod my way, step by step, sign after sign", these two lines from this poem Perilous Journey to the Land of Shu especially project a vivid picture for us to imagine and illustrate how peculiar and precipitous the Bashu area is since the ancient time! And Bashu area is crisscrossed by rivers and canals with more than 90 rivers and streams of various lengths, in addition to this, the overlapped peaks rise one above the other in Bashu area, inviting traffic inconveniences for this region. Hence, the cargo circulation and passenger transportation all were carried by wooden boats in the ancient time. According to some archaeological discoveries, the Neolithic stone anchors and the tracker's tome figures, which were excavated along the banks of the Yangtze River running through Bashu area, are the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song in Bashu area(Wu Mingshi, 2011:34-42).
However, it was around the middle of Qing Dynasty that the work songs gradually were on the upgrade. And the Chuanjiang work song was the fruit of those industrious boatmen's hardworking and life. According to the water potential and the depth, currents as well as other characteristics of the rivers, the dangers of reefs and submerged rocks to boats, the leader of those boatmen then created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen's rowing and pulling. And this is how Chuanjiang work song was produced. While after the founding of the People's Republic of China, the government began to set about the business of the regulation of inland waterway navigation, therefore rivers and lakes in the Chuanjiang River Basin were destroyed by explosions to the submerged reefs and rocks in order to dredge the rivers and build waterpower stations. So these turbulent rivers and treacherous shoals that inspired boatmen to sing work songs have been a thing of the past. As the motor ships gradually replaced the wooden boats, the old shipping industry lost its competitiveness and living space little by little. The figures of the boatmen of the old days who swept over the rapids and dangerous shoals and climbed the rocks while towing a boat are gradually vanishing from people's sight in modern times, what's more, the appealing sound of the Chuanjiang work songs is fading away, resulting in the adverse conditions faced by Chuanjiang work songs. And scholars in the academic circles generally believe that Chuanjiang work song is cultural treasure in the history of waterway transportation along the Yangtze River and its existence reflects the indomitable fighting spirit, heroic spirit and humorous traits of character of the working people in the Chuanjiang River Basin when in face of a hostile environment. Such kind of intangible inheritage culture is supposed and deserves to be protected well, carried forward and promoted well in order to make Chinese culture and language splendid and glorious.

===The Features of Chuanjiang Work Songs===
Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.

Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).

First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).

Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).

Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.

===The Classification of Chuanjiang Work Songs===
Chuanjiang work songs are mainly circulated and spread in Jinsha River（金沙江），Yangtze River, Jialing River(嘉陵江）and the tributaries of Yangtze River, Wujiang River(乌江）, Minjiang River（岷江）and Tuojiang River(沱江), while Sichuan Province and Chongqing Municipality are the cradles and the major inheritance places of Chuanjiang work songs. And in this short essay, several types of Chuanjiang work songs distributed in different places in the Bashu area will be elaborated(Wu Mingshi, 2011:34-42).

First, Fuhe work song(府河号子). Fuhe work song, also called Huanglongxi work song(黄龙溪号子) and Jinjiang work song(锦江号子), is mainly circulated in the Jinjiang River basin, only existing in Huanglongxi Town, Chengdu(成都黄龙溪古镇) at present. With a history of more than 1,700 years, Huanglongxi Town is one of the ten ancient towns hailed as region of rivers and lakes in Sichuan Province, which was established and developed under the impetus of the prosperous Fuhe shipping industry. As the only work song in Chengdu, Fuhe work song is the representative one of Chengdu Plain（成都平原） located in southwest China. Because of the width and smoothness of the Huanglongxi River, the water flow is gentle, the music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies. The Fuhe work song is a true portrayal of the primitive labor modes of boatmen living in Chengdu in successive dynasties, witnessing the history of waterway transportation of Chengdu, a well-known historical and cultural city(Wu Mingshi, 2011:34-42).

Second, Jialing River work song. Jialing River is an important tributary of the upper reaches of the Yangtze River. It originates at the northern foot of the Qinling Mountains(秦岭) situated in Sha'anxi Province（陕西省）, and runs through Guangyuan City（广元市）, Nanchong City（南充市） and Guangan City（广安市） in Sichuan Province, flowing into the Yangtze River in Chongqing area. The major drainage areas Jialing River flows through resemble a folding fan, and there are many winding and zigzag channels, steep mountains and swift torrents this river is beset with, thus it requires the arduous performance of boatmen. Therefore, the Jialing River work song came into being in this special geographical environment(Wu Mingshi, 2011:34-42).

Third, Jinsha River work song. Jinsha River work song is mainly spread from Pingshan County（屏山县） which is located in the lower reaches of the Jinsha River to Yibin City（宜宾市）. Due to the official government set in this place by imperial court in the Ming Dynasty, the productivity rate and social life downstream developed rapidly with unprecedented development achieved in shipping industry in Jiasha River, emerging as the main component of the production, life and social development of people residing in on both sides of Jinsha River. The lower reaches of Jinsha River is the most important section of shipment, and also the main place where the Jinsha River work song came into being, developed and spread. And as a result of torrential water flow and large water level drop, Jinsha River work song has a distinct identity and is now mainly preserved in Pingshan County(Wu Mingshi, 2011:34-42).

Fourth, Minjiang River work song（岷江号子）. Minjiang River, an important tributary of the upper reaches of the Yangtze River, is the most fundamental water resource in Chengdu Plain. Historically, irrigation projects represented by Dujiangyan(都江堰), an ancient engineering initiated by the governor of Sichuan during the reign of Qin Dynasty to prevent floods by water control, fostered the land of abundance. Minshan work song is mainly distributed in Jianwei County, Leshan City（乐山市犍为县）. And due to the multipeaked mountains and densely scattered reefs and rocks in the Jianwei section of Minjiang River, concerted efforts were made to form a unified work song in order to facilitate the unification of the pace and rhythm of boatmen bearing forward. The work songs with different rhythms and emotions called out by the boat trackers on the basis of different water conditions gradually evolved into and compiled in the famous musical collection named Minjiang River Work Song(Wu Mingshi, 2011:34-42).

Fifth, Tuojiang River work song(沱江号子). The Tuojiang River, a tributary of the upper Yangtze River, is located in central Sichuan Province. In the Tuojiang River basin, the ancient people living in the area of Tuojiang River used wooden boats to transport white sugar and sugarcane to other places and carried daily necessities back home. While the origin of Tuojiang River work song can be traced back to the history of wooden boat shipping. As Tuojiang River is close to Jialing River, Minjiang River and other rivers and lakes large and small, Tuojiang River work song has absorbed some elements of other work songs on account of the mutual influence of their geographical environment and freight traffic, thus forming today's Tuojiang work song(Wu Mingshi, 2011:34-42).

The five kinds of work songs mentioned above are only a small part of Chuanjiang work songs, but they are the most representative ones. In addition to Fuhe work song, Jialing River work song, Jinsha River work song, Minjiang River work song and Tuojiang River work song, there are other famous work songs named Tonghe work song(铜河号子), Yongninghe work song(永宁河号子) and so on. From this we can tell that the Chuanjiang work songs are not only diversified in contents but also extensively distributed in many places of Bashu area.

===The Inheritance of Chuanjiang Work Songs===
Chuanjiang work songs are mainly spread among groups of boatmen, mostly transmitted by mouth to mouth, thus passing down naturally from generation to generation. Meanwhile, there are some young boatmen who formally acknowledge those experienced and old boatmen as their masters in order to learn how to sing the Chuanjiang work songs. However, with great changes of people's production and life nowadays, together with many old boatmen's passing away, many Chuanjiang work songs fail to be handed down from past generations. These days, we are living in a world awash in cutting-edge technologies and high-end products, people tend to have little willingness to take the initiative to learn and pass on Chuanjiang work songs, a kind of cultural heritage that does not seem to fit the interests of modern young groups or even is not just their cup of tea, which would raise a host of questions ourselves, chief among them: Is it necessary for youngsters to learn and inherit Chuanjiang work songs now that the technology is so advanced that we can restore old footage in high definition? And how to inherit this kind of cultural inheritage?

As for the first question, the answer is absolutely yes. We definitely have a great need and obligation to take the initiative to carry forward this endangered cultural heritage that may soon be disappeared in this world. For as one of the representative and unique languages and cultures of Bashu region, Chuanjiang work songs contain many aspects of cultural values demonstrating Bashu people's spirits of unswerving determination, team cooperation and opening up.

However, the protection and inheritance of this intangible cultural heritage are by no means easy like talking about empty phrases on a scrap of paper. First of all, Chuanjiang work songs have the particularity of survival, for Chuanjiang work songs resort to sound as the main means of representation, usually passing on through oral instructions, which greatly restricts the inheritance of this folk music to some extent. Then, this folk music arised out of the environment of surging water and serried rocks of rivers in the valley of Bashu area, which made this kind of music show elated artistic characteristics. Without the special geographical environment, it is also hard to spread Chuanjiang work songs. Last but not the least, Chuanjiang work songs are a form of folk music created by the working people who are limited by their living conditions to record and preserve this fabulous folk music, and the reality of the deaths of people and this art have exerted great influence to the protection and inheritance of Chuanjiang work songs(Wang Shuo, 2018(03):54). And according to the field visits and investigations of some experts, among the dozens of boatmen who are able to sing Chuanjiang work songs, the youngest is in their 70s, and there are few boatmen who can be the leader to sing work songs. Therefore, the protection and inheritance of Chuanjiang work songs are of great urgency and demand immediate attention.

With regard to the matter of how to protect and inherit Chuanjiang work songs, the following aspects could be taken into consideration. Firstly, perfect the legislative protection of Chuanjiang work songs and increase the investment in the inheritance of Chuanjiang work songs. Culture is created by the common people and its complexity and diversity determine that no individuals can assume the role of cultural protection. As a kind of unique language culture created by people living in Bashu area, Chuanjiang work songs' protection is not a piece of cake for individuals to take this responsibility. Even the protection of Chuanjiang work songs by civil organizations or groups sometimes presents the chaotic situations. Therefore only through the form of legisation at the national and government levels by including the protection and inheritance of Chuanjiang work songs into the legislation can we determine the detailed rules of legislation so as to perform the tasks of protection and inheritance of Chuanjiang work songs in an orderly way. Moreover, legislative protection is also a consistent practice of international community to protect cultural heritage around the world, which usually can achieve satisfactory results. In recent years, Chinese government has speeded up its pace to the protection and inheritance of Chuanjiang work songs, however, there is still some room for improvement in terms of some concrete measures to this matter. And Chinese government can draw lessons from some advanced and mature foreign protection experiences while combining the specific characteristics of the current situation of Chuanjiang work songs to formulate reasonable legal provisions. In addition to this, a lot of energy and money should be invested into this meaningful project. Secondly, take the combination of scientific technology and tourism as the carrier to better protect and inherit Chuanjiang work songs. With the science and technology develop by leaps and bounds, the protection and inheritance of Chuanjiang work songs are supposed to keep pace with the times. It is universally acknowledged that Tik Tok has gained popularity among all people from different ages, especially the youngsters around the world nowadays. And if we share the videos about the Chuanjiang work songs on Tik Tok and with the promotion of this popular platform, then Chuanjiang work songs can be known by more and more people. Additionally, if the videos of Chuanjiang work songs present an interesting and novel contents with fabulous pictures which cater for youngsters' appetite, there is a possibility that an increasing number of young people will be willing to learn how to sing and perform Chuanjiang work songs. Apart from Tik Tok, Chuanjiang work songs can also be incorporated into movies and plays. And tourism is also a great means to boost popularity of Chuanjiang work songs. As Chengdu and Chongqing becoming the first choice of many people to travel, the local governments can expand the publicity and promotion of scenic spots with Chuanjiang work songs as the main theme. Lastly but most importantly, let Chuanjiang work songs walk into the classroom. Students are the main forces to inherit Chuanjiang work songs. And articles related to Chuanjiang work songs can be compiled into the textbooks of primary and secondary schools so as to cultivate the younger generation's basic cognition of Chuanjiang work songs from an early age. Meanwhile, set up music teaching classes about Chuanjiang work songs in order to enlighten the consciousness of singing the Chuanjiang work songs with enthusiasm. While in colleges and universities, particularly in art colleges, Chuanjiang work songs can set up as a specilized course or an elective course to be taught to students as an art for the purpose of cultivating more high-quality talents proficient in Chuanjiang work songs and encouraging them to engage in the creation of Chuanjiang work songs.

===The Translation of Chuanjiang Work Songs===
Language contains culture, on the other hand, the enrichment and development of culture also benefit from language. Mainly sung in Sichuan dialect, Chuanjiang work songs bear the linguistic and cultural roles to show the abundant and generous history of Bashu area. And due to this characteristic, the translation of Chuanjiang work songs is not an easy task and there are few documents published to study the translation of Chuanjiang work songs. From the CNKI, there are only a few papers that have studied and analyzed the translation of Chuanjiang work songs from the perspective of translation ecology. Liu Xiuming(2021) pointed out that the translation of Chuanjiang work songs must proceed from the specific contexts and consider the quality of the targeted translation following the standards of coherence, logic and aesthetics, so as to ensure the accuracy of the semantic transmission of the translation. For example, “望见兵书峡，心里乱如麻。想起爹和妈，钱也用完哒。过了鳊鱼溪，肚子有点稀。想起儿和女，没带一颗米。”（《秭归的船工号子》）,this verse is translated as "Seeing Bingshu Gorge(兵书峡), I feel sad and panic in the heart. Thinking of Mom and Dad, I begin worry that they may be short of money. Passing the Bream Stream, I feel hungry in the stomach. Missing my wife and children, I feel so sorry for bringing them nothing back."（Liu Xiuming, 2021(28):241-242） From the Chinese version, we can tell that this verse is quite fast-tempoed and rhyming, especially singing in Sichuan dialect. Also, this verse illuminates that those hard-working boatmen miss their parents, wives, kids as well as their hometowns, and their plight-working so hard but suffering the pangs of hunger. Therefore, in order to faithfully convey what this verse really sings about, we should be familiar with the cultural background and thoroughly grasp the inner meaning of the original Chuanjiang work song. Additionally, sometimes we are supposed to translate the primitive beauty and majestic momentum of Chuanjiang work songs, which proves more formidable than we think.

As an intermediary, translation has always been playing a pivotal role in cross-border cultural exchanges and mutual learning. Honestly speaking, the translation of Chuanjiang work songs can also function as a bridge for closer connection between Bashu area and other different places worldwide and bring a brighter future for the protection and inheritance of Chuanjiang work songs. For once foreign friends are caught by Chuanjiang work songs, they would show a great interest in singing Chuanjiang work songs and want to know more about this kind of folk music so that they may do some field investigations, causing local governments to attach great importance to the inheritance and protection of Chuanjiang work songs.

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594==
<center>'''The Influence of Chinese Traditional Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
Chinese traditional philosophy sprang up around the time of the Shang and Zhou Dynasties (1600 B.C.--- 256 B.C.), took shape at the end of the Spring and Autumn Period (770 B.C.--- 476 B.C.), and flourished during the Warring States period (475 B.C.--- 221 B.C.) when a hundred schools of thought were already competing. Developing for more than 3,000 years, Chinese traditional philosophy has long been an integral part of Chinese culture. Up to 1949, its development history can be broadly divided into three stages. First, the period of slavery and the period of transition from slavery to feudalism. Second, the period of feudalism. Third, the period of transition from feudalism to socialism. The philosophy of the first two stages is known as ancient Chinese philosophy. And the last is called modern Chinese philosophy.

===Th

20220630 Culture 3

2022-06-30T11:31:34Z

Sun Lijun: /* The Inheritance of Chuanjiang Work Songs */

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''Dissemination of Chinese Contemporary Literature'''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===

===Key words===
Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

===Introduction===

===Dissemination of Chinese Contemporary Literature in Different Regions===

===Dissemination of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present). In the first stage, Chinese contemporary literature translated to English-speaking countries focused more on social and political aspects than on literary aspects. In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak. Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than propaganda; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and market. The English-speaking world and Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin and It's Development in the Song Dynasty'''</center>

<center>Liu Zhen</center>

===Introduction===
First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

===Guqin and It's Development===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:
Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

In 1977, a recording of "Liu Shui" 【流水】 (Flowing Water, as performed by Guan Pinghu, one of the best qin players of the twentieth century) was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts. It is the longest excerpt included on the disc. In 2003, guqin music was proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.

Performance:
In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument.
They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin.

Playing Technique:
The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:
First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played
The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

===Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty===
At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

===Development of Guqin Music in the Song Dynasty===
The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

===The Song Dynasty guqin school -- Zhejiang school===
The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

===The Cultural Influence of GUqin===
The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.
In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin
The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics
When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture:
As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

===Conclusion===

===Conclusion===

===References===

===References===

===References===

==英语笔译龙翰良 Long Hanliang 202170081589==
<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>

<center>Long Hanliang</center>

===Abstract===

At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)

As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)

This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)

===Key words===

Chinese culture; Teaching Chinese as a second language; Cultural Exchange

===Introduction===

As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)

The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)

Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)

===Overall Design===
The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)

To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)

Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)

This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)

Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)

Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)

The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)

Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)

Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)

For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)

For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)

Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)

Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)

The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)

The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)

The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)

===Test Assessment===
The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)

Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)

The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)

The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)

Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)

The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)

In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)

1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)

2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)

3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time.
At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)

Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)

As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)

===Means and methods===

Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)

After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)

Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)

We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)

One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)

For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)

First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)

For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)

This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)

The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)

There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)

The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)

However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)

Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)

===Textbook Compilation===
1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)

(1) Practicality

Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)

The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)

It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)

The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)

(2) Knowledge

The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)

Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)

(3)Scientificity

1. To teach standardized and common Chinese characters

The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)

The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)

In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)

2. The organization of teaching content should conform to the law of language teaching

The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)

The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)

The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)

(4)Interest

Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)

Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)

In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)

In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)

===Classroom Teaching===

Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)

This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)

The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)

The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)

Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)

In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)

The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)

It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)

Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)

At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：

1. Respect each other among different cultures and adhere to the principle of cultural equality.

2. Disseminate the essence of culture and avoid clamoring for attention.

3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)

In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)

===Training of TCSL Teachers===

With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

1. modern Chinese knowledge

Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

2. linguistic knowledge

The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

3. cultural knowledge

Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

4. foreign language knowledge

Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

===Conclusion===

After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)

===References===

Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.

Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.

Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.

Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)

国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm

===Terms and expressions===
Classroom teaching 课堂教学

HSK 中国汉语水平考试

Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）国家汉办

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区

mahjong 麻将

chow mein 炒面

===Questions===
1.What are the four links of the whole process and teaching activities of second language teaching?

2.When was HSK officially implemented?

3.What is the most important link of teaching activities among the four links of teaching activities?

4.What are the principles of spreading Chinese culture in Chinese education abroad?

5.What types of HSK exams are there?

6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?

===Answers===
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.

2.The Chinese Proficiency Test (HSK) was officially implemented in 1990

3.Classroom teaching

4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.

Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.

Ⅲ. Handle sensitive issues properly and maintain national dignity.

5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).

6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.

==英语笔译罗姚林 Luo Yaolin 202170081590==
<center>'''Different Local Dialects in China'''</center>

<center>罗姚林 Luo Yaolin</center>

===Introduction===
Chinese dialects are branches of the Chinese language. The "Law of the People's Republic of China on the Common State Language and Script", promulgated on October 31, 2000, established Mandarin Chinese as the national language. During the development of Han Chinese society, there have been different degrees of differentiation and unification, thus making the Chinese language gradually produce dialects. There are various dialects of modern Chinese, and they are distributed over a wide area. The differences between modern Chinese dialects are phonetic, lexical, and grammatical, and the phonetic aspects are particularly prominent. Some domestic scholars believe that most dialects and common languages have certain phonological correspondence patterns, and many similarities in vocabulary and grammar, so they are not independent languages. Foreign scholars believe that people in each dialect area cannot talk to each other, so they are very independent languages, especially the dialects in Min language. Based on the characteristics of the dialects, the history of their formation and development, and the results of dialect surveys, the dialects of modern Chinese can be divided.

===the Origin of Chinese Dialects===

===Different Features of Dialects in China===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译马艳焕 Ma Yanhuan 202170081591==
<center>'''An overview on the study of Chinese folk stories '''</center>

<center>马艳焕</center>

===Abstract===
Shandong is a famous city of traditional culture with a long history. The traditional culture with local characteristics such as Dongyi culture and Qilu culture has left a valuable spiritual heritage for Shandong, in which folktales are loved by the people. The type of folktales roughly includes "myths", "legends", "stories" and so on, including natural change myths, hero myths, historical figures legends, religious figures legends, fairy legends, mountains and rivers legends, specialty legends, ghosts, foxes and spirits, animal stories, life stories, witty character stories and so on. This article will give an overview of the folk stories of Shandong Province, including the content of the story, the cultural and educational value carried by the story, the enlightenment to future generations, and so on.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592==
<center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center>

<center>聂薇</center>

===Introduction===
Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)

This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)

With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)

The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
===The evolution of the Spring Festival travel rush===
As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)

In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)

(i) The difficulty of travelling during the Spring Festival in ancient times

Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)

In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)

Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)

(ii) The difficulty of travelling during the Spring Festival in modern times

The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)

With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
===Cultural factors behind the Spring Festival travel rush in China===
The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)

(i) Confucian culture

In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)

The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)

It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)

The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)

In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)

A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)

But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)

This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)

(ii) ceremonial culture

In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)

During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)

The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)

Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)

(iii) institutional culture

One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)

The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)

(ⅳ) the concept of family-and-nation

In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)

In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)

However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)

As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
===Way of relieving pressure from the rush===
Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
===The prevalence of the Anti-Spring Festival travel rush===
In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)

On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)

But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)

On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)

Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
===Conclusion===
No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)

The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)

The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)

It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)

The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)

Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
===Terms and expressions===
Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）

The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

the system of urban-rural regional segregation：城乡区域隔离制度

the household registration system：户籍制度

the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
===References===
*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
===Questions===
1.How long does the Spring Festival travel rush usually last?
A.30 days
B.40 days
C.50 days
D.60 days

2.Which one of the following group is not the main reason that results to the rush?
A.Migrant workers
B.Students
C.Those planning to visit relatives
D.Tourists

3.Which one of the following cultures is the main factor that encourages family reunion?
A.Confucian culture
B.Taoist culture
C.Buddhist culture
D.Christian culture
===Answers===
1.40days

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

<center>'''Chuanjing Work Songs'''</center>

<center>Sun Lijun</center>

===Introduction===

Work song, nicknamed haozi(号子) in Chinese, is a kind of folk song that is created and sung by the working people in the process of production, bearing a direct relation with the manual work. And the contents of Chuanjiang work songs are rich and colorful, the representative works are Kuixing Tower(《魁星楼》), Giant Turtledove(《大斑鸠》), Lanlong Work Song(《懒龙号子》) and so on. Moreover, work song truthfully reflects the labor conditions and the mental appearance of the boatmen, emerging as an indispensably organic part in those workers' life. Chuanjiang work song, as one kind of work songs, is a traditional folk music originated in the Southwest China, mainly in Sichuan Province and Chongqing Municipality just as its name implies. And Chuanjing work song is a form of folk singing, led by a labor singer and accompanied by a crowd of boatmen in order to unify action and rhythm. It is a song of life cast by blood and sweat of those boatmen when they are struggling with the dangerous shoals and rapids, which is indicative of the working people's hardworking and their courageousness. Affluent in cultural connotations and charismatic in language art, Chuanjiang work song is the crystallization of the labor and wisdom of people living in Sichuan and Chongqing, which demonstrates the unsophisticated nature and tenacious will of them, possessing very high cultural value. However, as time goes on, great progress has been made in science and technology and outstanding improvements have been achieved in raising people's material living conditions, thus there is no need for them to struggle to meet the basic needs. It is not an age of necessities nowadays though, with the acceleration of modernization, Chuanjiang work song has lost its material carrier of its existence and is slowly withdrawing from the stage of history. On May 20th, 2006, with the approval of the State Council of the People's Republic of China, Chuanjing work song was listed as the First Batch of National Intangible Cultural Heritage, and only after then it's protection and inheritance were gradually given attention by all parties, namely all walks of life and the rescue of this intangible cultural heritage became imminent. While just as a common saying goes, "Rome was not built in one day", the protection and inheritance of Chuanjiang work song are not an easy task, which needs massive investment of manpower, physical and financial resource. Mostly attracted by new high-tech products, many modern youngsters don’t have the least idea to understand and learn the Chuanjiang work song, not to mention that a sea of young people have never heard of Chuanjiang work song, which is a pity. Hence, there is a problem that still remains to be solved, that is how to raise youngsters' interests in and willingness to know more about Chuanjiang work song so as to better protect and inherit the endangered Chuanjiang work song.

===The History of Chuanjiang Work Songs===

Chuanjiang work song, which enjoys a long history and is unique among the work songs in Sichuan and Chongqing which is called Bashu area for short, is not only diverse in forms but also rich in contents.
From the Perilous Journey to the Land of Shu, which was composed by Li Bai, one brilliant and great poet in Tang Dynasty, we can tell that Bashu area had an extremely rugged landscape. "The westbound road to Shu, so steep, steeper than Heaven! I plod my way, step by step, sign after sign", these two lines from this poem Perilous Journey to the Land of Shu especially project a vivid picture for us to imagine and illustrate how peculiar and precipitous the Bashu area is since the ancient time! And Bashu area is crisscrossed by rivers and canals with more than 90 rivers and streams of various lengths, in addition to this, the overlapped peaks rise one above the other in Bashu area, inviting traffic inconveniences for this region. Hence, the cargo circulation and passenger transportation all were carried by wooden boats in the ancient time. According to some archaeological discoveries, the Neolithic stone anchors and the tracker's tome figures, which were excavated along the banks of the Yangtze River running through Bashu area, are the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song in Bashu area(Wu Mingshi, 2011:34-42).
However, it was around the middle of Qing Dynasty that the work songs gradually were on the upgrade. And the Chuanjiang work song was the fruit of those industrious boatmen's hardworking and life. According to the water potential and the depth, currents as well as other characteristics of the rivers, the dangers of reefs and submerged rocks to boats, the leader of those boatmen then created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen's rowing and pulling. And this is how Chuanjiang work song was produced. While after the founding of the People's Republic of China, the government began to set about the business of the regulation of inland waterway navigation, therefore rivers and lakes in the Chuanjiang River Basin were destroyed by explosions to the submerged reefs and rocks in order to dredge the rivers and build waterpower stations. So these turbulent rivers and treacherous shoals that inspired boatmen to sing work songs have been a thing of the past. As the motor ships gradually replaced the wooden boats, the old shipping industry lost its competitiveness and living space little by little. The figures of the boatmen of the old days who swept over the rapids and dangerous shoals and climbed the rocks while towing a boat are gradually vanishing from people's sight in modern times, what's more, the appealing sound of the Chuanjiang work songs is fading away, resulting in the adverse conditions faced by Chuanjiang work songs. And scholars in the academic circles generally believe that Chuanjiang work song is cultural treasure in the history of waterway transportation along the Yangtze River and its existence reflects the indomitable fighting spirit, heroic spirit and humorous traits of character of the working people in the Chuanjiang River Basin when in face of a hostile environment. Such kind of intangible inheritage culture is supposed and deserves to be protected well, carried forward and promoted well in order to make Chinese culture and language splendid and glorious.

===The Features of Chuanjiang Work Songs===
Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.

Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).

First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).

Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).

Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.

===The Classification of Chuanjiang Work Songs===
Chuanjiang work songs are mainly circulated and spread in Jinsha River（金沙江），Yangtze River, Jialing River(嘉陵江）and the tributaries of Yangtze River, Wujiang River(乌江）, Minjiang River（岷江）and Tuojiang River(沱江), while Sichuan Province and Chongqing Municipality are the cradles and the major inheritance places of Chuanjiang work songs. And in this short essay, several types of Chuanjiang work songs distributed in different places in the Bashu area will be elaborated(Wu Mingshi, 2011:34-42).

First, Fuhe work song(府河号子). Fuhe work song, also called Huanglongxi work song(黄龙溪号子) and Jinjiang work song(锦江号子), is mainly circulated in the Jinjiang River basin, only existing in Huanglongxi Town, Chengdu(成都黄龙溪古镇) at present. With a history of more than 1,700 years, Huanglongxi Town is one of the ten ancient towns hailed as region of rivers and lakes in Sichuan Province, which was established and developed under the impetus of the prosperous Fuhe shipping industry. As the only work song in Chengdu, Fuhe work song is the representative one of Chengdu Plain（成都平原） located in southwest China. Because of the width and smoothness of the Huanglongxi River, the water flow is gentle, the music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies. The Fuhe work song is a true portrayal of the primitive labor modes of boatmen living in Chengdu in successive dynasties, witnessing the history of waterway transportation of Chengdu, a well-known historical and cultural city(Wu Mingshi, 2011:34-42).

Second, Jialing River work song. Jialing River is an important tributary of the upper reaches of the Yangtze River. It originates at the northern foot of the Qinling Mountains(秦岭) situated in Sha'anxi Province（陕西省）, and runs through Guangyuan City（广元市）, Nanchong City（南充市） and Guangan City（广安市） in Sichuan Province, flowing into the Yangtze River in Chongqing area. The major drainage areas Jialing River flows through resemble a folding fan, and there are many winding and zigzag channels, steep mountains and swift torrents this river is beset with, thus it requires the arduous performance of boatmen. Therefore, the Jialing River work song came into being in this special geographical environment(Wu Mingshi, 2011:34-42).

Third, Jinsha River work song. Jinsha River work song is mainly spread from Pingshan County（屏山县） which is located in the lower reaches of the Jinsha River to Yibin City（宜宾市）. Due to the official government set in this place by imperial court in the Ming Dynasty, the productivity rate and social life downstream developed rapidly with unprecedented development achieved in shipping industry in Jiasha River, emerging as the main component of the production, life and social development of people residing in on both sides of Jinsha River. The lower reaches of Jinsha River is the most important section of shipment, and also the main place where the Jinsha River work song came into being, developed and spread. And as a result of torrential water flow and large water level drop, Jinsha River work song has a distinct identity and is now mainly preserved in Pingshan County(Wu Mingshi, 2011:34-42).

Fourth, Minjiang River work song（岷江号子）. Minjiang River, an important tributary of the upper reaches of the Yangtze River, is the most fundamental water resource in Chengdu Plain. Historically, irrigation projects represented by Dujiangyan(都江堰), an ancient engineering initiated by the governor of Sichuan during the reign of Qin Dynasty to prevent floods by water control, fostered the land of abundance. Minshan work song is mainly distributed in Jianwei County, Leshan City（乐山市犍为县）. And due to the multipeaked mountains and densely scattered reefs and rocks in the Jianwei section of Minjiang River, concerted efforts were made to form a unified work song in order to facilitate the unification of the pace and rhythm of boatmen bearing forward. The work songs with different rhythms and emotions called out by the boat trackers on the basis of different water conditions gradually evolved into and compiled in the famous musical collection named Minjiang River Work Song(Wu Mingshi, 2011:34-42).

Fifth, Tuojiang River work song(沱江号子). The Tuojiang River, a tributary of the upper Yangtze River, is located in central Sichuan Province. In the Tuojiang River basin, the ancient people living in the area of Tuojiang River used wooden boats to transport white sugar and sugarcane to other places and carried daily necessities back home. While the origin of Tuojiang River work song can be traced back to the history of wooden boat shipping. As Tuojiang River is close to Jialing River, Minjiang River and other rivers and lakes large and small, Tuojiang River work song has absorbed some elements of other work songs on account of the mutual influence of their geographical environment and freight traffic, thus forming today's Tuojiang work song(Wu Mingshi, 2011:34-42).

The five kinds of work songs mentioned above are only a small part of Chuanjiang work songs, but they are the most representative ones. In addition to Fuhe work song, Jialing River work song, Jinsha River work song, Minjiang River work song and Tuojiang River work song, there are other famous work songs named Tonghe work song(铜河号子), Yongninghe work song(永宁河号子) and so on. From this we can tell that the Chuanjiang work songs are not only diversified in contents but also extensively distributed in many places of Bashu area.

===The Inheritance of Chuanjiang Work Songs===
Chuanjiang work songs are mainly spread among groups of boatmen, mostly transmitted by mouth to mouth, thus passing down naturally from generation to generation. Meanwhile, there are some young boatmen who formally acknowledge those experienced and old boatmen as their masters in order to learn how to sing the Chuanjiang work songs. However, with great changes of people's production and life nowadays, together with many old boatmen's passing away, many Chuanjiang work songs fail to be handed down from past generations. These days, we are living in a world awash in cutting-edge technologies and high-end products, people tend to have little willingness to take the initiative to learn and pass on Chuanjiang work songs, a kind of cultural heritage that does not seem to fit the interests of modern young groups or even is not just their cup of tea, which would raise a host of questions ourselves, chief among them: Is it necessary for youngsters to learn and inherit Chuanjiang work songs now that the technology is so advanced that we can restore old footage in high definition? And how to inherit this kind of cultural inheritage?

As for the first question, the answer is absolutely yes. We definitely have a great need and obligation to take the initiative to carry forward this endangered cultural heritage that may soon be disappeared in this world. For as one of the representative and unique languages and cultures of Bashu region, Chuanjiang work songs contain many aspects of cultural values demonstrating Bashu people's spirits of unswerving determination, team cooperation and opening up.

However, the protection and inheritance of this intangible cultural heritage are by no means easy like talking about empty phrases on a scrap of paper. First of all, Chuanjiang work songs have the particularity of survival, for Chuanjiang work songs resort to sound as the main means of representation, usually passing on through oral instructions, which greatly restricts the inheritance of this folk music to some extent. Then, this folk music arised out of the environment of surging water and serried rocks of rivers in the valley of Bashu area, which made this kind of music show elated artistic characteristics. Without the special geographical environment, it is also hard to spread Chuanjiang work songs. Last but not the least, Chuanjiang work songs are a form of folk music created by the working people who are limited by their living conditions to record and preserve this fabulous folk music, and the reality of the deaths of people and this art have exerted great influence to the protection and inheritance of Chuanjiang work songs(Wang Shuo, 2018(03):54). And according to the field visits and investigations of some experts, among the dozens of boatmen who are able to sing Chuanjiang work songs, the youngest is in their 70s, and there are few boatmen who can be the leader to sing work songs. Therefore, the protection and inheritance of Chuanjiang work songs are of great urgency and demand immediate attention.

With regard to the matter of how to protect and inherit Chuanjiang work songs, the following aspects could be taken into consideration. Firstly, perfect the legislative protection of Chuanjiang work songs and increase the investment in the inheritance of Chuanjiang work songs. Culture is created by the common people and its complexity and diversity determine that no individuals can assume the role of cultural protection. As a kind of unique language culture created by people living in Bashu area, Chuanjiang work songs' protection is not a piece of cake for individuals to take this responsibility. Even the protection of Chuanjiang work songs by civil organizations or groups sometimes presents the chaotic situations. Therefore only through the form of legisation at the national and government levels by including the protection and inheritance of Chuanjiang work songs into the legislation can we determine the detailed rules of legislation so as to perform the tasks of protection and inheritance of Chuanjiang work songs in an orderly way. Moreover, legislative protection is also a consistent practice of international community to protect cultural heritage around the world, which usually can achieve satisfactory results. In recent years, Chinese government has speeded up its pace to the protection and inheritance of Chuanjiang work songs, however, there is still some room for improvement in terms of some concrete measures to this matter. And Chinese government can draw lessons from some advanced and mature foreign protection experiences while combining the specific characteristics of the current situation of Chuanjiang work songs to formulate reasonable legal provisions. In addition to this, a lot of energy and money should be invested into this meaningful project. Secondly, take the combination of scientific technology and tourism as the carrier to better protect and inherit Chuanjiang work songs. With the science and technology develop by leaps and bounds, the protection and inheritance of Chuanjiang work songs are supposed to keep pace with the times. It is universally acknowledged that Tik Tok has gained popularity among all people from different ages, especially the youngsters around the world nowadays. And if we share the videos about the Chuanjiang work songs on Tik Tok and with the promotion of this popular platform, then Chuanjiang work songs can be known by more and more people. Additionally, if the videos of Chuanjiang work songs present an interesting and novel contents with fabulous pictures which cater for youngsters' appetite, there is a possibility that an increasing number of young people will be willing to learn how to sing and perform Chuanjiang work songs. Apart from Tik Tok, Chuanjiang work songs can also be incorporated into movies and plays. And tourism is also a great means to boost popularity of Chuanjiang work songs. As Chengdu and Chongqing becoming the first choice of many people to travel, the local governments can expand the publicity and promotion of scenic spots with Chuanjiang work songs as the main theme. Lastly but most importantly, let Chuanjiang work songs walk into the classroom. Students are the main forces to inherit Chuanjiang work songs. And articles related to Chuanjiang work songs can be compiled into the textbooks of primary and secondary schools so as to cultivate the younger generation's basic cognition of Chuanjiang work songs from an early age. Meanwhile, set up music teaching classes about Chuanjiang work songs in order to enlighten the consciousness of singing the Chuanjiang work songs with enthusiasm. While in colleges and universities, particularly in art colleges, Chuanjiang work songs can set up as a specilized course or an elective course to be taught to students as an art for the purpose of cultivating more high-quality talents proficient in Chuanjiang work songs and encouraging them to engage in the creation of Chuanjiang work songs.

===The Translation of Chuanjiang Work Songs===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594==
<center>'''The Influence of Chinese Traditional Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
Chinese traditional philosophy sprang up around the time of the Shang and Zhou Dynasties (1600 B.C.--- 256 B.C.), took shape at the end of the Spring and Autumn Period (770 B.C.--- 476 B.C.), and flourished during the Warring States period (475 B.C.--- 221 B.C.) when a hundred schools of thought were already competing. Developing for more than 3,000 years, Chinese traditional philosophy has long been an integral part of Chinese culture. Up to 1949, its development history can be broadly divided into three stages. First, the period of slavery and the period of transition from slavery to feudalism. Second, the period of feudalism. Third, the period of transition from feudalism to socialism. The philosophy of the first two stages is known as ancient Chinese philosophy. And the last is called modern Chinese philosophy.

===Th

20220630 Culture 3

2022-06-30T11:30:31Z

Sun Lijun: /* The Geographical Distributions of Chuanjiang Work Songs */

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''Dissemination of Chinese Contemporary Literature'''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===

===Key words===
Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

===Introduction===

===Dissemination of Chinese Contemporary Literature in Different Regions===

===Dissemination of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present). In the first stage, Chinese contemporary literature translated to English-speaking countries focused more on social and political aspects than on literary aspects. In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak. Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than propaganda; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and market. The English-speaking world and Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin and It's Development in the Song Dynasty'''</center>

<center>Liu Zhen</center>

===Introduction===
First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

===Guqin and It's Development===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:
Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

In 1977, a recording of "Liu Shui" 【流水】 (Flowing Water, as performed by Guan Pinghu, one of the best qin players of the twentieth century) was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts. It is the longest excerpt included on the disc. In 2003, guqin music was proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.

Performance:
In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument.
They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin.

Playing Technique:
The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:
First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played
The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

===Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty===
At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

===Development of Guqin Music in the Song Dynasty===
The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

===The Song Dynasty guqin school -- Zhejiang school===
The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

===The Cultural Influence of GUqin===
The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.
In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin
The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics
When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture:
As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

===Conclusion===

===Conclusion===

===References===

===References===

===References===

==英语笔译龙翰良 Long Hanliang 202170081589==
<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>

<center>Long Hanliang</center>

===Abstract===

At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)

As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)

This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)

===Key words===

Chinese culture; Teaching Chinese as a second language; Cultural Exchange

===Introduction===

As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)

The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)

Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)

===Overall Design===
The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)

To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)

Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)

This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)

Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)

Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)

The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)

Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)

Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)

For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)

For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)

Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)

Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)

The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)

The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)

The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)

===Test Assessment===
The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)

Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)

The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)

The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)

Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)

The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)

In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)

1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)

2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)

3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time.
At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)

Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)

As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)

===Means and methods===

Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)

After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)

Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)

We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)

One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)

For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)

First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)

For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)

This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)

The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)

There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)

The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)

However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)

Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)

===Textbook Compilation===
1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)

(1) Practicality

Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)

The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)

It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)

The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)

(2) Knowledge

The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)

Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)

(3)Scientificity

1. To teach standardized and common Chinese characters

The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)

The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)

In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)

2. The organization of teaching content should conform to the law of language teaching

The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)

The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)

The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)

(4)Interest

Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)

Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)

In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)

In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)

===Classroom Teaching===

Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)

This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)

The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)

The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)

Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)

In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)

The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)

It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)

Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)

At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：

1. Respect each other among different cultures and adhere to the principle of cultural equality.

2. Disseminate the essence of culture and avoid clamoring for attention.

3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)

In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)

===Training of TCSL Teachers===

With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

1. modern Chinese knowledge

Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

2. linguistic knowledge

The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

3. cultural knowledge

Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

4. foreign language knowledge

Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

===Conclusion===

After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)

===References===

Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.

Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.

Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.

Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)

国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm

===Terms and expressions===
Classroom teaching 课堂教学

HSK 中国汉语水平考试

Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）国家汉办

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区

mahjong 麻将

chow mein 炒面

===Questions===
1.What are the four links of the whole process and teaching activities of second language teaching?

2.When was HSK officially implemented?

3.What is the most important link of teaching activities among the four links of teaching activities?

4.What are the principles of spreading Chinese culture in Chinese education abroad?

5.What types of HSK exams are there?

6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?

===Answers===
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.

2.The Chinese Proficiency Test (HSK) was officially implemented in 1990

3.Classroom teaching

4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.

Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.

Ⅲ. Handle sensitive issues properly and maintain national dignity.

5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).

6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.

==英语笔译罗姚林 Luo Yaolin 202170081590==
<center>'''Different Local Dialects in China'''</center>

<center>罗姚林 Luo Yaolin</center>

===Introduction===
Chinese dialects are branches of the Chinese language. The "Law of the People's Republic of China on the Common State Language and Script", promulgated on October 31, 2000, established Mandarin Chinese as the national language. During the development of Han Chinese society, there have been different degrees of differentiation and unification, thus making the Chinese language gradually produce dialects. There are various dialects of modern Chinese, and they are distributed over a wide area. The differences between modern Chinese dialects are phonetic, lexical, and grammatical, and the phonetic aspects are particularly prominent. Some domestic scholars believe that most dialects and common languages have certain phonological correspondence patterns, and many similarities in vocabulary and grammar, so they are not independent languages. Foreign scholars believe that people in each dialect area cannot talk to each other, so they are very independent languages, especially the dialects in Min language. Based on the characteristics of the dialects, the history of their formation and development, and the results of dialect surveys, the dialects of modern Chinese can be divided.

===the Origin of Chinese Dialects===

===Different Features of Dialects in China===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译马艳焕 Ma Yanhuan 202170081591==
<center>'''An overview on the study of Chinese folk stories '''</center>

<center>马艳焕</center>

===Abstract===
Shandong is a famous city of traditional culture with a long history. The traditional culture with local characteristics such as Dongyi culture and Qilu culture has left a valuable spiritual heritage for Shandong, in which folktales are loved by the people. The type of folktales roughly includes "myths", "legends", "stories" and so on, including natural change myths, hero myths, historical figures legends, religious figures legends, fairy legends, mountains and rivers legends, specialty legends, ghosts, foxes and spirits, animal stories, life stories, witty character stories and so on. This article will give an overview of the folk stories of Shandong Province, including the content of the story, the cultural and educational value carried by the story, the enlightenment to future generations, and so on.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592==
<center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center>

<center>聂薇</center>

===Introduction===
Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)

This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)

With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)

The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
===The evolution of the Spring Festival travel rush===
As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)

In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)

(i) The difficulty of travelling during the Spring Festival in ancient times

Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)

In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)

Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)

(ii) The difficulty of travelling during the Spring Festival in modern times

The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)

With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
===Cultural factors behind the Spring Festival travel rush in China===
The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)

(i) Confucian culture

In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)

The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)

It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)

The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)

In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)

A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)

But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)

This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)

(ii) ceremonial culture

In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)

During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)

The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)

Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)

(iii) institutional culture

One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)

The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)

(ⅳ) the concept of family-and-nation

In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)

In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)

However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)

As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
===Way of relieving pressure from the rush===
Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
===The prevalence of the Anti-Spring Festival travel rush===
In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)

On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)

But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)

On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)

Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
===Conclusion===
No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)

The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)

The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)

It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)

The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)

Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
===Terms and expressions===
Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）

The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

the system of urban-rural regional segregation：城乡区域隔离制度

the household registration system：户籍制度

the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
===References===
*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
===Questions===
1.How long does the Spring Festival travel rush usually last?
A.30 days
B.40 days
C.50 days
D.60 days

2.Which one of the following group is not the main reason that results to the rush?
A.Migrant workers
B.Students
C.Those planning to visit relatives
D.Tourists

3.Which one of the following cultures is the main factor that encourages family reunion?
A.Confucian culture
B.Taoist culture
C.Buddhist culture
D.Christian culture
===Answers===
1.40days

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

<center>'''Chuanjing Work Songs'''</center>

<center>Sun Lijun</center>

===Introduction===

Work song, nicknamed haozi(号子) in Chinese, is a kind of folk song that is created and sung by the working people in the process of production, bearing a direct relation with the manual work. And the contents of Chuanjiang work songs are rich and colorful, the representative works are Kuixing Tower(《魁星楼》), Giant Turtledove(《大斑鸠》), Lanlong Work Song(《懒龙号子》) and so on. Moreover, work song truthfully reflects the labor conditions and the mental appearance of the boatmen, emerging as an indispensably organic part in those workers' life. Chuanjiang work song, as one kind of work songs, is a traditional folk music originated in the Southwest China, mainly in Sichuan Province and Chongqing Municipality just as its name implies. And Chuanjing work song is a form of folk singing, led by a labor singer and accompanied by a crowd of boatmen in order to unify action and rhythm. It is a song of life cast by blood and sweat of those boatmen when they are struggling with the dangerous shoals and rapids, which is indicative of the working people's hardworking and their courageousness. Affluent in cultural connotations and charismatic in language art, Chuanjiang work song is the crystallization of the labor and wisdom of people living in Sichuan and Chongqing, which demonstrates the unsophisticated nature and tenacious will of them, possessing very high cultural value. However, as time goes on, great progress has been made in science and technology and outstanding improvements have been achieved in raising people's material living conditions, thus there is no need for them to struggle to meet the basic needs. It is not an age of necessities nowadays though, with the acceleration of modernization, Chuanjiang work song has lost its material carrier of its existence and is slowly withdrawing from the stage of history. On May 20th, 2006, with the approval of the State Council of the People's Republic of China, Chuanjing work song was listed as the First Batch of National Intangible Cultural Heritage, and only after then it's protection and inheritance were gradually given attention by all parties, namely all walks of life and the rescue of this intangible cultural heritage became imminent. While just as a common saying goes, "Rome was not built in one day", the protection and inheritance of Chuanjiang work song are not an easy task, which needs massive investment of manpower, physical and financial resource. Mostly attracted by new high-tech products, many modern youngsters don’t have the least idea to understand and learn the Chuanjiang work song, not to mention that a sea of young people have never heard of Chuanjiang work song, which is a pity. Hence, there is a problem that still remains to be solved, that is how to raise youngsters' interests in and willingness to know more about Chuanjiang work song so as to better protect and inherit the endangered Chuanjiang work song.

===The History of Chuanjiang Work Songs===

Chuanjiang work song, which enjoys a long history and is unique among the work songs in Sichuan and Chongqing which is called Bashu area for short, is not only diverse in forms but also rich in contents.
From the Perilous Journey to the Land of Shu, which was composed by Li Bai, one brilliant and great poet in Tang Dynasty, we can tell that Bashu area had an extremely rugged landscape. "The westbound road to Shu, so steep, steeper than Heaven! I plod my way, step by step, sign after sign", these two lines from this poem Perilous Journey to the Land of Shu especially project a vivid picture for us to imagine and illustrate how peculiar and precipitous the Bashu area is since the ancient time! And Bashu area is crisscrossed by rivers and canals with more than 90 rivers and streams of various lengths, in addition to this, the overlapped peaks rise one above the other in Bashu area, inviting traffic inconveniences for this region. Hence, the cargo circulation and passenger transportation all were carried by wooden boats in the ancient time. According to some archaeological discoveries, the Neolithic stone anchors and the tracker's tome figures, which were excavated along the banks of the Yangtze River running through Bashu area, are the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song in Bashu area(Wu Mingshi, 2011:34-42).
However, it was around the middle of Qing Dynasty that the work songs gradually were on the upgrade. And the Chuanjiang work song was the fruit of those industrious boatmen's hardworking and life. According to the water potential and the depth, currents as well as other characteristics of the rivers, the dangers of reefs and submerged rocks to boats, the leader of those boatmen then created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen's rowing and pulling. And this is how Chuanjiang work song was produced. While after the founding of the People's Republic of China, the government began to set about the business of the regulation of inland waterway navigation, therefore rivers and lakes in the Chuanjiang River Basin were destroyed by explosions to the submerged reefs and rocks in order to dredge the rivers and build waterpower stations. So these turbulent rivers and treacherous shoals that inspired boatmen to sing work songs have been a thing of the past. As the motor ships gradually replaced the wooden boats, the old shipping industry lost its competitiveness and living space little by little. The figures of the boatmen of the old days who swept over the rapids and dangerous shoals and climbed the rocks while towing a boat are gradually vanishing from people's sight in modern times, what's more, the appealing sound of the Chuanjiang work songs is fading away, resulting in the adverse conditions faced by Chuanjiang work songs. And scholars in the academic circles generally believe that Chuanjiang work song is cultural treasure in the history of waterway transportation along the Yangtze River and its existence reflects the indomitable fighting spirit, heroic spirit and humorous traits of character of the working people in the Chuanjiang River Basin when in face of a hostile environment. Such kind of intangible inheritage culture is supposed and deserves to be protected well, carried forward and promoted well in order to make Chinese culture and language splendid and glorious.

===The Features of Chuanjiang Work Songs===
Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.

Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).

First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).

Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).

Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.

===The Classification of Chuanjiang Work Songs===
Chuanjiang work songs are mainly circulated and spread in Jinsha River（金沙江），Yangtze River, Jialing River(嘉陵江）and the tributaries of Yangtze River, Wujiang River(乌江）, Minjiang River（岷江）and Tuojiang River(沱江), while Sichuan Province and Chongqing Municipality are the cradles and the major inheritance places of Chuanjiang work songs. And in this short essay, several types of Chuanjiang work songs distributed in different places in the Bashu area will be elaborated(Wu Mingshi, 2011:34-42).

First, Fuhe work song(府河号子). Fuhe work song, also called Huanglongxi work song(黄龙溪号子) and Jinjiang work song(锦江号子), is mainly circulated in the Jinjiang River basin, only existing in Huanglongxi Town, Chengdu(成都黄龙溪古镇) at present. With a history of more than 1,700 years, Huanglongxi Town is one of the ten ancient towns hailed as region of rivers and lakes in Sichuan Province, which was established and developed under the impetus of the prosperous Fuhe shipping industry. As the only work song in Chengdu, Fuhe work song is the representative one of Chengdu Plain（成都平原） located in southwest China. Because of the width and smoothness of the Huanglongxi River, the water flow is gentle, the music of Fuhe work song enjoys the characteristics of flat, fluent and elegant melodies. The Fuhe work song is a true portrayal of the primitive labor modes of boatmen living in Chengdu in successive dynasties, witnessing the history of waterway transportation of Chengdu, a well-known historical and cultural city(Wu Mingshi, 2011:34-42).

Second, Jialing River work song. Jialing River is an important tributary of the upper reaches of the Yangtze River. It originates at the northern foot of the Qinling Mountains(秦岭) situated in Sha'anxi Province（陕西省）, and runs through Guangyuan City（广元市）, Nanchong City（南充市） and Guangan City（广安市） in Sichuan Province, flowing into the Yangtze River in Chongqing area. The major drainage areas Jialing River flows through resemble a folding fan, and there are many winding and zigzag channels, steep mountains and swift torrents this river is beset with, thus it requires the arduous performance of boatmen. Therefore, the Jialing River work song came into being in this special geographical environment(Wu Mingshi, 2011:34-42).

Third, Jinsha River work song. Jinsha River work song is mainly spread from Pingshan County（屏山县） which is located in the lower reaches of the Jinsha River to Yibin City（宜宾市）. Due to the official government set in this place by imperial court in the Ming Dynasty, the productivity rate and social life downstream developed rapidly with unprecedented development achieved in shipping industry in Jiasha River, emerging as the main component of the production, life and social development of people residing in on both sides of Jinsha River. The lower reaches of Jinsha River is the most important section of shipment, and also the main place where the Jinsha River work song came into being, developed and spread. And as a result of torrential water flow and large water level drop, Jinsha River work song has a distinct identity and is now mainly preserved in Pingshan County(Wu Mingshi, 2011:34-42).

Fourth, Minjiang River work song（岷江号子）. Minjiang River, an important tributary of the upper reaches of the Yangtze River, is the most fundamental water resource in Chengdu Plain. Historically, irrigation projects represented by Dujiangyan(都江堰), an ancient engineering initiated by the governor of Sichuan during the reign of Qin Dynasty to prevent floods by water control, fostered the land of abundance. Minshan work song is mainly distributed in Jianwei County, Leshan City（乐山市犍为县）. And due to the multipeaked mountains and densely scattered reefs and rocks in the Jianwei section of Minjiang River, concerted efforts were made to form a unified work song in order to facilitate the unification of the pace and rhythm of boatmen bearing forward. The work songs with different rhythms and emotions called out by the boat trackers on the basis of different water conditions gradually evolved into and compiled in the famous musical collection named Minjiang River Work Song(Wu Mingshi, 2011:34-42).

Fifth, Tuojiang River work song(沱江号子). The Tuojiang River, a tributary of the upper Yangtze River, is located in central Sichuan Province. In the Tuojiang River basin, the ancient people living in the area of Tuojiang River used wooden boats to transport white sugar and sugarcane to other places and carried daily necessities back home. While the origin of Tuojiang River work song can be traced back to the history of wooden boat shipping. As Tuojiang River is close to Jialing River, Minjiang River and other rivers and lakes large and small, Tuojiang River work song has absorbed some elements of other work songs on account of the mutual influence of their geographical environment and freight traffic, thus forming today's Tuojiang work song(Wu Mingshi, 2011:34-42).

The five kinds of work songs mentioned above are only a small part of Chuanjiang work songs, but they are the most representative ones. In addition to Fuhe work song, Jialing River work song, Jinsha River work song, Minjiang River work song and Tuojiang River work song, there are other famous work songs named Tonghe work song(铜河号子), Yongninghe work song(永宁河号子) and so on. From this we can tell that the Chuanjiang work songs are not only diversified in contents but also extensively distributed in many places of Bashu area.

===The Inheritance of Chuanjiang Work Songs===

===The Translation of Chuanjiang Work Songs===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594==
<center>'''The Influence of Chinese Traditional Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
Chinese traditional philosophy sprang up around the time of the Shang and Zhou Dynasties (1600 B.C.--- 256 B.C.), took shape at the end of the Spring and Autumn Period (770 B.C.--- 476 B.C.), and flourished during the Warring States period (475 B.C.--- 221 B.C.) when a hundred schools of thought were already competing. Developing for more than 3,000 years, Chinese traditional philosophy has long been an integral part of Chinese culture. Up to 1949, its development history can be broadly divided into three stages. First, the period of slavery and the period of transition from slavery to feudalism. Second, the period of feudalism. Third, the period of transition from feudalism to socialism. The philosophy of the first two stages is known as ancient Chinese philosophy. And the last is called modern Chinese philosophy.

===Th

20220630 Culture 3

2022-06-30T11:26:25Z

Sun Lijun: /* The Features of Chuanjiang Work Songs */

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''Dissemination of Chinese Contemporary Literature'''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===

===Key words===
Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

===Introduction===

===Dissemination of Chinese Contemporary Literature in Different Regions===

===Dissemination of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present). In the first stage, Chinese contemporary literature translated to English-speaking countries focused more on social and political aspects than on literary aspects. In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak. Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than propaganda; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and market. The English-speaking world and Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin and It's Development in the Song Dynasty'''</center>

<center>Liu Zhen</center>

===Introduction===
First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

===Guqin and It's Development===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:
Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

In 1977, a recording of "Liu Shui" 【流水】 (Flowing Water, as performed by Guan Pinghu, one of the best qin players of the twentieth century) was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts. It is the longest excerpt included on the disc. In 2003, guqin music was proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.

Performance:
In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument.
They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin.

Playing Technique:
The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:
First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played
The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

===Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty===
At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

===Development of Guqin Music in the Song Dynasty===
The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

===The Song Dynasty guqin school -- Zhejiang school===
The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

===The Cultural Influence of GUqin===
The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.
In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin
The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics
When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture:
As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

===Conclusion===

===Conclusion===

===References===

===References===

===References===

==英语笔译龙翰良 Long Hanliang 202170081589==
<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>

<center>Long Hanliang</center>

===Abstract===

At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)

As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)

This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)

===Key words===

Chinese culture; Teaching Chinese as a second language; Cultural Exchange

===Introduction===

As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)

The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)

Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)

===Overall Design===
The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)

To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)

Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)

This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)

Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)

Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)

The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)

Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)

Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)

For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)

For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)

Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)

Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)

The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)

The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)

The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)

===Test Assessment===
The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)

Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)

The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)

The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)

Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)

The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)

In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)

1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)

2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)

3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time.
At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)

Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)

As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)

===Means and methods===

Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)

After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)

Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)

We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)

One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)

For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)

First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)

For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)

This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)

The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)

There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)

The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)

However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)

Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)

===Textbook Compilation===
1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)

(1) Practicality

Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)

The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)

It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)

The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)

(2) Knowledge

The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)

Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)

(3)Scientificity

1. To teach standardized and common Chinese characters

The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)

The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)

In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)

2. The organization of teaching content should conform to the law of language teaching

The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)

The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)

The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)

(4)Interest

Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)

Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)

In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)

In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)

===Classroom Teaching===

Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)

This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)

The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)

The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)

Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)

In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)

The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)

It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)

Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)

At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：

1. Respect each other among different cultures and adhere to the principle of cultural equality.

2. Disseminate the essence of culture and avoid clamoring for attention.

3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)

In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)

===Training of TCSL Teachers===

With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

1. modern Chinese knowledge

Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

2. linguistic knowledge

The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

3. cultural knowledge

Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

4. foreign language knowledge

Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

===Conclusion===

After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)

===References===

Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.

Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.

Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.

Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)

国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm

===Terms and expressions===
Classroom teaching 课堂教学

HSK 中国汉语水平考试

Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）国家汉办

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区

mahjong 麻将

chow mein 炒面

===Questions===
1.What are the four links of the whole process and teaching activities of second language teaching?

2.When was HSK officially implemented?

3.What is the most important link of teaching activities among the four links of teaching activities?

4.What are the principles of spreading Chinese culture in Chinese education abroad?

5.What types of HSK exams are there?

6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?

===Answers===
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.

2.The Chinese Proficiency Test (HSK) was officially implemented in 1990

3.Classroom teaching

4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.

Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.

Ⅲ. Handle sensitive issues properly and maintain national dignity.

5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).

6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.

==英语笔译罗姚林 Luo Yaolin 202170081590==
<center>'''Different Local Dialects in China'''</center>

<center>罗姚林 Luo Yaolin</center>

===Introduction===
Chinese dialects are branches of the Chinese language. The "Law of the People's Republic of China on the Common State Language and Script", promulgated on October 31, 2000, established Mandarin Chinese as the national language. During the development of Han Chinese society, there have been different degrees of differentiation and unification, thus making the Chinese language gradually produce dialects. There are various dialects of modern Chinese, and they are distributed over a wide area. The differences between modern Chinese dialects are phonetic, lexical, and grammatical, and the phonetic aspects are particularly prominent. Some domestic scholars believe that most dialects and common languages have certain phonological correspondence patterns, and many similarities in vocabulary and grammar, so they are not independent languages. Foreign scholars believe that people in each dialect area cannot talk to each other, so they are very independent languages, especially the dialects in Min language. Based on the characteristics of the dialects, the history of their formation and development, and the results of dialect surveys, the dialects of modern Chinese can be divided.

===the Origin of Chinese Dialects===

===Different Features of Dialects in China===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译马艳焕 Ma Yanhuan 202170081591==
<center>'''An overview on the study of Chinese folk stories '''</center>

<center>马艳焕</center>

===Abstract===
Shandong is a famous city of traditional culture with a long history. The traditional culture with local characteristics such as Dongyi culture and Qilu culture has left a valuable spiritual heritage for Shandong, in which folktales are loved by the people. The type of folktales roughly includes "myths", "legends", "stories" and so on, including natural change myths, hero myths, historical figures legends, religious figures legends, fairy legends, mountains and rivers legends, specialty legends, ghosts, foxes and spirits, animal stories, life stories, witty character stories and so on. This article will give an overview of the folk stories of Shandong Province, including the content of the story, the cultural and educational value carried by the story, the enlightenment to future generations, and so on.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592==
<center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center>

<center>聂薇</center>

===Introduction===
Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)

This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)

With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)

The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
===The evolution of the Spring Festival travel rush===
As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)

In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)

(i) The difficulty of travelling during the Spring Festival in ancient times

Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)

In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)

Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)

(ii) The difficulty of travelling during the Spring Festival in modern times

The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)

With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
===Cultural factors behind the Spring Festival travel rush in China===
The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)

(i) Confucian culture

In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)

The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)

It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)

The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)

In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)

A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)

But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)

This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)

(ii) ceremonial culture

In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)

During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)

The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)

Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)

(iii) institutional culture

One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)

The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)

(ⅳ) the concept of family-and-nation

In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)

In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)

However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)

As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
===Way of relieving pressure from the rush===
Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
===The prevalence of the Anti-Spring Festival travel rush===
In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)

On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)

But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)

On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)

Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
===Conclusion===
No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)

The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)

The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)

It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)

The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)

Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
===Terms and expressions===
Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）

The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

the system of urban-rural regional segregation：城乡区域隔离制度

the household registration system：户籍制度

the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
===References===
*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
===Questions===
1.How long does the Spring Festival travel rush usually last?
A.30 days
B.40 days
C.50 days
D.60 days

2.Which one of the following group is not the main reason that results to the rush?
A.Migrant workers
B.Students
C.Those planning to visit relatives
D.Tourists

3.Which one of the following cultures is the main factor that encourages family reunion?
A.Confucian culture
B.Taoist culture
C.Buddhist culture
D.Christian culture
===Answers===
1.40days

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

<center>'''Chuanjing Work Songs'''</center>

<center>Sun Lijun</center>

===Introduction===

Work song, nicknamed haozi(号子) in Chinese, is a kind of folk song that is created and sung by the working people in the process of production, bearing a direct relation with the manual work. And the contents of Chuanjiang work songs are rich and colorful, the representative works are Kuixing Tower(《魁星楼》), Giant Turtledove(《大斑鸠》), Lanlong Work Song(《懒龙号子》) and so on. Moreover, work song truthfully reflects the labor conditions and the mental appearance of the boatmen, emerging as an indispensably organic part in those workers' life. Chuanjiang work song, as one kind of work songs, is a traditional folk music originated in the Southwest China, mainly in Sichuan Province and Chongqing Municipality just as its name implies. And Chuanjing work song is a form of folk singing, led by a labor singer and accompanied by a crowd of boatmen in order to unify action and rhythm. It is a song of life cast by blood and sweat of those boatmen when they are struggling with the dangerous shoals and rapids, which is indicative of the working people's hardworking and their courageousness. Affluent in cultural connotations and charismatic in language art, Chuanjiang work song is the crystallization of the labor and wisdom of people living in Sichuan and Chongqing, which demonstrates the unsophisticated nature and tenacious will of them, possessing very high cultural value. However, as time goes on, great progress has been made in science and technology and outstanding improvements have been achieved in raising people's material living conditions, thus there is no need for them to struggle to meet the basic needs. It is not an age of necessities nowadays though, with the acceleration of modernization, Chuanjiang work song has lost its material carrier of its existence and is slowly withdrawing from the stage of history. On May 20th, 2006, with the approval of the State Council of the People's Republic of China, Chuanjing work song was listed as the First Batch of National Intangible Cultural Heritage, and only after then it's protection and inheritance were gradually given attention by all parties, namely all walks of life and the rescue of this intangible cultural heritage became imminent. While just as a common saying goes, "Rome was not built in one day", the protection and inheritance of Chuanjiang work song are not an easy task, which needs massive investment of manpower, physical and financial resource. Mostly attracted by new high-tech products, many modern youngsters don’t have the least idea to understand and learn the Chuanjiang work song, not to mention that a sea of young people have never heard of Chuanjiang work song, which is a pity. Hence, there is a problem that still remains to be solved, that is how to raise youngsters' interests in and willingness to know more about Chuanjiang work song so as to better protect and inherit the endangered Chuanjiang work song.

===The History of Chuanjiang Work Songs===

Chuanjiang work song, which enjoys a long history and is unique among the work songs in Sichuan and Chongqing which is called Bashu area for short, is not only diverse in forms but also rich in contents.
From the Perilous Journey to the Land of Shu, which was composed by Li Bai, one brilliant and great poet in Tang Dynasty, we can tell that Bashu area had an extremely rugged landscape. "The westbound road to Shu, so steep, steeper than Heaven! I plod my way, step by step, sign after sign", these two lines from this poem Perilous Journey to the Land of Shu especially project a vivid picture for us to imagine and illustrate how peculiar and precipitous the Bashu area is since the ancient time! And Bashu area is crisscrossed by rivers and canals with more than 90 rivers and streams of various lengths, in addition to this, the overlapped peaks rise one above the other in Bashu area, inviting traffic inconveniences for this region. Hence, the cargo circulation and passenger transportation all were carried by wooden boats in the ancient time. According to some archaeological discoveries, the Neolithic stone anchors and the tracker's tome figures, which were excavated along the banks of the Yangtze River running through Bashu area, are the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song in Bashu area(Wu Mingshi, 2011:34-42).
However, it was around the middle of Qing Dynasty that the work songs gradually were on the upgrade. And the Chuanjiang work song was the fruit of those industrious boatmen's hardworking and life. According to the water potential and the depth, currents as well as other characteristics of the rivers, the dangers of reefs and submerged rocks to boats, the leader of those boatmen then created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen's rowing and pulling. And this is how Chuanjiang work song was produced. While after the founding of the People's Republic of China, the government began to set about the business of the regulation of inland waterway navigation, therefore rivers and lakes in the Chuanjiang River Basin were destroyed by explosions to the submerged reefs and rocks in order to dredge the rivers and build waterpower stations. So these turbulent rivers and treacherous shoals that inspired boatmen to sing work songs have been a thing of the past. As the motor ships gradually replaced the wooden boats, the old shipping industry lost its competitiveness and living space little by little. The figures of the boatmen of the old days who swept over the rapids and dangerous shoals and climbed the rocks while towing a boat are gradually vanishing from people's sight in modern times, what's more, the appealing sound of the Chuanjiang work songs is fading away, resulting in the adverse conditions faced by Chuanjiang work songs. And scholars in the academic circles generally believe that Chuanjiang work song is cultural treasure in the history of waterway transportation along the Yangtze River and its existence reflects the indomitable fighting spirit, heroic spirit and humorous traits of character of the working people in the Chuanjiang River Basin when in face of a hostile environment. Such kind of intangible inheritage culture is supposed and deserves to be protected well, carried forward and promoted well in order to make Chinese culture and language splendid and glorious.

===The Features of Chuanjiang Work Songs===
Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.

Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).

First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).

Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).

Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.

===The Geographical Distributions of Chuanjiang Work Songs===

===The Inheritance of Chuanjiang Work Songs===

===The Translation of Chuanjiang Work Songs===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594==
<center>'''The Influence of Chinese Traditional Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
Chinese traditional philosophy sprang up around the time of the Shang and Zhou Dynasties (1600 B.C.--- 256 B.C.), took shape at the end of the Spring and Autumn Period (770 B.C.--- 476 B.C.), and flourished during the Warring States period (475 B.C.--- 221 B.C.) when a hundred schools of thought were already competing. Developing for more than 3,000 years, Chinese traditional philosophy has long been an integral part of Chinese culture. Up to 1949, its development history can be broadly divided into three stages. First, the period of slavery and the period of transition from slavery to feudalism. Second, the period of feudalism. Third, the period of transition from feudalism to socialism. The philosophy of the first two stages is known as ancient Chinese philosophy. And the last is called modern Chinese philosophy.

===Th

20220630 Culture 3

2022-06-30T11:25:11Z

Sun Lijun: /* The Features of Chuanjiang Work Songs */

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*[[20220630_Culture_1]] papers 1-10: 1: 英语笔译卞王倩 Bian Wangqian 202170081563 '''Europeanized Chinese and Cultural Factors Behind it''', 2: 英语笔译曹姣 Cao Jiao 202170081564 '''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example''', 3 英语笔译陈路瑶 Chen Luyao 202170081565, 4 英语笔译崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译邓阳林 Deng Yanglin 202170081567, 6 英语笔译高智慧 Gao Zhihui 202170081568, 7 英语笔译何丽娜 He Lina 202170081569, 8 英语笔译胡良明 Hu Liangming 202170081570, 9 英语笔译黄琼 Huang Qiong 202170081571, 10 英语笔译邝雨琪 Kuang Yuqi 202170081572
*[[20220630_Culture_2]] papers 11-20: 11 英语笔译黎溢佳 Li Yijia 202170081573, 12 英语笔译李思敏 Li Simin 202170081574, 13 英语笔译李思源 Li Siyuan 202170081575, 14 英语笔译李婷 Li Ting 202170081576, 15 英语笔译李欣 Li Xin 202170081577, 16 英语笔译李颖 Li Ying 202170081578, 17 英语笔译李媛 Li Yuan 202170081579, 18 英语笔译李梓婕 Li Zijie 202170081580, 19 英语笔译梁思婷 Liang Siting 202170081581, 20 英语笔译廖诗韵 Liao Shiyun 202170081582
*[[20220630_Culture_3]] papers 21-30: 21 英语笔译刘唱 Liu Chang 202170081583, 22 英语笔译刘乐乐 Liu Lele 202170081584, 23 英语笔译刘双英 Liu Shuangying 202170081585, 24 英语笔译刘婷 Liu Ting 202170081586, 25 英语笔译刘瑶 Liu Yao 202170081587, 26 英语笔译刘珍 Liu Zhen 202170081588, 27 英语笔译龙翰良 Long Hanliang 202170081589, 28 英语笔译罗姚林 Luo Yaolin 202170081590, 29 英语笔译马艳焕 Ma Yanhuan 202170081591, 30 英语笔译聂薇 Nie Wei 202170081592
*[[20220630_Culture_4]] papers 31-40: 31 英语笔译孙丽君 Sun Lijun 202170081593, 32 英语笔译仝雨梦 Tong Yumeng 202170081594, 33 英语笔译童略雅 Tong Lueya 202170081595, 34 英语笔译庹树梅 Tuo Shumei 202170081596, 35 英语笔译王思琪 Wang Siqi 202170081597, 36 英语笔译王亚娟 Wang Yajuan 202170081598, 37 英语笔译肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译肖佳莉 Xiao Jiali 202170081600, 39 英语笔译谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译熊嘉玲 Xiong Jialing 202170081602
*[[20220630_Culture_5]] papers 41-50: 41 英语笔译颜媛 Yan Yuan 202170081603, 42 英语笔译杨心怡 Yang Xinyi 202170081604, 43 英语笔译杨紫微 Yang Ziwei 202170081605, 44 英语笔译张国浩 Zhang Guohao 202170081606, 45 英语笔译张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译张瑞 Zhang Rui 202170081608, 47 英语笔译赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译钟青 Zhong Qing 202170081611, 50 英语笔译周皓熙 Zhou Haoxi 202170081612
*[[20220630_Culture_6]] papers 51-60: 51 英语笔译周哲 Zhou Zhe 202170081613, 52 英语笔译朱丽娟 Zhu Lijuan 202170081614, 53 英语口译段小蝶 Duan Xiaodie 202170081615, 54 英语口译方楚晗 Fang Chuhan 202170081616, 55 英语口译胡雯雯 Hu Wenwen 202170081617, 56 英语口译黄天琪 Huang Tianqi 202170081618, 57 英语口译兰绮 Lan Qi 202170081619, 58 英语口译李丹 Li Dan 202170081620, 59 英语口译李立飞 Li Lifei 202170081621, 60 英语口译莫雨婷 Mo Yuting 202170081622
*[[20220630_Culture_7]] papers 61-70: 61 英语口译彭慧璇 Peng Huixuan 202170081623, 62 英语口译时友洁 Shi Youjie 202170081624, 63 英语口译伍佳惠 Wu Jiahui 202170081625, 64 英语口译夏晶 Xia Jing 202170081626, 65 英语口译向师琦 Xiang Shiqi 202170081627, 66 英语口译向望 Xiang Wang 202170081628, 67 英语口译徐舞 Xu Wu 202170081629, 68 英语口译张静芝 Zhang Jingzhi 202170081630, 69 英语口译张旻丰 Zhang Minfeng 202170081631, 70 日语笔译曹梦然 Cao Mengran 202170081632
*[[20220630_Culture_8]] papers 71-80: 71 日语笔译胡梦琪 Hu Mengqi 202170081633, 72 日语笔译张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译徐盖 Xu Gai 202170081638, 76 朝鲜语笔译徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Translation and Dissemination of Chinese Contemporary Science Fiction '''</center>

<center>Liu Ting</center>

===Abstract===

Science fiction, Sci-fi for short, is defined as a novel that makes reasonable assumptions on the basis of respecting scientific conclusions. Chinese science fiction originated from the West and came into being under the influence and inspiration of translation. The translation of science fiction in China dates back to the late Qing Dynasty and the early Republic of China. Since the beginning of the new century, many translated Chinese science fictions have been recognized by the international science fiction community, winning many awards such as the Hugo Award. Therefore, its translation and dissemination has become a phenomenon worthy of attention. However, in the field of translation studies, research on Chinese science fiction translation and dissemination is still insufficient. Therefore, this paper aims to study and analyze the contents, subjects and reception of contemporary Chinese science fiction translation and dissemination, summarize the problems involved, and look into the future, hoping that more attention could be paid to its translation and dissemination, so as to promote Chinese science fiction to go global.

===Key words===

Chinese science fiction, translation, dissemination, go global

===Introduction===

Science fiction originated from the Industrial Revolution in the West, and is a reflection of the development of technology and the demand of human beings to understand and transform nature in the field of literature and art. Science fiction is a product of the advent of the scientific century, a necessary reflection of the spiritual civilization after the integration of science and technology and the promotion of industrialization, a new and novel cultural phenomenon worthy of study and attention. It is generally believed that in 1818, Mary Shelley's "Frankenstein" pioneered science fiction.

The translation of science fiction follows the general rule of translating to convey the meaning of works, transmits the bizarre and transcendental storyline, reflects the narrative content and artistic value of the original text in translation, and generates a unique science fiction reading effect, so that the artistic connotation and expression value of science fiction can be reflected and extended in the language and culture of the translator through the reading and appreciation of the translated text, and continues to play its role of entertaining and influencing readers. This allows the artistic connotation and expressive value of foreign science fiction to be reflected and extended in the language and culture of the translator's country through the reading and appreciation of the translated text, and to continue to play its equivalent role of entertaining and influencing readers, thus releasing its scientific and cultural educational function.

Chinese science fiction has a history of more than 100 years. The translation of science fiction has not only provided sustenance for Chinese science fiction literature, but also witnessed the development of local science fiction literature from its infancy to its development. In recent years, the publication of Liu Cixin's trilogy, "The Three-Body Problem", has become a landmark event in the Chinese science fiction industry, attracting not only strong reactions in China, but also great interest from foreign readers and enthusiastic reviews and praise from professional critics. Since then, Chinese science fiction novels have been translated into the Western world and have frequently won international science fiction awards, becoming a thriving part of Chinese culture that has "gone global".

Nowadays, the competition between different countries in different fields has become more and more intense and complex. Cultural communication and development is always one of the hot topics. The universal and contemporary nature of Chinese science fiction literature has positive significance for the construction of Chinese cultural image. However, in the field of translation research, there is still much room for research on science fiction translation, and there is a particular lack of systematic research on foreign translation of Chinese science fiction works. Therefore, this paper will provide an overview and analysis of the research on foreign translation of Chinese science fiction literature on the basis of the basic situation of foreign translation of local science fiction novels, in order to provide some reference for the "going global" of Chinese science fiction literature and the translation of Chinese science fiction literature.

===Chinese Science fiction===

Science fiction

Science fiction or Sci-fic is a literary genre that originated in the West in modern times. which is based on scientific conclusions and reasonable assumptions. It is a form of fantasy that represents the material, spiritual and cultural life of human beings in the future world and the vision of science and technology. It is generally believed that a good science fiction novel must have three elements: "logical self-consistency", "scientific elements" and "humanistic thinking".

Science fiction originated in the West and is a literary genre that emerged with the booming development of science and technology in modern times. It is generally believed that Mary Shelley was the first to introduce science fiction elements into the creation of novels. Her "Frankenstein", published in 1818, is considered by many critics and enthusiasts to be “the world's first science fiction novel”. In the late 19th and early 20th centuries, there were two important European novelists: Jules Verne (French) and Herbert George Wells (English). The former is known as the "father of science fiction", and "20,000 Leagues Under the Sea", "The Mysterious Island" and "Captain Grant's Daughter" are his representative works. What is unique about Verne is that his novels show an unprecedented spirit of "scientific optimism," that is, the belief that "thanks to the development of science and technology, nothing is impossible," or that "with science the world will be more exciting in the future. The world of the future will be more exciting with science." The British author Wells pointed out all the paths that future generations of science fiction writers could continue to explore. His masterpieces include "The Time Machine", "The First Man on the Moon" and "When the Sleeper Wakes". Wells himself was also a prominent social activist who was critical of the capitalist system and always held the political view that "capitalism will lead to disaster". His works always allude to the society and politics of the time through a fantasy society. His works as a whole are full of concern for the future fate of human society, and both he and his works had an important impact on the social system and morality of the time. After the Second World War, science fiction took root in the United States. A pioneering figure in American science fiction was Edgar Rice Burroughs, author of the famous series of adventure novels, Tarzan of the Apes. American science fiction inherited the same kind of stylistic tradition as Wells, and became mainstream popular literature along with fantasy and adventure stories.

As science fiction continued to develop, many movies based on science fiction have been produced, which have more profoundly influenced the entertainment life and way of thinking of modern human society.

The science fiction community has also established many prestigious awards, such as the Hugo Award (which honors Hugo Gainsbourg, the founder of the first American science fiction magazine), the Nebula Award (the most prestigious award among science fiction awards), the Galaxy Award (the highest honor in Chinese fantasy fiction), and so on.

1.2 Origin and Development of Chinese Science Fiction

As a product of industrial civilization, science fiction is the only literary genre that has never existed in traditional Chinese literature (c.f: Han Song 2010, 28). Western science fiction was introduced to China through translation, beginning in the late Qing Dynasty and early Republican period, more than a hundred years ago. At that time, Western science and technology was developing rapidly, and it aroused the curiosity of the Chinese. Far-sighted individuals understood that the idea of science fiction was like a reflection on the backward economic, political, and technological system of society, and that it could lead us into a better future; otherwise the country would be impoverished and weak, and the massive popularity of science and technology was what China needed at that time, and this need was based on imagination. The fatal weakness of Chinese science and technology at that time was precisely the fear of imagination.

From the initiative to translate and study science fiction, to the creation and feeding of science fiction, the development of Chinese science fiction over the past hundred years can be roughly divided into four periods.

The first stage is the period from 1900 to 1919, the rise of science fiction translation, when Chinese science fiction was born. In the late Qing Dynasty, science fiction entered China with the Western scientific and cultural trend. According to the data, the first science fiction translation was French novelist Jules Verne's classic "Around the World in Eighty Days" (then titled《八十日环游记》in Chinese translation) (c.f: Guo Yanli 1998, 168). Since then, science fiction literature began to take root in China, spreading and introducing advanced Western scientific knowledge through fantastical storylines in the form of novels, and attracting the attention of advanced intellectuals. According to current data, the first two writers who began to advocate science fiction in China were Liang Qichao and Zhou Shuren, who in 1902 opened a column on "Philosophical and Scientific Fiction" in his own magazine, New Novel. The following year, Zhou Shuren translated Verne's novel "From the Earth to the Moon" and wrote a preface to it. From 1900 to 1919, more than 40 Western science fiction novels were translated into Chinese and introduced to the Chinese public (c.f: Jiang Qian 2007, 227)

The early translations of Western science fiction directly contributed to the birth of the new genre of Chinese science fiction. In 1904, the author whose pen name was 荒江钓叟 influenced by "Five Weeks in the Balloon" and wrote "The Moon Colony", one of the earliest science fiction novels in China. In 1905, Xu Nianci published "The New Mr. Fallo Tan", which was actually a sequel to the German "Mr. Fallo Tan". Science fiction in this initial stage was created with the same purpose as translation, and fantasy was more closely integrated with reality, that is, with the theme of saving the country, hoping to save China in distress by spreading the knowledge of natural science.

The second stage, from the early days of the founding of the PRC to the Cultural Revolution, was a new era of science fiction translation and creation. After the liberation, influenced by the political environment, Soviet science fiction became the main source of science fiction translations. Due to the political and ideological need for translation prosperity, the standardization of language and translation was also gradually improved. Science fiction translations in this period increased fidelity to the original text while taking into account readability, mainly adopting a combination of literal and free translation strategies, preserving the stylistic quality of the original text without limiting the syntax and sequence of the original text, and adding new footnotes to help Chinese readers understand. Influenced by Soviet science fiction, science fiction writers of this period had a consistent and clear goal: to convey as much scientific knowledge as possible to young people and children through science fiction, and to portray the bright future of the socialist country, so that young readers would be filled with hope and aspirations for the future of the motherland. "From Earth to Mars", written by Zheng Wenguang in 1954, was the first true science fiction novel in the history of New China. Zheng's work represents the overall characteristics of Chinese science fiction writing in the same period, that is, a distinctive sense of science popularization and children's literature, directly serving the popularization of science.

The third stage was from the end of Cultural Revolution in 1976 to the Ideological Rectification Movement in 1983, a brief spring of science fiction translation and creation. The development of science and technology in the country provided a good support for the development of science fiction. During this period, a large number of science fiction journals emerged, such as "Science Fiction World", which was founded in 1979, and "Science Fiction Ocean", which was created in 1981. In the early 1980s, the creation of Chinese science fiction reached an unprecedented boom, and science fiction frequently appeared in important literary journals such as People's Literature, Beijing Literature, Shanghai Literature, Contemporary Times, and Novel World, And Ye Yonglie, Zheng Wenguang, Tong Enzheng, and Liu Xingshi were called the "four great masters" of Chinese science fiction (c.f: Kong Qingdong 2003, 42). In 1980, Ye Yonglie was elected as the only director of the World Science Fiction Federation (WSF) in Asia, which was the first time for Chinese science fiction to go global. Zheng Wenguang's The Flight to Sagittarius was the first full-length science fiction novel in China. Tong Enzheng's Dead Light on Coral Island was published in People's Literature in 1978, the first time a science fiction novel was published in China's highest literary journal.

The fourth stage, from the 21st century to the present, is the feeding of Chinese science fiction into world science fiction. (c.f: Wang Xueming, Liu Yi 2015, 30). Entering into the 21st century, with the advent of globalization and the era of all-media, and the increasing exchanges between China and the international community, science fiction translation has entered a new era. A large number of excellent science fiction writers emerged in this period, such as Liu Cixin, Hao Jingfang, Han Song, and so on. It also witnessed the birth of many excellent works, such as Liu Cixin's "Wandering Earth", "The Three-Body Problem", and "Supernova Era", Hao Jingfang's "Beijing Folding", Han Song's "High Speed Rail", and "Subway". After the 21st century, the number of Chinese science fiction translated into other languages has increased dramatically, proving the great potential of Chinese science fiction development.

===2. Status of Translation and Dissemination of Chinese Science Fiction===

The overseas export of Chinese original science fiction novels has a long history. The earliest record that can be found now is the translation of Lao She's long science fiction novel "The Tale of the Cat City" by James E. Dew into English in 1964. However, in the first three stages, the translation of Chinese science fiction was fragmented and did not form a scale. From 2000 to 2020, the number of English translations of Chinese science fiction (including only the first publication) totaled 214 titles, including 10 full-length novels and 204 short and medium-length novels. (c.f: Gao Xi 2021, 58). In November 2014, Tor Books, one of the world's leading publishers of authoritative science fiction literature, published the first book of The three-body Problem, translated by Chinese-American science fiction writer Liu Yuqun, which subsequently won the Hugo Award. 2016, Hao Jingfang's In 2016, Hao Jingfang's Folding Beijing won the Hugo Award for Best Short Story.

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's "The Dark Forest" (2015), "Death's End" (2016), "Ball Lightning" (2018), "Supernova Era" (2019), "Of Ants and Dinosaurs" (2020), Wang Jinkang's "Fourth Degree Panic" (2016), Chen Tulufan's "Waste Tide" (2019), Baoshu's "The Redemption of Time" (2019), and Hao Jingfang's "Vagabonds" (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including "Invisible Planets: Contemporary Chinese Science Fiction in Translation" (2016) and "Broken Stars: Contemporary Chinese Science Fiction in Translation" (2016), edited by Liu Yukun. There are three personal collections, including "To Hold Up the Sky" (2020) of Liu Cixin’s works, Han Song's "A Primer to Han Song" (2020) and Xia Jia's "A Summer Beyond Your Reach" (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.

Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.

In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Translation and Dissemination===

Since the 21st century, there has been a boom in foreign translations of Chinese science fiction, and Chinese science fiction works have been translated into various languages at an unprecedented speed and scale, becoming a new calling card for Chinese literature “to go global".

The rapid development and continuous innovation of Chinese science fiction, as well as the attention and recognition of the world science fiction literature community towards Chinese science fiction, have pushed this literary category to gradually escape its own long-standing marginalization and begin to move closer to the center of literature. But while Chinese science fiction and translation are flourishing, we must also look at the problems that exist. Only by overcoming these problems can Chinese science fiction "go global" achieve further success.

First, although science fiction literature is increasingly moving to the "center" of literature, the creation of science fiction literature and the boom generated by its research have not generated the same interest and attention in the field of translation studies. Professor Guo Jianzhong's "Science Fiction and Science Fiction Translation: Theory, Techniques and Practice" is a must-read for anyone involved in science fiction translation and research. He was instrumental in establishing China's first "Institute of Science Fiction Literature" in the Department of Foreign Languages at Hangzhou University, but the Institute did not exist for long and its impact as a research unit was limited. Dr. Jiang Qian's doctoral dissertation, "Fantasy and Reality: Twentieth-Century Science Fiction in China" (2006), focuses on the translation and reception of twentieth-century science fiction in China, with a macro-historical overview and a micro-analysis of typical science fiction works from different periods, revealing the delicate interaction between translation and history and society in the process of translation. Apart from the above two monographs, most of them are fragmentary research papers. The lack of research on the translation of Chinese science fiction will not allow scholars to understand the new trends and characteristics of translation, and the lack of theoretical guidance will lead to the lack of good translation works.

Secondly, from the perspective of translation subjects. The subject of translation refers to "who" translates, and it is the problem of the translator that is explored. The most important issue in the foreign translation of Chinese science fiction is the quality of the translation. It is true that there are many excellent science fiction writers in China who have created a large number of excellent works, but there are not many excellent translations. The translation is an important medium for Chinese science fiction to go out, and without excellent translations, the excellent works will only be left in the dust. The reason for this is the lack of science fiction translation talents. Nowadays, the main translators of Chinese full-length science fiction novels are Liu Yu Kun and Zhou Hua. The former is known as "the first person to translate Chinese science fiction into English", and his first translation, The Fish of Lijiang, won the World Science Fiction and Fantasy Translation Award in 2012. His translations of The Three Bodies and The Beijing Fold have won successive Hugo Awards, and his translations have been instrumental in winning the Hugo Awards in the competition for original works in foreign languages. As a native English speaker who has lived in China for many years, Zhou Hua is well versed in Chinese language and culture. He not only translates science fiction, but also pure literature and non-literary works, and his translation skills should not be underestimated. On Amazon.com, the vast majority of readers have positively evaluated the translations by Yuquan Liu and Hua Zhou, saying that the translations are fluent without losing fidelity and readable, while retaining Chinese cultural characteristics well. Therefore, attention should be paid to the cultivation of science fiction translation talents, without which the world will not be able to know the real status of Chinese science fiction.

In addition, from the perspective of the translation route. The translation route explores the issue of how to promote and disseminate works. The foreign translation of Chinese science fiction lacks a complete industrial chain. "The Three-Body Problem" is a successful example of China's science fiction "going out". In 2014, the first English translation of "The Three-Body Problem" was published in the United States by the American publisher Tor Books. Founded in 1980, the publisher is the world's largest publisher of fantasy literature and a dream publisher for the world's top science fiction writers. Second, when the English translation of "The Three-Body Problem" was published in the United States, it was promoted in major media. The New York Times, The Washington Post, Publishers Weekly and other mainstream newspapers and magazines all promoted and reported on it. Compared with American science fiction, Chinese science fiction has not been marketed enough. American science fiction has formed a complete industry chain from periodicals to books to films and games, and a large number of science fiction novels and films based on them have been translated and introduced to other countries with great momentum, while the Chinese science fiction market is still a long way from it. Therefore, we should continue to explore a complete, mature and diversified science fiction industry chain, so as to provide a constant impetus for science fiction translation.

Finally, from the perspective of the translation audience. The audience of translation refers to the question of "who is the reader". As the mainstream ideology, the national culture of the English-speaking world has swept the world with a strong export attitude, and its people also use its mainstream culture as the value standard to examine the culture and literature of other countries. Therefore, in the process of Chinese literature dissemination to foreign countries, there is a problem of inequality between the weak culture and the strong culture. The proportion of translated literature in Western countries is extremely small. China has made active efforts to promote the foreign dissemination of Chinese culture, but if China does not make efforts to explore the best way to communicate with foreign audiences, the utility will only be half the effort. It should be said that in the process of going global, Chinese literature must understand the translation audience and adjust the translation behavior according to the needs of the translation audience in order to achieve better translation results.

Considering the above-mentioned problems, we should look for positive strategies to deal with them, so as to promote the dissemination of Chinese science fiction in the global arena. However, we should pay the most attention to good original works and translations. "Wine is not afraid of a deep alley", and good translations can help science fiction works to spread better in other countries.

===Conclusion===

At present, the translation of Chinese science fiction in the English-speaking world is getting better and better, and it has become an important vein of Chinese literature "going out". We should actively use the existing achievements and resources to bring into play the unique advantages of science fiction translation. On the one hand, we should insist on the commercialization of Chinese science fiction literature translation. Relevant enterprises should take advantage of their knowledge of domestic science fiction resources, cooperate with publishers such as Tor Books, and use their mature distribution channels to market their translations. Through these mainstream science fiction magazines and commercial publishers, Chinese science fiction has really come closer to the mass English readers, and even once became a hot topic in the translation-into-language society. On the other hand, according to the characteristics of the writers' works, we adopt suitable translation methods. For writers with high recognition in the English-speaking world, such as Liu Cixin and Chen Lvfan, long novels and individual collections are published; while for new writers or writers at the initial stage of translation, we mainly start with short and medium stories, and gradually cultivate readers' interest in the writers' works through science fiction magazines and multi-person collections.

At the same time, we should pay attention to the problems in the translation process and make timely adjustments to ensure the sustainable and stable export of Chinese science fiction to the outside world. First, we should pay attention to the balance and representativeness of translated works. We should not translate only one writer's works just because he is particularly popular in overseas markets, but should select works suitable for translation according to readers' preferences, translate and introduce more excellent works of different writers. We should pay attention to the sustainability of science fiction literature and industry development. The prosperity of science fiction English translation is fundamentally dependent on the continuous development of Chinese science fiction literature and industry. Both creation and film and television adaptations require sustained policy support and financial investment. The government should clarify the value of science fiction literature and help the long-term development of science fiction industry. In the process of translation and mediation, it should pay attention to and foster local Chinese publishing houses and science fiction culture companies, and reward all kinds of overseas promoters engaged in translation, publishing, criticism, and research work. Only if the literary, translation and publishing communities form a synergy, can Chinese science fiction stand in the world's forest of science fiction.

===References===

===Terms and Expressions===

Science Fiction 科幻小说

Late Qing Dynasty and early Republic of China 晚清民初

The Hugo Award 雨果奖

Scientific elements 科学元素

Humanistic thinking 人本思维；人道主义思想

Translation subject 翻译主体

The Three-Body Problem 三体

Folding Beijing 北京折叠

Marginalization 边缘化

Publishing house 出版社

Mainstream culture 主流文化

===Questions===

1. What is considered by many critics and enthusiasts to be “the world's first science fiction novel”.

2. What is the first true science fiction novel in the history of New China.

3. In 2014, the first English translation of "The Three-Body Problem" was published in the United States by which publishing house?

===Answers===
1. "Frankenstein"

2. "From Earth to Mars"

3. Tor Books.

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''Dissemination of Chinese Contemporary Literature'''</center>

<center>刘瑶 Liu Yao</center>

===Abstract===

===Key words===
Chinese Contemporary Literature; dissemination; Yu Hua; Liu Cixin

===Introduction===

===Dissemination of Chinese Contemporary Literature in Different Regions===

===Dissemination of Contemporary Chinese Literature in English-speaking Countries===
The history of contemporary Chinese literature in English-speaking countries can be roughly divided into four stages: the “Seventeen Years” (1949-1965) at the beginning of the founding of the People’s Republic of China, the “Cultural Revolution”(1966-1976), the new period (1977-1999) and the new century (2000-present). In the first stage, Chinese contemporary literature translated to English-speaking countries focused more on social and political aspects than on literary aspects. In the second stage, due to the influence of the Cultural Revolution, the translation activities of Chinese literature dominated by China decreased. In the third stage, with the gradual liberation of thought, “scar literature”, the most popular literary theme after the Cultural Revolution, received domestic and international attention and became the focus of translation in the late 1970s and early 1980s, but gradually went into decline in the late 1980s. However, it gradually declined in the late 1980s. The official translation focus in China shifted first, and some of the pioneering writers were translated to the English-speaking world earlier than the European and American editors. However, domestic translation and publishing institutions did not pay much attention to writers such as Yu Hua and Su Tong, who were of great interest to the English-speaking world. At the same time, the proportion of works by Hong Kong and Taiwan has increased in the translation of contemporary Chinese literature under the domination of the West and China, and the translation of contemporary Chinese women writers has also reached a peak. Since the beginning of the 21st century, the translation of contemporary Chinese literature has gradually become prosperous, and the mode of translation in China has also undergone significant changes. There are two major changes in the official-led mode of Chinese literature translation and introduction at this stage: first, in terms of translation selection, the translated works are more literary than propaganda; second, in terms of publication, more attention is paid to the commerciality of the translated works, focusing on exchanges and cooperation with overseas booksellers and market. The English-speaking world and Hong Kong and Taiwan have also become more diversified in their translations of contemporary Chinese literature, beginning to focus on popular literature, new literary forms and new writers.

===Dissemination of Contemporary Chinese Literature in Spanish-speaking Countries===

===Dissemination of Contemporary Chinese Literature in France===

===Dissemination of Representative Chinese Contemporary Literary Works===
Spreading Chinese culture in teaching Chinese as a second language

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin and It's Development in the Song Dynasty'''</center>

<center>Liu Zhen</center>

===Introduction===
First of all, no matter how much traditional culture guqin carries behind it, it is still a musical instrument from a material level. Since it is an instrument, the musical development of the guqin is an important aspect of its cultural nature. The development of guqin in Song Dynasty is a comprehensive process and also a process of multiple factors. First of all, we should admit that the development of guqin in song Dynasty is based on the development of guqin culture in previous generations. From the Spring and Autumn period and the Warring States period to the Wei, Jin, Sui and Tang dynasties, ancient guqin players emerged one after another. These contributions include the material production skills of guqin, the artistic performance techniques of guqin, and the spiritual accumulation of traditional guqin culture. Secondly, we should also see that the guqin music of the Song Dynasty has made great progress and yielded fruitful results based on the development achievements of the previous generations. Due to the large number of guqin music and culture lovers, many skilled guqin players have emerged on this basis, and a number of high-level guqin music works like Xiaoxiang Shuiyun have emerged in the creation of guqin music. On the systematic theory of guqin, a number of works on guqin, such as Cui Zundu's "Qin Jian" and Zhu Changwen's "Qin History", have the characteristics of The Times and play a foundational role. Under the influence of various music forms in the Song Dynasty, guqin music and song Ci music exchanged with each other and changed at the same time, finally forming the first important school in the history of guqin development in the Southern Song Dynasty -- Zhejiang school. It embodies the height of guqin music in the song Dynasty in terms of skills and culture.

===Guqin and It's Development===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

Origin:
Guqin players historically have had different theories about the origin of the guqin, when it first appeared and who invented it, with no conclusive theory to this very day. Generally, from existing historic writings, we see that several significant figures were believed to have created the guqin, for example: Fúxī（伏羲）, Shénnóng（神农）, Emperor Yán（炎帝）, the Yellow Emperor（黄帝）, Emperor Yáo（尧）, Emperor Shùn（舜）. Tales of the above figures have been passed down through legend and folklore for the past four to five thousand years, and are all related to the creators of Chinese nationality. Although no one can prove which of these figures created the guqin, they have at least provided us with two insights. First, the guqin has a very long history. Second, the guqin is closely related to highly intelligent, respected and honorable figures, figures that played crucial roles of importance in the development of Chinese history and culture. Ever since the guqin was created, it has occupied a unique position in the hearts of Chinese people and in Chinese culture, and so it has been honored as the “instrument of the sages”.

In comparison with other theories, the one involving Emperor Shun’s （舜）creation of the guqin is more descriptive and detailed in historical records. The chapter “Record of Music” in the Book of Rites, and the “Treatise on Music” and the “Annals of the Five Emperors” in the Records of the Grand Historian, amongst others, have clearly recorded Emperor Shun and the origin of the guqin. In addition, ancient Chinese began to develop and industrialize silk farming during the era of Emperor Shun. Due to silk’s high durability and flexibility, it was used for guqin strings and gave the guqin an alias “silk and parasol wood (si-tóng)”. Therefore, it is widely believed that the guqin originated from Emperor Shun’s era and was created by him.

Development:
Roughly around the later periods of the Western Zhou era to the beginning periods of the Eastern Zhou era, the guqin was played by different people and for different purposes after one era transitioned into another. Due to the increase in numbers of the scholarly class, more and more scholars began to play the guqin while singing “ya” （hymns） in the Classic of Poetry as a type of hobby. The qin became known as ya-qins （grace）, and famous scholars of that era – such as Confucius, Bo Ya, Zou Ji – became the most famous qin- players. There is a Chinese idiom saying that without a good reason, scholars do not stop practicing the qin. Therefore, the qin gradually became a popular item amongst academics and scholars.

After the Pre-Qin and Han dynasty, the guqin eventually became a necessary instrument for scholars to express themselves, cultivate one’s character, develop their interests and sentiment, and to find others with like interests. It has become so crucial for scholars that the ability to play the guqin is a necessity. The increase in qin players also allowed qin music to become more diverse. Over time, qin music became more societal, ideological and applicable to everyday life. During the period from the Three Kingdoms to the Jin and the Southern and Northern dynasties, the scholars became even more intimate with the qin. Using Ji Kang and Ruan Ji as reference, the Seven Sages of the Bamboo Grove were the most symbolic representation of the closeness between scholars and the qin.

Qins gradually went from being a privilege of the temple priests, lords and masters during special occasions to an instrument the scholars, common folk, and the society could enjoy playing in everyday occurrences. This reflected the qin’s artistic value, its unique attractiveness and a timeless artistic vitality. While listening to qin music, Zhuo Wenjun met Sima Xiangru and were thus married happily ever after. Zhuge Liang also played the qin gently, ultimately leading to the successful play of his empty castle tactic, demonstrating the guqin has played a special part in our lives and in past societal conflicts.

In 1977, a recording of "Liu Shui" 【流水】 (Flowing Water, as performed by Guan Pinghu, one of the best qin players of the twentieth century) was chosen to be included in the Voyager Golden Record, a gold-plated LP recording containing music from around the world, which was sent into outer space by NASA on the Voyager 1 and Voyager 2 spacecrafts. It is the longest excerpt included on the disc. In 2003, guqin music was proclaimed as one of the Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO.

Performance:
In the performance, the player of a qin will use a variety of techniques to bring out the full potential of the instrument.
They would read the specialist and unique tablature that was developed over the centuries and amass a repertoire of popular and ancient tunes for the qin.

Playing Technique:
The music of the qin can be categorized as three distinctively different "sounds." The first is san yin (散音), which means "scattered sounds." This is produced by plucking the required string to sound an open note. The second is fan yin (泛音), or "floating sounds." These are harmonics, in which the player lightly touches the string with one or more fingers of the left hand at a position indicated by the hui dots, plucks, and lifts, creating a crisp and clear sound. The third is an yin (按音/案音/實音/走音, or "stopped sounds." This forms the bulk of most qin pieces and requires the player to press on a string with a finger or thumb of the left hand until it connects with the surface board, then pluck. Afterwards, the musician's hand often slides up and down, modifying the pitch. This technique is similar to that of playing a slide guitar across the player's lap, however, the technique of the qin is very varied and utilizes the whole hand.

According to the book, Cunjian Guqin Zhifa Puzi Jilan, there are around 1,070 different finger techniques used for the qin, with or without names. It is therefore, the instrument with the most finger techniques in either Chinese or Western music. Most are obsolete, but around 50 or so are sufficient to know in modern practice.

Tablature and Notation:
First section of Youlan, showing the name of the piece: 《碣石调幽兰第五》 "Jieshi Diao Youlan No. 5," the preface describing the piece's origins, and the tablature in longhand form.Written qin music did not directly tell what notes to play; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, comprising a step-by-step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century C.E.. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century C.E., called Jieshi Diao Youlan 《碣石调幽兰》(Solitary Orchid in Stone Tablet Mode). It is written in a longhand form called wenzi pu (文字谱, "written notation"), said to have been created by Yong Menzhou (雍门周) during the Warring States Period, which gives all the details using ordinary written Chinese characters. Later in the Tang dynasty Cao Rou (曹柔) and others simplified the notation, using only the important elements of the characters (like string number, plucking technique, hui number and which finger to stop the string) and combining them into one character notation. This meant that instead of having two lines of written text to describe a few notes, a single character could represent one note, or sometimes as many as nine. This notation form was called jianzi pu (減字譜, "reduced notation") and it was so successful that from the Ming dynasty onwards, a great many qinpu (琴譜, qin tablature collections) appeared, the most famous and useful being "Shenqi Mipu" (The Mysterious and Marvelous Tablature) compiled by Zhu Quan, the 17th son of the founder of the Ming dynasty. In the 1960s, Zha Fuxi discovered more than 130 qinpu that contain well over 3360 pieces of written music. Sadly, many qinpu compiled before the Ming dynasty are now lost, and many pieces have remained unplayed for hundreds of years.

How The Guqin Is Played
The guqin is an instrument that makes a delicate sound and therefore it does not lend itself well to be played with other instruments, save the se, which is no longer played. The last person who knew how to play this 25-stringed instrument with moveable bridges was Wu Jinglüe (1907-87), who had a long career as a music professor at Beijing's Central Conservatory of Music. Wu's demise was roughly synonymous with the opening of China under Deng Xiaoping, but this was simply too late for outsiders to have saved the se as a viable, playable musical instrument. One can't help but wonder, therefore, if the opening of China had occurred 15-20 years earlier, whether the art and science of playing the se could not have been preserved for posterity (note that there are several guqin aficionados in the West today, some of whom of course belong to the Chinese diaspora).

However, of late, some guqin players are teaming up with musicians who play other delicate but contrasting instruments such as the xiao (a kind of bamboo flute – see below); the xun (an ocarina-type wind instrument, somewhat gourd-shaped and with a mouthpiece in the form of the pointed end, and with air holes like the flute and originally made of wood, clay or ceramic, but often made of ceramic today – see below); the more conventional flute instrument, the dizi (a transverse, or side-blown, bamboo flute); the pipa (a 4-stringed, pear-shaped lute –see below); and of course the guqin can be played with another guqin, and it can be accompanied by a singer, albeit, a singer who sings in a style that is currently unknown in China and which is more akin to the way that Tang Dynasty poetry was recited.

This special form of reciting/ singing is very low-pitched (not to exceed 1½ octaves) and deep, and contrasts sharply with the high-pitched singing of modern Chinese Opera.

Zha Fuxi (1895–1976) of Jiangxu Province, who co-founded the Jinyu Qin Society, then later became the head of the Beijing Qin Society, was both an accomplished guqin player and singer of guqin songs. Zha also served as the vice-chairman of the National Musical Association and was a department head at China's Central Institute of Folk Music. Very few recordings of Zha's guqin songs exist. Like Wu Jinglüe, Zha Fuxi's art died with him. Indeed, the last ten years of Zha's life corresponded to the Cultural Revolution (1966-76), a time when many older works of art were reviled and disfigured or outright destroyed, so it was doubtful whether the guqin songs of Zha would have been in favor during this period.

===Production Techniques of Guqin in the Song Dynasty and before the Song Dynasty===
At present, the unearthed guqin of the pre-Qin period includes the ten-stringed guqin and five-stringed guqin unearthed from the tomb of Marquis Yi of Zeng, and the seven-stringed guqin from Gudian of Jingmen, Hubei province in the Warring States Period. These archaeological remains provide a very complete physical guqin for today's people. These guqin and we see today, no matter in shape or tuning are very different, but they all reflect the unique nature of the qin instrument -- that is, the full string vibration of the plucked instrument. It was about the Han Dynasty that 13 emblems appeared on guqin. Although there is no emblems on the seven-stringed qin unearthed in Mawangdui, there is one in Changmen Fu by Sima Xiangru. Judging from the existing figurines of han Dynasty guqin, it can be seen that the posture of the left hand has already appeared, and the three timbres of guqin have been applied at this time. The Wei and Jin dynasties were the qualitative and mature period of guqin. From the picture brick of seven sages of bamboo forest unearthed from Xishan Bridge in Nanjing, it can be seen that Guqin has 13 clear emblem positions, and its shape is no different from today's guqin. With the final finalization of guqin, its musical range and tuning methods gradually solidified performance skills and styles are becoming more and more mature, such guqin players as CAI Yi and Ji Kang also emerge along with this climax.

Representative songs such as CAI's Five Lanes and Guangling SAN have thus become representative songs in the history of guqin that have caused many topics. In the southern and Northern Dynasties, guqin was still an important representative instrument of the scholar-official class, especially the scholar-nationality group, and a large number of guqin players emerged. Just Zhu Changwen of piano history contained in this period have Xie An, quasi Hun, liu yuan, Wang Hui, Dai Xuan, He Tao, monk execute GongSunFeng, wang, wang, Xie Zhuang, Shen Daoqian, ZongBing, Xiao Si words, aristocracy, LiuYuan, Zheng Shuzu, ChuYan habitat hui, Shen Linshi, du, tao hongjing..., Wang Yan harp of people it serves to show a generation of fill. Although due to historical reasons or archaeological shortcomings, we can not see the actual guqin in the Wei, Jin, Southern and Northern Dynasties. However, according to ji Kang's Ode to qin and some theories of qin scholars in Wei and Jin Dynasties, the material selection for the production of guqin requires that "the wood of the chair should be strong enough to support the high mountain", "the wood should be considered and the false things should be considered to support the heart". Is the new Sun Zhichun amount of people appointed to the system of Thought for yaqin "; In terms of the production, it paid attention to "the green string of rhinocolus, the silk emblem of garden guests and the jade of Zhong Shan". Although these are only literary works, it is inevitable to exaggerate a little, but it is enough to prove that the seven sages of Nanjing Bamboo Forest in the Southern Dynasty had a rich accumulation of experience in various aspects of the craft of making qin. In addition to the records of these documents, there is also a picture of Qin Qi Tu, passed on by Gu Kaizhi in the Eastern Jin Dynasty, which is a copy of the Song dynasty and vividly depicts the whole process of making guqin. From this picture, we can see that the structures of Guqin, such as dragon pond and phoenix marsh, are as clearly identifiable as they are today.

According to legend, the "Nine Xiao Huan Pei" in the Palace Museum is one of the lyzins. It is round and thick in shape, and its tone is transparent. Another surviving guqin made in the Tang Dynasty is stored in The Todaiji Shicangyuan in Nara, Japan. It is also called "gold and silver Plain qin". It is also round in shape and carved with gold thread and flower and bird patterns. In ancient China, guqin was usually just called "qin". It was one of the earliest plucking instruments in China.

It is recorded in the Book of History and The Book of Rites and Records of Music. It can be seen that qin was the earliest plucked instrument created by our ancestors and played an important role in the musical life of ancient China. In terms of the general law of the development of music in human society, Musical Instruments appeared in the order of percussion, blowing, plucking, pulling strings, keyboard and other times. As a plucked instrument, the emergence of guqin requires a certain level of productivity. Not only does the selection, design and manufacture of the resonant cavity of the body require certain skills, but the production of strings also needs to be based on the corresponding silk weaving industry. Therefore, it can be inferred that the approximate period of the appearance of Guqin should be the time of Shun, that is, the end of the patriarchal primitive society and the early slave society.

Judging from the existing guqin objects, the shape and manufacturing technology of guqin have not changed much since the Tang Dynasty. Generally speaking, guqin, as a body resonating instrument, is composed of two pieces of wood. Therefore, the panel is usually made of tung wood and the backplane is made of catalpa wood with variable length, generally about one meter two. There are usually two articulators on the back called dragon Pond and Phoenix Marsh. The stringed horse is called Yueshan or Dragon heel, and the seven strings are fixed to the yan foot behind the phoenix marsh by the piano wheel under the dragon's caries. The winding method is non-mechanical. After the string is pulled to about pitch, it is tied to the foot. The instrument wheel can only adjust the pitch within about five degrees. Although after wei and Jin dynasties, there was no difference in the way of making guqin, but there were some differences between Tang and Song dynasty guqin. Generally speaking, Tang qin is more full and song qin is stronger and thinner. Tang Dynasty is the heyday of China's feudal society, in all aspects of culture and art are reflected in the Tang people's confident tension, but also reflects their unruly character and publicity personality. Starting from the sui and tang dynasties era of foreign arts come into view and with the people in the middle, Hu Xuan yan dance follow, but the external impact did not make the guqin music die phase, after the tang dynasty is relatively quiet, from the tang dynasty began to guqin gradually adapt and absorb the beneficial ingredients, foreign music also gradually reached a new high. The most remarkable feature of this peak is undoubtedly represented by "reqin". The theory of Lei Qin can be found in Duan Anjie's Yuefu Zalu Qin, "There are many ancient people who are capable of learning.

===Development of Guqin Music in the Song Dynasty===
The maturity of guqin manufacturing technology in song Dynasty will inevitably bring the progress of playing skills, and the progress of playing skills will effectively promote the prosperity of music, which is reflected in the literature is the prosperity of repertoire. Of course, most of these songs are guqin songs before the Song Dynasty. It is doubtful whether they can be played in the Song Dynasty. And the actual situation of these musical pieces has been difficult to see because of the different schools of musical music version. Now can be sure to know the Song Dynasty qin qu Jiang Kui "ancient Resentment", Yang Zan "Zixia Cave spectrum" 13 volumes and so on, tao Zongyi "Said evil" there is a "Monk Juyue spectrum record" recorded in the Song dynasty a total of 221 qin songs.

Song Dynasty was also a very important stage in the development of music. Guqin, as one of the traditional national Musical Instruments with the longest history, had no clear evidence of its notation before the Tang Dynasty, except that it was handed down from generation to generation by teachers and apprentics and orally and mentally. In the pre-Qin, Wei and Jin periods, there were only catalogues in the literature but no music was handed down. Of course, qin Cao is also recorded in the Ming and Qing dynasties, but its origin is unclear. Most of them are rewritten by later generations according to the title, and can not be identified as the music of the Wei and Jin dynasties or earlier. The earliest extant ancient qin score is a copy of qin music in the Southern and Northern Dynasties period written by the Tang dynasty, "Brown Stone Diao · You LAN", which is now stored in Japan. It was discovered by Yang Shoujing when he visited ancient books in Japan, and was compiled by li Shuchang, the minister in Japan at that time, into the "Gu Yi Cong Shu" and sent back to China.

===The Song Dynasty guqin school -- Zhejiang school===
The most direct participants and promoters of guqin culture in song Dynasty are those who love guqin music and culture. The achievements of guqin culture in Song Dynasty are the result of the joint efforts of a large number of players and musicians. In such a large number of guqin players, there are also schools of differentiation. It is the most natural thing to produce a genre with a specific style under the teaching method based on oral and psychological teaching. As early as in the Tang Dynasty Zhao Yeli would put forward the "Sound of wu Wan if the Yangtze River wide flow long and xu Passed the wind of the national scholar. Shu sound impetuous if rushing thunder is also a jun. In the Tang Dynasty, there were shen Jiasheng, Zhu Jiasheng and other factions. The division of such schools was the same in the Song Dynasty. There are two systematic schools of guqin music, one is the Qin and Monk system in the Northern Song Dynasty and the other is the Zhejiang school in the Southern Song Dynasty.

===The Cultural Influence of GUqin===
The qin has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius.“士無故不撤琴瑟,” "a gentleman does not part with his qin or se without good reason,"

The guqin is nearly always used as a solo instrument, as its quietness of tone means that it cannot compete with the sounds of most other instruments or an ensemble. It can, however, be played together with a xiao (end-blown bamboo flute), with other qin, or played while singing. In old times, the se (a long zither with movable bridges and 25 strings, similar to the Japanese koto) was frequently used in duets with the qin. Sadly, the se has not survived into this century, though duet tablature scores for the instruments are preserved in a few qinpu, and the master qin player Wu Jinglüe was one of only a few in the twentieth century who knew how to play it together with qin in duet. Lately there has been experimentation with the use of other instruments to accompany the qin, such as the xun (ceramic ocarina), pipa (four-stringed pear-shaped lute), dizi (transverse bamboo flute), and others.

A painting by Chen Hongshou of a person with a qin.
In order for an instrument to accompany the qin, its sound must be mellow and not overwhelm the qin. Thus, the xiao generally used for this purpose is one pitched in the key of F, known as qin xiao 「琴簫」, which is narrower than an ordinary xiao. If one sings to qin melodies (which is rare today) then one should not sing in an operatic or folk style as is common in China, but rather in a very low pitched and deep way; and the range in which one sings should not exceed one and a half octaves. The style of singing is similar to that used to recite Tang poetry.

Traditionally, the qin was played in a quiet studio or room by the player alone, or with a few friends; or played outdoors in places of outstanding natural beauty. Today, many qin players perform concerts in large concert halls, almost always, out of necessity, using electronic pickups or microphones to amplify the sound. Many qin players attend yajis, at which a number of qin players, music lovers, or anyone with an interest in Chinese culture can come along to discuss and play the qin. The yaji originated as a multi-media gathering involving the four arts: qin, chess, calligraphy, and painting.

Ritual use of the qin
The guqin was also played in a ritual context, especially in yayue in China, and aak in Korea. The National Center for Korean Traditional Performing Arts continues to perform Munmyo jeryeak (Confucian ritual music), using the last two surviving aak melodies from the importation of yayue from the Song Dynasty emperor Huizong in 1116, including in the ensemble the seul (se) and geum (guqin). In China, the qin was still in use in ritual ceremonies of the imperial court, as can be seen in the court paintings of imperial sacrifices of the Qing court (e.g. The Yongzheng Emperor Offering Sacrifices at the Altar of the God of Agriculture 《雍正祭先農壇圖》, 1723–35).[14] The guqin was also used in the ritual music of Vietnam, where it was called cầm.

Qin Aesthetics
When the qin is played, a number of aesthetic elements are involved. The first is musicality. In the second section of "Pingsha Luoyan," for example, the initial few bars contain a nao vibrato followed by a phase of sliding up and down the string, even when the sound has already become inaudible. The average person trained in music may question whether this is really "music." Some players pluck the string very lightly to create a very quiet sound during this phase; other players insist that this plucking unnecessary because, instead of trying to force a sound out of the string, one should allow the natural sounds emitted from the strings. The sliding on the string even when the sound has disappeared is a distinctive feature in qin music. It creates a "space" or "void" in a piece, playing without playing, sound without sound. When the viewer looks at the player sliding on the string without sounds, the viewer mentally "fills in the notes," creating a connection between player, instrument and listener. This cannot happen when listening to a recording, as the performer cannot be seen.

With a really good qin, silk strings, and a perfectly quiet environment, the sound coming from the fingers sliding on the string can be heard. The player, who knows the music, can “hear” this sound even if it is not there. When silk strings are used, the sliding sound might be called the qi or "life force" of the music. The really empty sounds are the pauses between notes. If a player cannot create a sound that can be heard when sliding on a string, it is generally acceptable to lightly pluck the string to create a very quiet sound, particularly during a live recording, when the player wants to convey sound as much as possible towards a third audience.

Guqin in Popular Culture:
As a symbol of high culture, the qin is frequently used as a prop in various forms of Chinese popular culture, with varying degrees of accuracy. In television serials and film, the actors often mime the playing of a qin, with the actual music recorded by a professional qin player. Sometimes guzheng music, rather than qin music, is used. A faithful representation of the qin was used in the Zhang Yimou film Hero (英雄, 2002). Xu Kuanghua appeared to play an ancient version of the qin in the courtyard scene in which Nameless (Jet Li) and Long Sky (Donnie Yen) play go. The music was actually played by Liu Li, formerly a professor at the Central Conservatory of Music in Beijing. [16] It is suggested in the film that Xu made the qin himself.

===Conclusion===

===Conclusion===

===References===

===References===

===References===

==英语笔译龙翰良 Long Hanliang 202170081589==
<center>'''Spreading Chinese culture in teaching Chinese as a second language'''</center>

<center>Long Hanliang</center>

===Abstract===

At present, teaching Chinese as a second language is developing vigorously all over the world. Teaching Chinese as a second language (TCSL) has been developing along the road of scientization and standardization in discipline construction, and has gradually become mature. Academic exchanges and international exchanges in teaching Chinese as a second language have also been further and widely carried out.(c.f：Le Shouhong 2019, 1)

As an important part of national education, teaching Chinese as a second language is playing a more and more important role in promoting Chinese, introducing Chinese culture, and promoting international cooperation and cultural exchange. In this case, more and more foreigners want to learn Chinese. Thus, education of Chinese as a foreign language is playing a more and more important role in spreading Chinese culture.(c.f：Le Shouhong 2019, 1)

This paper discusses the spread of Chinese culture in teaching Chinese as a foreign language from the aspects of Test Assessment, means and methods, Textbook Compilation, classroom teaching, etc.(c.f：Le Shouhong 2019, 1)

===Key words===

Chinese culture; Teaching Chinese as a second language; Cultural Exchange

===Introduction===

As China plays an increasingly important role in the international arena, the Chinese language has begun to receive more and more attention from foreigners, and the population of Chinese language learners has been expanding. Nowadays, many colleges and universities in China offer courses on teaching Chinese as a second language, and in foreign countries, there are Confucius Institutes. In short, teaching Chinese as a second language, has developed to a new period and has attracted many learners.(c.f：Le Shouhong 2019, 18)

The fundamental purpose of teaching Chinese as a second language is to help Chinese learners master the communication methods of the Chinese language, to be able to read Chinese characters and speak Chinese fluently.(c.f：Le Shouhong 2019, 18)

Language itself serves as a carrier of culture. Therefore, in teaching Chinese as a foreign language, besides teaching basic Chinese language knowledge, we also need to focus on adopting appropriate methods and strategies to integrate China's traditional culture in order to improve the mutual integration and promotion of Chinese language education and traditional culture.(c.f：Le Shouhong 2019, 18)

===Overall Design===
The overall design is the first problem to be encountered in the four sessions of teaching Chinese as a second language. It is the basis for teaching activities such as textbook compilation, classroom teaching and test assessment. It is an important step to coordinate other sessions and make them a unified and scientific whole. (c.f：Le Shouhong 2019, 33)

To be exact, the overall design of teaching Chinese as a second language is based on the law of language, the law of language learning and the law of language teaching, the basis of comprehensive analysis of various subjective and objective conditions of second language teaching and comprehensive consideration of various possible teaching measures.(c.f：Le Shouhong 2019, 33)

Select the best teaching plan, and make clear provisions on the teaching objects, teaching objectives, teaching contents, teaching approaches, teaching principles, teachers' division of labor and teachers' requirements, so as to guide the compilation (or selection) of teaching materials Classroom teaching and performance testing make each teaching link a unified whole connected with each other, and enable all teaching staff to coordinate their actions in teaching according to different division of labor. " (c.f：Le Shouhong 2019, 33)

This is to regard teaching Chinese as a second language as a systematic theoretical project and put it into practice in application.(c.f：Le Shouhong 2019, 33)

Language teaching is a very complex and systematic project, which contains many teaching sessions and complex contradictions. First of all, one teaching principle is applicable in one case, but not necessarily in another. Secondly, various teaching types have different teaching characteristics, such as short-term teaching and long-term teaching, academic teaching and non-academic teaching, basic teaching and professional teaching.(c.f：Le Shouhong 2019, 33)

Teachers have their own teaching programs with their own characteristics. As for how to better coordinate all sessions and solve these contradictions, we should comprehensively analyze various different characteristics according to the specific situation, find the best scheme that conforms to the laws of language learning and language teaching, and the objective conditions that meet the teaching requirements, and implement it in all sessions of teaching.(c.f：Le Shouhong 2019, 33)

The overall design can not only help us find the best teaching scheme, but also help us coordinate all teaching sessions, so that the whole teaching process and all teaching activities become a unified whole. It can be said that the overall design is to control and grasp the whole teaching process and all teaching activities from a macro perspective.(c.f：Le Shouhong 2019, 5)

Only with a good overall design can there be a unified test and evaluation standard. Therefore, we must first carry out the overall design, and take this session as the premise and basis for other sessions. Only in this way can we straighten out the relationship between various factors and links in teaching from a macro perspective.(c.f：Le Shouhong 2019, 33)

Some students use Chinese as a condition for applying for a career, while others use Chinese as a career tool.(c.f：Le Shouhong 2019, 33)

For example, learners learn the target language because they have to use it in their work, but their occupations are different: some students are company managers or employees, and their learning purpose is to engage in economic and trade activities.(c.f：Le Shouhong 2019, 33)

For this part of students, during the learning process, teachers can combine the commonly used expressions in the economic field in the current Chinese context, such as: belt and road initiative, supply side structural reform, Alipay, street stall economy, Guangdong Hong Kong Macao Greater Bay area. While introducing Chinese culture and learning Chinese, we can also realize the current situation of China's development;(c.f：Le Shouhong 2019, 33)

Some students may be engaged in tourism services, and their purpose of study is to be a tour guide. At this time, teachers can teach students China's current tourism policies such as Internet plus tourism. At the same time, it can teach students how to describe and introduce local scenic spots in Chinese. Chinese is a kind of career tool for them. The teaching content will vary with different occupations.(c.f：Le Shouhong 2019, 33)

Therefore, in recent years, Hanban has started the research and development of special examinations including tourism HSK, secretarial HSK and economic and trade HSK.
Second, there are grade differences in Chinese proficiency, mainly primary, intermediate and advanced.(c.f：Le Shouhong 2019, 33)

The teaching objectives include which level of the target language level students should reach. At present, the teaching of Chinese as a foreign language is divided into three grades: junior, middle and senior. The basic requirements are to master daily life and easy social expressions, learn the most basic grammar items, and have some pragmatic knowledge.(c.f：Le Shouhong 2019, 33)

The requirements of intermediate level are to be able to speak freely in daily life and social life, understand newspaper news, and act as a primary translator; Self study ability; Basically master various grammatical items and general pragmatic rules.(c.f：Le Shouhong 2019, 33)

The advanced requirement is that the language is basically qualified. Specifically, they can basically understand the general news broadcast, be able to express orally freely, read books and periodicals whose content does not exceed the reader's knowledge smoothly, and be able to serve as intermediate translators; Be able to express orally freely. In addition to mastering the rules of grammar and pragmatics, they also possess some knowledge of rhetoric.(c.f：Le Shouhong 2019, 33)

===Test Assessment===
The whole process and teaching activities of second language teaching can be summarized into four sessions: overall design, textbook compilation and selection, classroom teaching and training of TCSL teachers. Language testing is one of the four sessions of language teaching and an integral part of language teaching activities.(c.f：Le Shouhong 2019, 49)

Language testing is closely related to language teaching. As language teachers, they may be engaged in the design and proposition of test papers. The basic theoretical knowledge of language testing is what language teachers should master.(c.f：Le Shouhong 2019, 49)

The HSK is the most well-known Chinese language proficiency test worldwide, and it is common in many schools to teach Chinese as a foreign language with the goal of passing the HSK test. HSK Level 6 is the highest level of the new HSK Chinese Proficiency Test, and candidates who pass HSK Level 6 can easily understand the information they hear or read in Chinese and express their opinions fluently in Chinese in oral or written form.(Official website of Hanban HSK)

The HSK is designed and developed by the Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）and the Confucius Institute Headquarters in 1990, which is an institution directly under the Ministry of Education of the People's Republic of China.(Official website of Hanban HSK)

Hanban develops and administers the Chinese Proficiency Test, which includes the Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).(Official website of Hanban HSK)

The HSK is held regularly every year in China and overseas, and those who achieve the required standard in the test are awarded the Chinese Proficiency Certificate of the corresponding level. The Chinese Ministry of Education established the National Chinese Proficiency Test Committee, which has full authority to lead the Chinese Proficiency Test and issue the Chinese Proficiency Certificate.(Official website of Hanban HSK)

In March 2021, the International Chinese Proficiency Standards for Chinese Language Education were released after being validated by the Language Standards Validation Committee of the State Language Commission, and have been officially implemented as the language standards of the State Language Commission since July 1, 2021. When teaching Chinese to foreigners, we can: (Official website of Hanban HSK)

1. Carry out targeted teaching based on the real questions of the past years. The main mode of teaching is itemized, and through precise and scientific analysis of the test papers, the key points and difficulties of the test are identified so it is efficient to make courses more targeted.(Official website of Hanban HSK)

2. Combine paper analysis and practical exercises, one-on-one teaching and counseling for different students' ability to accept and misconceptions, ensure students have the ability to take the test.(Official website of Hanban HSK)

3. Emphasize the test skills and explain to students so that they can review for the test in a focused and selective manner within a short period of time.
At the same time, we need to pay attention to the content of language tests when we make language tests ourselves. The fundamental purpose of test assessment in teaching Chinese as a foreign language is to play a positive after effect on teaching.(Official website of Hanban HSK)

Therefore, in addition to listening, speaking, reading, writing and other language skills and language elements such as pronunciation, vocabulary and grammar, teachers should also investigate students' understanding of social and cultural background knowledge of China. Teachers should improve foreign students' ability to think with Chinese perspective and thinking in combination with major events in China and Chinese traditional cultural knowledge.(c.f：Le Shouhong 2019, 49)

As for the choice of test questions, in addition to multiple-choice questions and blank filling questions involving Chinese cultural themes, teachers should involve more Chinese cultural themes in the oral examination and composition in the test assessment. The topic standards of Chinese cultural themes are quantified and detailed, and scored by several teachers to make them as objective as possible.(c.f：Le Shouhong 2019, 49)

===Means and methods===

Teaching Chinese as a second language belongs to the second language teaching, which is applicable to the teaching theory of the second language teaching as well as the teaching strategies and methods of the second language teaching. However, the previous second language teaching research mainly focused on the Indo European languages. Its teaching theory, teaching strategies and methods are mainly summarized for the Indo-European languages. The teaching object and research object of teaching Chinese as a foreign language is Chinese.(c.f：Le Shouhong 2019, 60)

After all, Chinese is a language with its own characteristics, which is very different from the Indo-European languages. Second language teaching has common characteristics, but the specific characteristics of a specific language are different, and its teaching strategies and methods should also be different, and the teaching theory should be improved accordingly.(c.f：Pang Zengyu 2019, 67)

Therefore, in the practice and research of teaching Chinese as a second language, teachers and researchers engaged in teaching Chinese as a foreign language should not only pay attention to the common characteristics of teaching Chinese as a second language and other second language teaching, but also absorb foreign advanced second language teaching theories and apply them to the practice of teaching Chinese as a second language; (c.f：Le Shouhong 2019, 60)

We should also pay attention to the characteristics of Chinese and the particularity of teaching Chinese as a second language, practice and summarize the teaching strategies and teaching methods that adapt to the characteristics of teaching Chinese as a foreign language, and study and create the teaching theory that takes teaching Chinese as a foreign language as the object.(c.f：Pang Zengyu 2019, 67)

One of the purposes of international students learning Chinese is to understand China and its culture through Chinese language learning. It has become an urgent task to increase the proportion of Chinese culture in Chinese teaching materials for foreigners. The textbook should include model texts with Chinese cultural characteristics.(c.f：Pang Zengyu 2019, 67)

For example, they can incorporate some traditional Chinese festivals, customs, and stories, and they can also add some classical Chinese translations of excellent English articles, or take some representative articles from authoritative newspapers and magazines in China. In addition, we can also select some contents that are suitable for students' learning level from the Chinese translations of foreign writings and incorporate them into Chinese textbooks.(c.f：Pang Zengyu 2019, 67)

First of all, a compulsory or optional Chinese culture course can be offered according to the students' specific conditions. In addition, such courses should also arrange for students to introduce similar history and culture of their own countries in Chinese, which will facilitate their understanding of Chinese culture.(c.f：Pang Zengyu 2019, 67)

For reading and general courses, teachers should guide students to read Chinese newspapers and magazines as well as Chinese books that introduce Chinese culture; for listening, CCTV TV programs and Voice of China radio programs are good choices.(c.f：Le Shouhong 2019, 60)

This will not only increase students' accumulation of Chinese cultural expressions, but also give them an understanding of the current situation of China. Secondly, the integration of Chinese culture in teaching Chinese as a foreign language should follow the principles of systematic, gradual, practical and appropriate teaching according to students' learning level, cultural background and mastery of Chinese language, so as to achieve the purpose of teaching in a reasonable way.(c.f：Le Shouhong 2019, 60)

The purpose of incorporating Chinese culture is to cultivate foreign students' ability to use Chinese language in practice. In the light of the current development of Chinese language teaching in China, we can use various methods to implement and improve the effect of teaching Chinese as a foreign language, such as inductive comparison , simultaneous explanation , multimedia teaching, combination of teaching in the classroom and guidance outside the classroom, theme lecture method, and cultural practice.(c.f：Pang Zengyu 2019, 67)

There are various ways of cultural transmission, and through the opinions and suggestions on the current situation of teaching Chinese as a foreign language, we found that in the specific implementation stage of teaching Chinese as a second language, using stage performance as a supplement in classroom teaching can help international students learn to master the language, feel and understand the cultural connotations, so that students become interested in culture and treat every class as a formal stage performance.(c.f：Pang Zengyu 2019, 67)

The teaching of Chinese as a foreign language should be a formal stage performance. The teaching of Chinese as a foreign language should create a richer space for international students to experience and discover, instead of just sticking to the traditional monotonous pattern of teachers, textbooks and classrooms, and create a richer and more meaningful platform for students to learn Chinese.(c.f：Pang Zengyu 2019, 67)

However, not all foreigners have the opportunity to learn Chinese in China, so it is crucial to establish a relatively perfect Chinese cultural learning environment in foreign Chinese classes for foreign learners to master Chinese culture.(c.f：Le Shouhong 2019, 60)

Teachers of Chinese as a foreign language should make the Chinese classroom a place where Chinese culture is concentrated, so that students can have a relatively real cultural experience and use their own learning experience to discover more wonderful cultural connotations, and gain their own real sense of Chinese learning.(c.f：Le Shouhong 2019, 60)

===Textbook Compilation===
1、 Evaluation principles for teaching Chinese as a foreign languageAll textbooks for teaching Chinese as a second language have their own characteristics and some commonalities. The evaluation principles and compilation principles of teaching materials are basically the same. These basic principles are generally applicable to all kinds of teaching materials and should be followed. These principles can be summarized as practical, knowledgeable, scientific and interesting.(c.f：Le Shouhong 2019, 60)

(1) Practicality

Different from ordinary linguistic textbooks, second language textbooks are mainly used to cultivate language ability. languageKnowledge should be transformed into skills through teaching, and finally cultivate learners' language ability. Therefore, the practicality of teaching materials is very important, and only practical teaching materials can better stimulate learners' learning enthusiasm.(c.f：Le Shouhong 2019, 60)

The practicality of teaching materials includes the practicality of teaching contents, the authenticity of language materials and the practicality of teaching methods. The practicality of teaching content means that the selection and determination of teaching content in teaching materials should be based on the needs of learners. It is commonly used in learners' life, work or study, necessary in communication, and immediately available in life.(c.f：Le Shouhong 2019, 60)

It is the most urgent thing for learners to master. As broad as possible, language materials should be selected from real-life corpora, and try to avoid using "textbook language" that has no practical significance, no use value or is only needed to explain grammar points.(c.f：Le Shouhong 2019,60)

The practicality of teaching methods means that teaching materials should provide a large number of exercises while providing necessary theoretical knowledge. Practice is one of the main ways to acquire skills and abilities,It is an important part of the textbook. The design and compilation of exercises should be vivid and interesting as far as possible, and should be diversified in form and level.(c.f：Le Shouhong 2019, 60)

(2) Knowledge

The so-called knowledge means that a certain amount of new knowledge should be included in the teaching content. In addition to the guarantee of quantity, in terms of quality, it is also necessary to consider that new knowledge must be of interest to students. It is also an important aspect to stimulate students' learning enthusiasm and increase their learning enthusiasm.(c.f：Le Shouhong 2019, 60)

Therefore, in terms of the content of teaching materials, we should pay attention to absorbing the relevant knowledge of social politics, scientific and technological knowledge, cultural customs, historical geography and other aspects.(c.f：Le Shouhong 2019, 60)

(3)Scientificity

1. To teach standardized and common Chinese characters

The scientificity of teaching materials is mainly reflected in the standardization of language, the scientificity of knowledge introduction and interpretation, the content organization in line with the teaching law and reflecting the new level of subject theoretical research. The teaching content shall refer to the published grade standards and syllabus for teaching Chinese as a foreign language as far as possible.(c.f：Le Shouhong 2019, 60)

The law of the people's Republic of China on the national common language clearly stipulates that "Mandarin and standardized Chinese characters should be taught in teaching Chinese as a foreign language". Mandarin is the common language of the modern Chinese nation, and standardized Chinese characters are the simplified characters officially announced in China.(c.f：Le Shouhong 2019, 60)

In addition, the common phonetic spelling scheme for phoneticizing Chinese characters is the Chinese phonetic alphabet scheme. That is to say, teaching Chinese as a foreign language should use the "Chinese Pinyin scheme", use standardized simplified Chinese characters, and teach Putonghua.(c.f：Le Shouhong 2019, 60)

2. The organization of teaching content should conform to the law of language teaching

The arrangement of the teaching content should be from easy to difficult, from shallow to deep, step by step, and should be suitable for the acceptance of most learners; The content of the subject matter should start from the language of daily life and gradually involve all aspects of social communication, and then gradually expand to the political, economic and cultural aspects.(c.f：Le Shouhong 2019, 60)

The distribution of new words and grammar points should be uniform and reasonable, and the difficulties should be properly dispersed. Special attention should be paid to the recurrence rate of key words and sentence patterns, so as to effectively help learners keep reviewing and memorizing scientifically.In addition, the interpretation of language phenomena (pronunciation, vocabulary, grammar, semantics, pragmatics, etc.) should pay attention to accuracy and standardization to avoid misleading.(c.f：Le Shouhong 2019, 60)

The contents of teaching materials should reflect the new and mature theoretical research level of the discipline, and replace the outdated contents in time. Of course, we should also take a cautious attitude when absorbing new research results.(c.f：Le Shouhong 2019, 60)

(4)Interest

Interesting teaching materials can attract learners, make them have interest and motivation in learning, make the process of language learning more relaxed and pleasant, and better improve learning efficiency. The interest of teaching materials is mainly reflected in the vivid and interesting content and lively and diverse forms of teaching materials. The interest of the content of the textbook is closely related to the practicality and communication of the textbook.(c.f：Le Shouhong 2019, 60)

Especially in the primary stage, it is necessary to closely integrate the needs of learners' daily life. If the content learned in class can be used immediately after class, it will naturally generate interest and motivation in learning. With the improvement of learning level, the content of teaching materials needs to be gradually expanded, and cultural content should be added.(c.f：Le Shouhong 2019, 60)

In particular, medium - and high-level language teaching materials should reflect real life, and choose topics that learners are concerned about or topics with rich cultural connotation, which will be attractive to learners and arouse their great interest.(c.f：Le Shouhong 2019, 60)

In addition to the diversification of subjects, the diversification of genres, language styles and practice forms is also an important manifestation of interest. In addition, the layout design, font size, illustrations and pictures of teaching materials are also factors that can not be ignored.(c.f：Le Shouhong 2019, 60)

===Classroom Teaching===

Classroom Teaching is the basic form of teaching Chinese as a second language. It refers to the form in which teachers use appropriate teaching methods to teach a course to students in a fixed class within a specified time according to the objectives, tasks and teaching materials specified in the syllabus. In second language teaching, classroom teaching is the main place to help students learn and master the target language.(c.f：Le Shouhong 2019, 44)

This is because second language learning mainly carries out organized teaching activities and shows planned teaching contents in the classroom. The perception, understanding, consolidation and application stages of the teaching process are mainly completed in classroom teaching.(c.f：Le Shouhong 2019, 44)

The implementation of teaching plans, the implementation of teaching principles, the use of teaching methods, the completion of curriculum teaching and the realization of teaching objectives mainly rely on classroom teaching. The fundamental purpose of language teaching is to cultivate students' language ability and language communication ability. Therefore, through the basic form of classroom teaching, we can cultivate students to use language.(c.f：Le Shouhong 2019, 44)

The ability to communicate is the fundamental purpose of classroom teaching. The overall design and textbook compilation must take into account the characteristics and needs of classroom teaching, and accept the test of classroom teaching; The performance test should start from the reality of classroom teaching and give feedback to classroom teaching.(c.f：Le Shouhong 2019, 44)

Therefore, among the four sessions of teaching activities, classroom teaching is the central session.(c.f：Le Shouhong 2019, 44)

In other words, classroom teaching is the center of all teaching activities. Other sessions should take the needs of classroom teaching as the starting point to adapt to and meet the requirements of classroom teaching. The formulation of the overall design, the arrangement of teaching contents and methods, the compilation and selection of teaching materials should consider whether it is feasible in the classroom and whether it can meet the needs of teaching.(c.f：Le Shouhong 2019, 44)

The contents and methods of achievement test should consider whether it is conducive to improving classroom teaching, and the test results should also consider whether it can promote and promote teaching. General classroom teaching should complete the two tasks of imparting knowledge and cultivating ability. Second language teaching aims to cultivate learners' communicative competence, so classroom teaching not only reflects the general rules of classroom teaching, but also has its own characteristics.(c.f：Le Shouhong 2019, 44)

It is very necessary to combine Chinese culture with classroom teaching. In addition to using the latest film and television materials and mooc materials to assist teaching, teachers should improve their bilingual ability and cross-cultural communication ability.(c.f：Pang Zengyu 2019, 154)

Trying to use concepts that can be understood in both cultures to introduce Chinese culture can enhance students' acceptance of Chinese culture. For example, when introducing the word 'mahjong', we can call it "sparrow dominos", because the smallest card in Mahjong is sparrow, and dominos is also a game familiar to foreign students. Compared with the introduction of fried noodles as chow mein, the former takes into account both cultures and is more easily accepted by foreign students.(c.f：Pang Zengyu 2019, 154)

At the same time, the spreading of Chinese culture in the process of teaching Chinese as a foreign language should follow the following principles：

1. Respect each other among different cultures and adhere to the principle of cultural equality.

2. Disseminate the essence of culture and avoid clamoring for attention.

3. Handle sensitive issues properly and maintain national dignity.(Le Shouhong 2019, 44)

In classroom teaching, students can try to introduce their own culture in Chinese, or introduce Chinese culture in their mother tongue. When confronted with controversial issues, we should first respect both sides, rationally discuss the issues, and focus on classroom teaching to prevent the problems from becoming more serious.(c.f：Pang Zengyu 2019, 154)

===Training of TCSL Teachers===

With the increasing importance of Chinese in the world, the demand for teachers of Chinese as a foreign language has increased dramatically. Some experts pointed out that in the future, the main battlefield of teaching Chinese as a second language will shift from domestic to foreign. The country will need a large number of professional teachers of Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

At present, there is a serious shortage of teachers who have really obtained the qualification certificate of teachers of Chinese as a foreign language. It can be said that the number and quality of teachers of Chinese as a foreign language are far from meeting the needs of the development of the national situation. Therefore, how to train professional teachers of Chinese as a foreign language as soon as possible has become an important topic in the research of teaching Chinese as a foreign language.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Teachers should first have a broad and accurate understanding of the basic knowledge of the subject, and master the relevant skills and skills. This is because only when teachers have an accurate and proficient grasp of knowledge and skills can they spend more energy on designing teaching, pay attention to the progress of students and teaching in class, and not focus on the worry of "don't make mistakes in knowledge".(c.f：Ren Hai-yan，Cao Bo 2013, 115)

Secondly, teachers should understand the current research status, the latest research results and the future development trend of the subject. Specifically, teachers of Chinese as a foreign language should be familiar with the following professional knowledge.(c.f：Ren Hai-yan，Cao Bo 2013, 115)

1. modern Chinese knowledge

Chinese teachers should be able to understand, master and apply the basic knowledge and skills of modern Chinese, including the knowledge of pronunciation, vocabulary, grammar and writing, as well as the skills of listening, speaking, reading and writing, and be able to combine Chinese knowledge and skills and apply them to teaching practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

2. linguistic knowledge

The linguistic knowledge of Chinese teachers includes the basic theories and knowledge of general linguistics, sociolinguistics, psycholinguistics and Linguistics based on language learning theory and acquisition theory in applied linguistics and language teaching methods.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

3. cultural knowledge

Teachers should be able to understand and master China's national conditions, history, literature and art, traditional culture, contemporary Chinese politics and economy, and apply relevant knowledge to teaching practice to arouse learners' interest in Chinese culture. Culture knowledge mainly includes festivals, diet, customs, historical figures, religious beliefs, music, chess, calligraphy and painting, opera, painting, architecture, gardens, traditional Chinese medicine, clothing, tea and wine, one country, two systems, education, economy, etc.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition to having relevant cultural knowledge, teachers should also understand the main differences between Chinese and foreign cultures, understand the main concepts of cross-cultural communication and the impact of culture and cross-culture on language teaching and learning, and be able to apply theory and knowledge to practice.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

4. foreign language knowledge

Teachers of Chinese as a foreign language should have a strong knowledge of foreign languages and the ability to use foreign languages. Foreign language is the bridge between teachers and students, the basis for teachers to determine teaching priorities and difficulties, and one of the auxiliary means of teachers' teaching. Therefore, teachers of Chinese as a foreign language should have the basic knowledge and skills of foreign languages and the ability to comprehensively use these knowledge and skills.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, teachers should master the basic knowledge of foreign language pronunciation, intonation, vocabulary, grammar, function, topic, culture and other aspects, and be able to comprehensively use the abilities of listening, speaking, reading, writing and translation to communicate.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

In addition, it is necessary to master certain educational theoretical knowledge in language teaching, because mastering the necessary laws of education and teaching can quickly improve the quality and efficiency of teaching. The successful teaching of teachers should be based on pedagogy, pedagogy and psychology.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Specifically, pedagogy, such as the attribute, purpose and function of education, the object and environment of education, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Teaching theory, such as teaching content, process, method, principle, teaching organization form, etc; (c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Educational psychology, such as the maintenance and forgetting of knowledge, the mastery and transfer of knowledge, the individual differences of students, learning motivation, emotion, anxiety, personality factors, etc;(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

Cognitive psychology, such as feeling, perception, attention, memory structure, short-term memory, long-term memory, problem solving, etc; Psycholinguistics, such as language and thinking.(c.f：Ren Hai-yan，Cao Bo 2013, 115-118)

===Conclusion===

After decades of academic inheritance, teaching Chinese as a foreign language has become a bridge to help foreign students understand Chinese culture. Therefore, in teaching Chinese as a foreign language, teachers are required to be aware of the infiltration of Chinese culture. Let foreign students fully understand the relationship between language and culture and feel the charm of Chinese culture.(c.f：Zheng Ji-e,Hu Mingliang 2013, 9)

===References===

Ren Hai-yan，Cao Bo任海燕，曹波(2013).中国传统文化的英语教学实践初探[On the traditional Chinese Culture Class for English Majors].Hunan:湖南师范大学教育科学学报Journal of Educational Science of Hunan Normal University,vol.12 No.3 115-118.

Zheng Ji-e,Hu Mingliang郑继娥，胡明亮(2013).汉语国际教育研究[Studies in Teaching Chinese to Speakers of Other Languages].Jinan:暨南大学出版社.

Pang Zengyu逄增玉(2019).汉语国际教育与中国传统文化国际传播.Beijing:中国传媒大学出版社.

Le Shouhong乐守红(2019).中国传统文化传播与对外汉语教学.Jilin:吉林人民出版社.(Le Shouhong 2019, 5)

国家汉办HSK官网[Official website of Hanban HSK](2019-09-24).http://www.hanban.org/tests/node_7486.htm

===Terms and expressions===
Classroom teaching 课堂教学

HSK 中国汉语水平考试

Hanban（Chinese National Office for Teaching Chinese as a Foreign Language）国家汉办

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

Guangdong Hong Kong Macao Greater Bay area 粤港澳大湾区

mahjong 麻将

chow mein 炒面

===Questions===
1.What are the four links of the whole process and teaching activities of second language teaching?

2.When was HSK officially implemented?

3.What is the most important link of teaching activities among the four links of teaching activities?

4.What are the principles of spreading Chinese culture in Chinese education abroad?

5.What types of HSK exams are there?

6.What kind of professional knowledge should teachers of Chinese as a foreign language be familiar with?

===Answers===
1.Overall design, textbook compilation and selection, classroom teaching and achievement test.

2.The Chinese Proficiency Test (HSK) was officially implemented in 1990

3.Classroom teaching

4.Ⅰ. Respect each other among different cultures and adhere to the principle of cultural equality.

Ⅱ. Disseminate the essence of culture and avoid clamoring for attention.

Ⅲ. Handle sensitive issues properly and maintain national dignity.

5.The Basic Chinese Proficiency Test (abbreviated as HSK (Basic)), the Elementary and Secondary Chinese Proficiency Test (abbreviated as HSK (Elementary and Secondary)), and the Advanced Chinese Proficiency Test (abbreviated as HSK (Advanced)).

6.Modern Chinese knowledge;linguistic knowledge;cultural knowledge;foreign language knowledge.

==英语笔译罗姚林 Luo Yaolin 202170081590==
<center>'''Different Local Dialects in China'''</center>

<center>罗姚林 Luo Yaolin</center>

===Introduction===
Chinese dialects are branches of the Chinese language. The "Law of the People's Republic of China on the Common State Language and Script", promulgated on October 31, 2000, established Mandarin Chinese as the national language. During the development of Han Chinese society, there have been different degrees of differentiation and unification, thus making the Chinese language gradually produce dialects. There are various dialects of modern Chinese, and they are distributed over a wide area. The differences between modern Chinese dialects are phonetic, lexical, and grammatical, and the phonetic aspects are particularly prominent. Some domestic scholars believe that most dialects and common languages have certain phonological correspondence patterns, and many similarities in vocabulary and grammar, so they are not independent languages. Foreign scholars believe that people in each dialect area cannot talk to each other, so they are very independent languages, especially the dialects in Min language. Based on the characteristics of the dialects, the history of their formation and development, and the results of dialect surveys, the dialects of modern Chinese can be divided.

===the Origin of Chinese Dialects===

===Different Features of Dialects in China===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译马艳焕 Ma Yanhuan 202170081591==
<center>'''An overview on the study of Chinese folk stories '''</center>

<center>马艳焕</center>

===Abstract===
Shandong is a famous city of traditional culture with a long history. The traditional culture with local characteristics such as Dongyi culture and Qilu culture has left a valuable spiritual heritage for Shandong, in which folktales are loved by the people. The type of folktales roughly includes "myths", "legends", "stories" and so on, including natural change myths, hero myths, historical figures legends, religious figures legends, fairy legends, mountains and rivers legends, specialty legends, ghosts, foxes and spirits, animal stories, life stories, witty character stories and so on. This article will give an overview of the folk stories of Shandong Province, including the content of the story, the cultural and educational value carried by the story, the enlightenment to future generations, and so on.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592==
<center>'''Cultural Factors Behind the Spring Festival Travel Rush in China'''</center>

<center>聂薇</center>

===Introduction===
Spring Festival travel rush, which occurs in China around the Lunar New Year, engenders enormous pressure to the whole country’s transportation system. Usually, this rush lasts for 40 days, which begins on the fifteenth of December and ends on the twenty-fifth of January of the following year in the lunar calendar. (Fan Zhixin 2019,27)

This phenomenon is inextricably linked to the Chinese Spring Festival, which is the most important and distinctive traditional festival for the Chinese nation. As a unique kind of movement of population in this special period, "Spring Festival Travel Rush" is called "epic population migration" due to its large scale and huge population involved. Every year around the Spring Festival, various types of huge flow of people, such as those planning to visit relatives, migrant workers, and students, will travel over the vast land of China with their deep attachment to their homeland. (Xie Linxia 2008,34)

With the relaxation of restrictions on the movement of people since the reform and opening up, more and more people have chosen to leave their hometowns for work and study. So, many people return to their hometowns during the Spring Festival, creating what has been described as "a large-scale movement of people rarely seen in the world". Over the last 30 years, the number of people travelling during the festival has increased to over 3.7 billion, equivalent to the total population of Africa, Europe and Oceania. (Fan Zhixin 2019,27)

The reason why such a spectacular and rare sight is formed in China is that the Chinese people’s attachment to "home" is deeply rooted in the heart of every Chinese and in their time-honored traditional culture. Confucian culture, ceremonial culture, institutional culture, and farming culture are all factors contributing to the spectacular scene of today's Spring Festival travel rush. (Fan Zhixin 2019,27)
===The evolution of the Spring Festival travel rush===
As we all know, the Spring Festival travel rush is a huge problem that plagues people's journey out during the Spring Festival. The total number of those coming home and then returning to their workplace after New Year is twice the whole country’s population. (Xu Jiachuan 2011,32)

In fact, this dilemma has been haunting China since ancient times. Although the scale at that time was not so large, there is a significant similarity between the ancient and modern Spring Festival travel rush, which is "difficulty". (Xu Jiachuan 2011,32)

(i) The difficulty of travelling during the Spring Festival in ancient times

Influenced by the patriarchal clan system in ancient China, before the unification of the Six Kingdoms by the First Emperor of Qin, the dominant social form of China was clan gathering, which served as the origin of the Chinese social psychology of valuing kinship and homeland. Since then, it has exerted a profound influence on the Chinese mind and emotions for thousands of years. (Fan Zhixin 2019,27)

In ancient China, the main populations affected by the Spring Festival travel rush were officials, businessmen and literati. As Confucius once admonished, “While one’s parents are alive, one should not travel to distant places.” However, the intellectuals would often travel to various places before setting foot on their official career. Therefore, their study tour often hampered their return home for spending the Festival because of the forbidding and difficult journey. After they started their careers, they had to rush around because of their transfers. (Fan Zhixin 2019,27)

Of course, the more important factor than the above-mentioned ones that made the journey home more formidable were the road conditions and traffic. In ancient times, with the backward road construction and long journey, people could only travel by walking or taking simple animal-drawn carts. Therefore, this kind of attachment to the homeland and longing for reunion with their loved ones were reflected in many poems. Just as the poet Xue Daoheng of the Sui dynasty depicted in his poem ''Longing for Going Back Home in the New Year'', “ It has only been seven days from the Spring Festival, but I have been away from home for two years. When other people and those wild geese have all gone back home, I want to embark on my journey home in front of the flowers.” The feeling of longing for home that flows between the lines is obvious. (Fan Zhixin 2019,27)

(ii) The difficulty of travelling during the Spring Festival in modern times

The term "Spring Festival travel rush" was first used in 1980 by the ''People's Daily''. It is the abbreviation for the busy and even overloaded passenger transportation around the Spring Festival, which reflects the unique folk customs and kinship culture of China. (Fan Zhixin 2019,27)

With the rapid economic growth and social development, the problem brought by the rush is becoming more and more serious, the most prominent of which is the difficulty of purchasing tickets. In recent years, the construction of China's transportation infrastructure has been improving, but compared with the explosive growth of travel demand during the Spring Festival, the contradiction between the lack of capacity and the huge volume of traffic is still prominent. However, no matter how far and difficult the road to home is, it cannot stop the Chinese people from returning home after all. (Fan Zhixin 2019,28)
===Cultural factors behind the Spring Festival travel rush in China===
The Spring Festival travel rush brings together the beautiful expectations of returning home and the harsh realities of coldness and anxiety along the way. Whether examined from a social or personal perspective, the crowds generated by the rush pose a huge and serious test to our lives. With so many drawbacks, why does every Chinese still has to go home every Chinese New Year? (Xu Jiachuan 2011,33)

(i) Confucian culture

In the traditional agrarian society of ancient China, the 'displaced people' was one of the main factors that led to social unrest. Therefore, bounding people to the land where they were born with the concept of home-attachment in order to restrict their movements could maintain a relative social stability. People's sense of belonging to 'home' was cultivated through their lifestyle, and the idea of family orientation was incorporated into their traditional culture and has been perpetuated for thousands of years. (Fan Zhixin 2019,28)

The humane ideas and benevolence in Confucian culture, when reflected in this traditional festival, presents a cultural view of affectionate elders and dutiful juniors enjoying a happy get-together. The family culture of the Spring Festival is a concrete manifestation of benevolence and love in the family, which implies a strong emotional bond between family members - including the relationship between parents and children, and between siblings. Children's sincere respect and love for their parents is vividly shown by coming back home after pushing aside all obstacles and difficulties. No matter how busy they are at work or how difficult the journey is, they will strive to find ways to return home and fulfil their obligations as children during this important festival, so that their parents can enjoy the happiness of family life to the fullest. (Fan Zhixin 2019,28)

It is thus clear that the concept of family, with its connotation of "reunion" and "harmony", has been deeply rooted in Chinese culture. The family-oriented view inherited from Confucianism has become a national bond that has made all sons and daughters of the Chinese nation to travel through thick and thin, with the simple purpose of returning home during the most important festival. (Fan Zhixin 2019,28)

The Spring Festival travel is more than just a journey home, it is an accumulation and integration of the deep traditional ethics and humanistic concerns of Confucianism, which connects the individual to the family, the family to the nation, and the nation to the whole country, forming a symbolic expression of the unique value system of the Chinese nation. (Fan Zhixin 2019,28)

In addition, since ancient times, China has been a country where "agriculture is valued while commerce is restrained", and the rulers of all dynasties were all trying to protect the agricultural sector. Chinese culture is characterized by agriculture civilization, and fishing, woodcutting, farming and learning are the crystallization of Chinese philosophy over the centuries. (Zhou Yahong, 2021,84)

A popular song from the pre-Qin dynasty, “The Song of Striking the Rang”, says, “Work with the sunrise and rest with the sunset, dig a well and then drink, plough a field and then eat”, which is a description of the daily life of ordinary people. And a poem from Song dynasty by Wang Zhu, ''The Divine Child'', says, “In the morning, he was ploughing the field; in the evening, he became a high-ranking official.” This poem expressed both the aspirations of ancient Chinese scholars to study for a career and the farming culture. (Zhou Yahong, 2021,84)

But when the tide of reform and opening up flowed over into these poor central and western regions of China, the original agrarian civilization was destroyed, and people there no longer stick to their small arable land, instead, they aspired to a life outside. So, the agricultural civilization gradually collapsed when they did not have to rely on farming for funding themselves. (Zhou Yahong, 2021,85)

This means that people no longer stick to their hometowns, but choose to work at other places far away from their home according to their needs. Although they are away from home all year round, they, influenced by Confucianism, still choose to return home to reunion with their families during the Chinese New Year, and this results in a massive movement of people during the Spring Festival. (Zhou Yahong, 2021,85)

(ii) ceremonial culture

In the context of traditional Chinese culture, Spring Festival is the most solemn festival. As an essential characteristic element of Chinese New Year culture, rituals have a long and profound humanistic accumulation and a rich content. (Fan Zhixin 2019,28)

During the Spring Festival, there are many rituals with special meanings that only take place during this time. Dragon dances, setting off firecrackers, worshiping ancestors, gatherings, visiting friends and relatives, paying a New Year call, celebrating the Lantern Festival, buying new clothes, putting up spring scrolls, eating dumplings are all unique for this festival, and they have long since evolved into the sharing and identity of culture, developing into the roots of our culture. (Fan Zhixin 2019,28)

The New Year customs is a symbol of people's longing for rest and relaxation as well as their hope for a better life, and has guided countless Chinese people to embark on their journey home. (Fan Zhixin 2019,28)

Spring Festival is one of the most influential festivals in China, and the great stickiness it shows gives families an opportunity to reunite and gives students and migrant workers who work outside to earn money the motivation to go home. It is a time for every family to reunite, a time for families to stop working and recuperate, and a time for mutual contact and interpersonal communication. Therefore, every year around the Spring Festival, a large number of people leave the southeast coast and migrate to the north central region, and after the Chinese New Year, they start their journey to go back to work and study. (Zhou Yahong, 2021,85)

(iii) institutional culture

One of the most direct reasons why the Spring Festival travel rush has become a problem and created pressure for the country is that the system of urban-rural regional segregation and the institutional culture based on the household registration system, which has been gradually established in China since the founding of New China, have led to the great migration during the Spring Festival. (Fan Zhixin 2019,29)

The economic reforms in the 1980s led to the imbalanced economic development between urban and rural areas. Then more and more rural workers are leaving their hometowns and moving to the cities and developed coastal areas out of the desire for better payments and urban life, but their families remained in the countryside. Their families are thus split, which has led to the geographical fragmentation of the family structure of migrant workers, and it has also resulted in the long-distance, migratory movement of them. Most of them seldom go home during the whole year and only return to their families during the Spring Festival, and then return to their workplaces in a hurry after the New Year. (Fan Zhixin 2019,29)

(ⅳ) the concept of family-and-nation

In China, people believe that we are not only a member of our small family, but also a part of the bigger society. In the western world, everyone emphasizes their individuality and independence, and most of them refuse to restrain their personality for external reasons. But in China, both in ancient times and in the present, each person still plays an important role between the family and the country. (Zhou Yahong, 2021,85)

In Dong Zhongshu's Spring and Autumn Period, he mentioned the three rules: the emperor is the rule, the father is the rule, and the husband is the rule. These three rules embodies the man's position of control within the family and the state as well as his responsibilities. (Zhou Yahong, 2021,85)

However, after the launch of reform and opening up, the traditional form of small farming could no longer meet the basic expenses of a family, which endangered the supremacy of men in the family, so working outside the home to meet the daily expenses of the family became a way to preserve the image of men and a sign of male responsibility. (Zhou Yahong, 2021,85)

As a result, more and more men chose to work outside their home to ease the burden of family life and return home during the Spring Festival to enjoy the fun of family reunion. This is one of the reasons why the proportion of men is higher than that of women in the Spring Festival travel rush. (Zhou Yahong, 2021,85)

Fei Xiaotong, in his Earthbound China, argues that Earthbound China is a particular system contained in the specific Chinese traditional society at the grassroots level, which influences all aspects of Chinese social life. If the traditional rural system is destroyed, i.e. the emergence of migrant workers, then there is always a force that supports the restoration of this system, that is the return to one's hometown due to homesickness, which brings about the emergence of the Spring Festival travel rush. (Zhou Yahong, 2021,85)
===Way of relieving pressure from the rush===
Returning home for the Spring Festival is a cultural complex brought about by the culture of returning to one's roots, and reflects people's emotion of "love of country, love of family and love of homeland", which is most evident during the Spring Festival. The emotional flood of homesickness can be diverted through other festivals to ease the transportation pressure during the Spring Festival. In addition to the Spring Festival, the Mid-Autumn Festival, Tomb-Sweeping Day and the Double Ninth Festival can all meet people's emotional needs for family reunion and happiness. If they are turned into statutory long holidays, so that people have diversified choice of travelling on different festivals, then the pressure on transportation during the Spring Festival can be eased to a certain extent. (Xu Jiachuan 2011,33)
===The prevalence of the Anti-Spring Festival travel rush===
In recent years, the parents who have been waiting at home for their children to reunion with them are moving to the city where their children live to spend the New Year. This phenomenon is called Anti-Spring Festival travel rush. The emergence of this phenomenon is a reversal of the traditional form of returning to one's hometown for the Spring Festival and results in a change in the direction of rail transport during the festival. (Zhou Yahong, 2021,86)

On the one hand, the older patriarchal power is gradually dependent on the youth power. In traditional Chinese families, the elders, represented by patriarchal power, are the core of a family. No matter how long or how far he has been away, the arrival of traditional Chinese festivals, such as the Spring Festival, the Tomb-Sweeping Day and the Mid-Autumn Festival, requires him to return to his hometown to show respect to his family. (Zhou Yahong, 2021,86)

But the Anti-Spring Festival travel rush of recent years is symbolic of the rise of youth power, of the changing of their position as the backbone of the family. The ageing patriarchal power no longer plays a decisive role in the family, instead, it shifts to the young generation. This also maps the current state of our society, where young and middle-aged people are gradually becoming the backbone of society and slowly changing the landscape of development. (Zhou Yahong, 2021,86)

On the other hand, traditional Chinese family roles plays a part in this phenomenon. Many people believe that a Chinese woman has no ego, because before marrying someone, she is dependent on her parents, and after marriage she is dependent on her husband, and after her children are married, she is dependent on her children. So many people, after they get married, take it for granted that their parents should take care of their children for them, and this has led to the current elderly drifters(which means the elders move to other places according to their children’s choices). The prevalence of the Anti-Spring Festival travel rush also reflects the role played by the elders in traditional Chinese families. (Zhou Yahong, 2021,86)

Another kind of the anti-Spring Festival travel rush is that children do not go back to their hometowns and parents do not go to the city where their children live. Instead, children take their parents with them to travel to places such as the Beijing, Guangzhou and Shenzhen, and spend an "anti-traditional" Spring Festival by going on a trip, which not only relieves the pressure of Spring Festival travel rush, but is also a very favourable way to travel, and allows parents to feel the filial love of their children. (Zhou Yahong, 2021,86)
===Conclusion===
No matter how far we have travelled, the imprint that traditional Chinese culture has created on our minds makes us return home in the Chinese New Year to establish and fulfill our cultural identity, and the Spring Festival travel rush is a bridge for fulfilling this. (Zhou Yahong, 2021,87)

The Spring Festival travel rush is not only a journey, but also a reflection of our cultural values and national identity. The various good people and good deeds that appear on the journey, or the implementation of some policies to benefit people involved, all reflect the power of traditional Chinese culture. (Zhou Yahong, 2021,87)

Through the travelling crowds, we can feel the core of the Chinese New Year culture: the reunion of the family. It is an expression of national temperament, and underscores the Chinese people’s strong affinity to their family and homeland. It also embodies the values of the oriental culture: love of peace and unity, and wish for a happy family. (Feng Jicai 2012,82)

The Chinese Spring Festival travel rush is not only a Chinese-style migration, but also the result of unbalanced social development and an imperfect system of various facilities. How to let the traditions of Chinese culture bring out its great energy and appeal, and how to better serve the people involved under a people-oriented philosophy are things we should think about. (Zhou Yahong, 2021,87)

It is the Chinese New Year culture that turns our hometown into a powerful magnet, and it is the Spring Festival travel rush that makes us feel the power of this magnet. The bustling crowds shows the huge energy of the Chinese nation to conquer the journey, and displays the spirit of our nation, even if we encountered many difficulties, we will not give up, because the desire to reunion with our family always encourages us to go back home by all means, be it the high speed train, plane, car or ship. (Feng Jicai 2012,82)

The nature of festivals is spiritual. What appears to be some folkloric forms are in fact the emotions and ideals of life. There are so many spiritual traditions, moral codes, aesthetic standards and regional temperaments penetrated in those festival rituals. If we don't look at festivals from the perspective of culture and spirit, it would be impossible for us to understand what they really are, and we would throw them away without thinking about it. What is lost in this process may be the most important thing of all. (Feng Jicai 2012,82)

Imagine if there were no Spring Festival travel in China today, there would be no more "thinking of one's relatives every time the festival comes around", no going home for the New Year, no yearning for the annual reunion - wouldn't our nation have changed into a completely different disposition and character? (Feng Jicai 2012,82)
===Terms and expressions===
Spring Festival travel rush：春运

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

the humane ideas and benevolence in Confucian culture：儒家文化中的仁爱思想

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

The Song of the Striking the Rang：击壤歌（远古先民咏赞美好生活的歌谣；“壤”是古代儿童玩具，老人一边悠闲地坐着“击壤”的游戏，一边唱出了这首歌）

The Divine Child：《神童诗》，内有诗句“朝为田舍郎，暮登天子堂”

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

the system of urban-rural regional segregation：城乡区域隔离制度

the household registration system：户籍制度

the geographical fragmentation of the family structure：家庭结构在地理空间上的“碎片化”

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

the emperor is the rule, the father is the rule, and the husband is the rule：君为臣纲，父为子纲，夫为妻纲

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

thinking of one's relatives every time the festival comes around：每逢佳节倍思亲
===References===
*Fan Zhixin 范芷欣.(2019).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''鄂州大学学报''Journal of Ezhou University (2):27-29.
*Xu Jiachuan 徐家钏.(2011).春运:文化口水下的民生之艰[Spring Festival travel rush: the hardship of people's livelihoods brought by traditional culture].''浙江经济''Zhejiang Economy (4):32-33.
*Feng Jicai 冯骥才.(2012).春运是一种文化现象[Spring Festival travel rush is a cultural phenomenon].''商周刊''Business Weekly (2):82.
*Xie Linxia 谢林霞.(2008).从文化的角度看春运[Spring Festival travel rush from a cultural perspective].''新余高专学报''Journal of Xinyu High School (1):34-36.
*Zhou Yahong 周雅红.(2021).传统文化视角下的“中国春运”剖析[An analysis of the "Chinese Spring Festival travel rush" from the traditional culture perspective].''新纪实''New Chronicles (1):84:87.
*Fei Xiaotong 费孝通.(2013).''乡土中国''[Earthbound China].Beijing:SDX Joint Publishing Company北京：生活·读书·新知三联书店.
===Questions===
1.How long does the Spring Festival travel rush usually last?
A.30 days
B.40 days
C.50 days
D.60 days

2.Which one of the following group is not the main reason that results to the rush?
A.Migrant workers
B.Students
C.Those planning to visit relatives
D.Tourists

3.Which one of the following cultures is the main factor that encourages family reunion?
A.Confucian culture
B.Taoist culture
C.Buddhist culture
D.Christian culture
===Answers===
1.40days

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

<center>'''Chuanjing Work Songs'''</center>

<center>Sun Lijun</center>

===Introduction===

Work song, nicknamed haozi(号子) in Chinese, is a kind of folk song that is created and sung by the working people in the process of production, bearing a direct relation with the manual work. And the contents of Chuanjiang work songs are rich and colorful, the representative works are Kuixing Tower(《魁星楼》), Giant Turtledove(《大斑鸠》), Lanlong Work Song(《懒龙号子》) and so on. Moreover, work song truthfully reflects the labor conditions and the mental appearance of the boatmen, emerging as an indispensably organic part in those workers' life. Chuanjiang work song, as one kind of work songs, is a traditional folk music originated in the Southwest China, mainly in Sichuan Province and Chongqing Municipality just as its name implies. And Chuanjing work song is a form of folk singing, led by a labor singer and accompanied by a crowd of boatmen in order to unify action and rhythm. It is a song of life cast by blood and sweat of those boatmen when they are struggling with the dangerous shoals and rapids, which is indicative of the working people's hardworking and their courageousness. Affluent in cultural connotations and charismatic in language art, Chuanjiang work song is the crystallization of the labor and wisdom of people living in Sichuan and Chongqing, which demonstrates the unsophisticated nature and tenacious will of them, possessing very high cultural value. However, as time goes on, great progress has been made in science and technology and outstanding improvements have been achieved in raising people's material living conditions, thus there is no need for them to struggle to meet the basic needs. It is not an age of necessities nowadays though, with the acceleration of modernization, Chuanjiang work song has lost its material carrier of its existence and is slowly withdrawing from the stage of history. On May 20th, 2006, with the approval of the State Council of the People's Republic of China, Chuanjing work song was listed as the First Batch of National Intangible Cultural Heritage, and only after then it's protection and inheritance were gradually given attention by all parties, namely all walks of life and the rescue of this intangible cultural heritage became imminent. While just as a common saying goes, "Rome was not built in one day", the protection and inheritance of Chuanjiang work song are not an easy task, which needs massive investment of manpower, physical and financial resource. Mostly attracted by new high-tech products, many modern youngsters don’t have the least idea to understand and learn the Chuanjiang work song, not to mention that a sea of young people have never heard of Chuanjiang work song, which is a pity. Hence, there is a problem that still remains to be solved, that is how to raise youngsters' interests in and willingness to know more about Chuanjiang work song so as to better protect and inherit the endangered Chuanjiang work song.

===The History of Chuanjiang Work Songs===

Chuanjiang work song, which enjoys a long history and is unique among the work songs in Sichuan and Chongqing which is called Bashu area for short, is not only diverse in forms but also rich in contents.
From the Perilous Journey to the Land of Shu, which was composed by Li Bai, one brilliant and great poet in Tang Dynasty, we can tell that Bashu area had an extremely rugged landscape. "The westbound road to Shu, so steep, steeper than Heaven! I plod my way, step by step, sign after sign", these two lines from this poem Perilous Journey to the Land of Shu especially project a vivid picture for us to imagine and illustrate how peculiar and precipitous the Bashu area is since the ancient time! And Bashu area is crisscrossed by rivers and canals with more than 90 rivers and streams of various lengths, in addition to this, the overlapped peaks rise one above the other in Bashu area, inviting traffic inconveniences for this region. Hence, the cargo circulation and passenger transportation all were carried by wooden boats in the ancient time. According to some archaeological discoveries, the Neolithic stone anchors and the tracker's tome figures, which were excavated along the banks of the Yangtze River running through Bashu area, are the evidences of the long history of the shipping industry of wooden boats which gave birth to the Chuanjiang work song in Bashu area(Wu Mingshi, 2011:34-42).
However, it was around the middle of Qing Dynasty that the work songs gradually were on the upgrade. And the Chuanjiang work song was the fruit of those industrious boatmen's hardworking and life. According to the water potential and the depth, currents as well as other characteristics of the rivers, the dangers of reefs and submerged rocks to boats, the leader of those boatmen then created work songs with different rhythms, tones and emotions on the basis of the rhythms of those boatmen's rowing and pulling. And this is how Chuanjiang work song was produced. While after the founding of the People's Republic of China, the government began to set about the business of the regulation of inland waterway navigation, therefore rivers and lakes in the Chuanjiang River Basin were destroyed by explosions to the submerged reefs and rocks in order to dredge the rivers and build waterpower stations. So these turbulent rivers and treacherous shoals that inspired boatmen to sing work songs have been a thing of the past. As the motor ships gradually replaced the wooden boats, the old shipping industry lost its competitiveness and living space little by little. The figures of the boatmen of the old days who swept over the rapids and dangerous shoals and climbed the rocks while towing a boat are gradually vanishing from people's sight in modern times, what's more, the appealing sound of the Chuanjiang work songs is fading away, resulting in the adverse conditions faced by Chuanjiang work songs. And scholars in the academic circles generally believe that Chuanjiang work song is cultural treasure in the history of waterway transportation along the Yangtze River and its existence reflects the indomitable fighting spirit, heroic spirit and humorous traits of character of the working people in the Chuanjiang River Basin when in face of a hostile environment. Such kind of intangible inheritage culture is supposed and deserves to be protected well, carried forward and promoted well in order to make Chinese culture and language splendid and glorious.

===The Features of Chuanjiang Work Songs===
Objectively speaking, as an important form of folk music, Chuanjiang work songs are the embodiment of the history of the waterway transportation in the Bashu area. Because the existence of Chuanjiang work songs is the continuation and reflection of the original labor conditions of the transportation industry in the Bashu area, making today’s people not only truly feel the means of labor adopted at that time, but also gain a deeper understanding of the working people’s tenacious fighting spirit when in face of the ominous environment.

Chuanjiang work songs are sung in the form of chorus, which led by a labor singer who is also the leading singer and accompanied by a crowd of boatmen. The rhythm of Chuanjiang work songs changes a lot with numerous changes of tempo. Meanwhile, the work songs sung on the calm river are slow and sweetly melodious, rich in musicality. While the work songs sung in the process of boatmen’s running through the dangerous beaches are full of a sense of compactness, and the work songs sung at the most dangerous rapids are grand and give people a sense of extreme tension. Thus in this regard, the lyrics and singing tunes of Chuanjiang work songs deserve to be appreciated and catch more attention of people who have an especially soft spot for art(Wu Mingshi, 2011:34-42).

First of all, the lyrics of the Chuanjiang work songs. The lyrics of the leading part mainly represent the real life of boatmen, reflect the hydrologic characters of the rivers and lakes in the Bashu area, the beautiful sceneries of the green mountains and lucid waters, human geography characters as well as local conditions and customs along the river banks. And sometimes the lyrics of Chuanjiang work songs are made up of some folklores and stories circulated in Sichuan and Chongqing and other parts of China from the ancient times. For example, there exists one kind of work song fell on the category of Jialing River work song that has a lyric of more than eighty sentences and composed on the topic of place names, products and unique human landscape along the Jialing River, providing lavish information and knowledge for people to learn and grasp. The lyrics of Chuanjiang work songs are mostly presented as the form of four sentences of seven words. The adept application of the techniques of Fu, Bi, Xing（赋、比、兴） makes the Chuanjiang work songs sprightly, laconic, fluent in phonology and catchy. (Fu, Bi, Xing are three main techniques of expression applied in The Book of Songs. Fu refers to narrating in a plain and straightforward way, which is the equivalent of parallelism nowadays; Bi refers to the rhetorical device of analogy, which is the vivid metaphor to the person or a kind of thing and can make their characteristics more distinctive; Xing begins with something else and then gives rise the following contents that are going to be eulogized by the writers.) There are as many as 3,000 Chuanjiang work songs, most of which constitute fixed and formalized lyrics handed down from generations to generations since past dynasties, and some of which are improvised according to the river flows and geographical environment. For example, “上江口，下江游，黄龙溪转苏码头。中和二场路好走，嗨哟嗨哟，加把油”, “脚蹬石头手摸沙，找钱回去供爹妈”, the two sentences belong to Fuhe work songs, one kind of Chuanjiang work songs, which were circulated and sung in the JinJiang River basins in the old times, and now only exist in Huanglongxi Town, once witnessing the flouring history of Chengdu’s waterway transportation. And we are told from the two verses of work songs that the lyrics of Fuhe work songs talk of everything under the sun in most cases and are composed impromptu for the most part. In short, the lyrics of Chuanjiang work songs project a vivid image of the scenario of boatmen’s towing a boat and also people can be inspired with enthusiasm when they listen to or sing this kind of folk music themselves(Wu Mingshi, 2011:34-42).

Then, the singing tunes of the Chuanjiang work songs. Musically, Chuanjiang work songs have absorbed some elements of other folk music of Sichuan and Chongqing. And to be exact, melodious, lyrical and flavorful tunes similar to high-tone music of Sichuan Opera are often typical of the slow beats of Chuanjiang work songs sung by a leading singer and accompanied by other boatmen. There are also high-pitched and impassioned singing tunes of ballad sung in the fields during or after work which are taken in the Chuanjiang work songs. The leading part of the tune is much higher with tactful melodies and many grace notes; while with a sharp and bright rhythm, the choral part has relatively simple tunes and the structure of the choral part is varied when corresponding with the leading part of the tune. Each work song has a different singing tune and a relatively complete structure, which can be sung independently or sung jointly(Wu Mingshi, 2011:34-42).

Last of all, the concrete presentation of Chuanjiang work songs in the course of towing a boat. When setting sail, the sounds made by the leading singer and the corresponding sounds“嗨佐”made by the rest of boatmen in a group are clear and vibrant with a fast tempo. In the process of sailing, all the boatmen, excited and emotional, exert themselves to tug the boat. And the leading singer often sing long verses of lyrics with a sonorous voice while the rest of the crew echo with the sounds such as“嗨”and “嗨佐”and the like to give their response to the leading singer in order to make the work song more powerful and make those boatmen more energized and encouraging. And when the boat is about to move to the smooth water area, all the boatmen will sing a leisurely work song with lively and fair-sounding rhythm in order to activate the atmosphere of sailing and relieve the boatmen's fatigue(Wu Mingshi, 2011:34-42). In a word, together with the presentation of work songs in the process of towing a boat, the lyrics and singing tunes serve as important role in the overall musical beauty of Chuanjiang work songs.

===The Geographical Distributions of Chuanjiang Work Songs===

===The Inheritance of Chuanjiang Work Songs===

===The Translation of Chuanjiang Work Songs===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译仝雨梦 Tong Yumeng 202170081594==
<center>'''The Influence of Chinese Traditional Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
Chinese traditional philosophy sprang up around the time of the Shang and Zhou Dynasties (1600 B.C.--- 256 B.C.), took shape at the end of the Spring and Autumn Period (770 B.C.--- 476 B.C.), and flourished during the Warring States period (475 B.C.--- 221 B.C.) when a hundred schools of thought were already competing. Developing for more than 3,000 years, Chinese traditional philosophy has long been an integral part of Chinese culture. Up to 1949, its development history can be broadly divided into three stages. First, the period of slavery and the period of transition from slavery to feudalism. Second, the period of feudalism. Third, the period of transition from feudalism to socialism. The philosophy of the first two stages is known as ancient Chinese philosophy. And the last is called modern Chinese philosophy.

===Th

Chinese Classics Translation 2022 LIST OF FINAL EXAM PAPERS

2022-06-30T06:19:05Z

Sun Lijun: /* A Brief Analysis of Evan King’s Rickshaw Boy under the Rewriting Theory */

[[Chinese Classics Translation 2022|back to homepage]]

This is the overview page of the topics. For the actual papers, please refer to: [[20220630_Classics]]

<span style="color:red">Every student needs to find a topic which is not yet in the textbook and has not been presented in class. Please check your topic for this. All topics are ok except from those which are marked red. If your topic is marked red, please find
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==Tips for writing your final exam paper: How to indicate your references==
*You can use the existing book chapters here as an example.
*Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Do '''not''' write any references like in one of the sample chapters:

[1] dsalkfkdsa

[2] adsfadsfag

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and then

'''References'''
*Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.

Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):
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< c e n t e r > Student Name, Student no. < / c e n t e r >
= = = Abstract = = =
This chapter is on ....
= = = Key Words = = =
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= = = 题目 = = =
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= = = 关键词 = = =
= = = Introduction = = =
Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.
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= = = The Hen = = =
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Bla, bla, bla
= = = References = = =
Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT

==Sample papers==
You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with "Sample paper".
* A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories
* An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications
* Comparative Study on Functional Equivalence Theory and Skopos Theroy
* Comparison of Derrida’s and Benjamin’s Translation View
* Impacts of Western Translation Theories on The Translator’s Guide to Chinglish
* On the Comparison between "Sublimation" an "Functonal Equivalence" Theories
* Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics
* The Translation of Culture-loaded Words in Chinese-English Communication
* Translators' Views on Translation Influence Their Translation Behavior

==Websites to write your final exam paper on==
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==英语笔译卞王倩 Bian Wangqian 202170081563 CE==

<center>'''Chinese Classics Translation from a Perspective of Translational Communication Studies'''</center>

<center>Bian Wangqian</center>

===Abstract===
A relatively massive Chinese classics translation can be back to the period during the late Ming dynasty and the early Qing dynasty, when excellent bilingual foreign missionaries in China introduced Chinese Classics abroad and brought them on a world stage, which can be seen as the individual translation activities that brought some Chinese Classics some popularity and fame among foreign countries, especially western ones. In the new era, China has made every effort to promote the “going-out” of Chinese culture with a focus on Chinese classics while strengthening its cultural soft power to build a modernized strong country, in which translational communication is no doubt playing an important role. Translational communication comes out of the application of communication theories to translation research and is an emerging subject that involves many specific fields for further research. And translational communication is a science of researching translational communication phenomena and their laws. A complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, the receiver of target language message, communication channels and translation effect, of which the initiator of communication and translator will be specifically illustrated here to deal with the issues of Chinese Classics Translation.

===Key words===
'''Chinese Classics Translation; Translational Communication; Initiator of Communication; Translator'''

===Introduction===
This paper includes five parts. The first part is the literature review, telling the relationship between translation and communication, the overview of translational communication studies and current studies from the perspective of translational communication. The second part is about methods and theories, that is, the introduction of translational communication and its six elements, especially the initiator of translational communication and translator. The third part is a detailed introduction of the initiator of translational communication, which has been divided into three types: the subject of the source language, the subject of the target language and the cooperation between the subject of the source language and the subject of the target language, and their application in real life and their aspiration for Chinese classics translation. The fourth part is the introduction of the translator and its subjectivity in different stages of translation in translational communication and their aspiration for Chinese classics translation. The last part is about the conclusion.

===Literature Review===
To meet the needs of rising translational communication practices, some theories and concepts of the science of communication have been introduced to apply to translation studies. As a result, translational communication studies are emerging. Lu Jun put forward that “the essence of translation is communication” (1997, 39). Xie Ke and Liao Xueru also defined: “in terms of the definition of translation and the nature of communication, communication is the essence of translation” (2016, 15). Tang Weihua franked: “Translation is communication” (2004, 48). And Zhang Shengxiang proposed that “translation and communication are symbionts” (2013, 117). All these have offered inspiration for furthering translational communication studies.

And the overview of translational communication studies is as follows: media, also communication channel or vehicle in translational communication, is the hot subject, and it includes new media, traditional media, mass media, social media and We media. This is in accordance with such an era of “media”. And then it’s translation strategies studies and communication effect. And cultural communication, as one of the types of translational communication, is closely related to a nation’s ideology and the purpose of building a positive international image. And Chinese classics translation and news translation are also playing a major role in foreign publicity. Translation publishing is also an important part, as it relates to the initiator of translational communication or the communication channels. In conclusion, translational communication studies cover not only the essential elements of translational communication but also the basic directions of translation, such as translation strategies and techniques, various text types and so on.

With the keywords “Chinese Classics translation from the perspective of translational communication studies” guided, according to data from CNKI, the most-involved theme is the studies of the strategies of Chinese Classics translation, which is exactly why this paper starts here, but from the perspective of translational communication studies. The rest majority covers external communication of such Chinese culture and classics as A Dream of Red Mansions and The Analects, translators and sinologists, such as English missionary James Legge, and publishing houses. So we can conclude that Chinese classics translation from the perspective of translational communication mainly deals with the object, translator and communication channel or vehicle, these three elements of translational communication. Besides, the papers involved are emerging like spring bamboo over the past five years, totaling five times that of ten years ago, just a single digit. This also proves the rapid development of translational communication studies as a new subject.

However, while “the subject or translator in translational communication” is searched as a subject, there is a few papers related unfolding or a few papers that directly relate to translational communication, but a lot about translation. So we can see that when translational communication is studied, translation from the perspective of communication is actually studied, which is indeed different from what we categorize as a translation but offers us a new direction. Just as Yin Feizhou, Yu Chengfa and Deng Yingling refer to in their co-authored book Ten Chapters of Translational Communication Studies: “The study of the interaction of the six elements of translational communication in translation communication studies can be found in the corresponding or correlated research patterns under translation studies” (2021: 17). That’s how the main body parts are organized here.

===Methods and Theories===
Let’s first get to communication before taking translational communication as the theoretical basis. In 1948, Harold Lasswell, an American communication scientist, put forward the 5W model of communication, that is, through what communication channel (In Which Channel), what communicating message (Says what) is communicated by the communication subject (the initiator of communication) to the communication target (To Whom), and what effect is achieved (With What Effect). But there is no clear definition of communication. In the 1970s, Wilbur Schramm, another American communication scientist reputed as “the father of communication studies”, gave an implicit definition: “Communication serves as a tool. That’s why our society exists.” Until now, there has been a simple definition of communication in the communication circle: the so-called “communication” is to convey the societal message or the operation of the societal message system (Guo Qingguang, 2011: 04). Or communication is the process of message flow (Hu Zhengrong，2017:19).

As for translation, according to Eugene. A. Nida, translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message. And Peter Newmark also gave his definition: “translation is rendering the meaning of a text into another language in the way the author intended the text”. And we can see that communication and translation both involve the exchange or transmission of the message.

From the perspective of language involved in communication, only a kind of language is used in the process of communication, which is called “intralingual communication”, also the general communication, and is the most seen in our daily life, such as the talk between two persons or groups who speak the same language. For another, such a process of communication deals with two or more kinds of language and can only be realized by means of translation or interpretation, which is exactly what we further study “interlingual communication”, and is also how we get translational communication.

So here is the difference between general communication and translational communication: translational communication carries the general characteristics of general communication, and also has a unique characteristic: language shift, which both constitute the essentials of translational communication. At the same time, translational communication studies and translation studies are different, more specifically, translation communication is the result of the development of translation studies towards a more refined and systematic direction. (Zhang Shengxiang, 2013：116). Differing from translation studies, see translation, as mentioned before, is an integral part of the process of translational communication, which is also regarded as an organic whole whose elements are interactive and interdependent.

We can conclude that translation is one of the forms of communication. And translational communication belongs to interlingual communication and can also be categorized as translation. It serves as the bridge for message communication among people. And based on Harold Lasswell’s 5W model of communication, the translator is introduced as one of the six elements of translational communication. As a result, a complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, receptor of target language message, vehicle\communicating channels and translation effect, and they engage in four links respectively, that is, initiation, translation, vehicle and reception, and message and translation effect are covering the whole process of translational communication.

In terms of six elements that contribute to a complete process of translational communication, six elements of translational communication jointly tell how translational communication is unfolding.

As the gatekeeper of translational communication, the subject of translational communication is also the initiator of the translational communication, who determines the communication message, the form of message presentation, translator, communication media and the vehicle, selects the wanted qualified translator and offers necessary material support to ensure the smooth operation of translational communication as well as partly affects the communication effect. This is the subjectivity of the initiator of translational communication. The initiator of translational communication can be an individual, a group, an organization, mass media or a country, which shows its diversity.

As an element that distinguishes translational communication from general communication, the translator is playing an important role in translational communication, that is, translators translate the source language message into the target language message and ensure the quality of the communication message. There will not be translational communication if there is no translator. In translational communication, a translator is a person, a machine, or a combination of both, who performs translation activities in the translational communication process (Yin Feizhou &Yu Chengfa, 2020：170-176). The translator affects the communication effect from two aspects: for one hand, the translator serves as the cooperation partner or stakeholder of the initiator of translational communication or even the initiator himself, along with the initiator or himself alone, exerts influence over the effect; for another, as the gatekeeper of message shift, translator determines the final effect of translational communication by selecting certain kinds of translation strategies or techniques and interacting with other elements of translational communication which deals with the quality of target language message. This is also an illustration of the subjectivity of translators in translational communication.

Source language message and target language message are both the object of translational communication, the object for the subject or initiator and translator of translational communication to recognize and perform and for the receptor to accept and understand. All activities of translational communication start from the perception, understanding and selection of the source language message and result in the target language message. There are three kinds of relationships between source language message and target language message: substitution, symbiosis and competition (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 112).

Communication channels refer to those media involved in translational communication, including newspaper offices, journals and magazines, book publishing houses, radio and television stations, film studios and networks and so on. In terms of message communication direction, these activities of translational communication can be classified into two types: internal translation communication and external translation communication. There are three main characteristics of communication channels: first, there is a translation link involved; second, communication media must be authorized; third, cross-region or -country cooperation will be made to better communicate.

The receptor of the target language message, the terminal of translational communication activities, accepts the heterogeneous culture from the source language, which means that receptor has to go through a cross-language understanding and cross-cultural reception. There are four characteristics of receptors in translational communication: absorb the heterogeneous culture, transform cognition, witness an impacted social culture and personal philosophy.

Like the effect of general communication, the effect of translational communication can be classified into two types: psychological, attitude and behavioral changes on the target receptor caused by the persuasive translational communication; the other is an intentional or unintentional, direct or indirect, implicit or explicit effect or influence on the general receptor and the society caused by all kinds of translational communication activities, especially those initiated by international radios and televisions, foreign language learning platforms and international message websites and We media.

===Section One The Initiator of Translational Communication===
As has been mentioned before, the initiator of translational communication is the gatekeeper of translational communication. It monitors other elements of translational communication and the whole process of communication, thus affecting the final effect of communication. According to the language environment, the subject or initiator of translational communication can be divided into the subject of the source language and the subject of the target language, and its control of the communication process can be in the form of control by the subject of the source language, control by the subject of the target language, and joint control by the source language subject and the target language subject. (Yin Feizhou & Li Ying, 2021: 76).

(1) The Subject of Source Language

The subject of source language refers to those individuals or organizations in the source language environment and their advantages in communicating their native or national culture lie in their deep understanding of and great appreciation for the message itself and the quality of Chinese classic works.

China International Literature Press and Foreign Language Press, the publishers of the Panda Books, are the subjects of the source language. As a member of the China International Publishing Group, Foreign Language Press has the responsibility of “introducing China in foreign languages and communicating with the world through books”. And its Panda Books includes a wide range of contemporary Chinese literary works, including masterpieces or collections of famous contemporary Chinese writers such as Wang Meng, Wang Zengqi, Liang Xiaosheng, Jia Pingwa, Feng Jicai, Tie Ning and Wang Anyi and so on, and their works reflect the true spiritual world and daily life of the Chinese people and resonate widely with their changing spiritual life and social environments. As a result, Panda Books has been a great success and has received widespread attention from the literary and Chinese communities in foreign countries such as the United Kingdom and the United States, thus becoming a publishing brand for translating and interpreting contemporary Chinese literature.

This is indeed an excellent example of Chinese classics translation and promotion abroad. Chinese classics such as the Taoist classics represented by Laozi or Tao Te Ching and the Confucian classics represented by the Analects, poems in the Tang, Song and Yuan dynasties, as well as the Ming and Qing novels represented by the Four Great Masterpieces of China have everlasting value and their significance goes beyond the contemporary era, and have gotten popularity in foreign countries during different periods. Therefore, their translation and promotion entail more attention and efforts from national publishers like Foreign Language Press so that Chinese classics can be brought back to life in the modern world.

Some famous Chinese and foreign experts and top-notch translators have worked with the FLP at one time or another, such as Israel Epstein, Sidney Shapiro, Gladys Yang, Denise Ly-Lebreton, and Tatsuko Yokokawa, Betty Chandler, Xiao Qian, Ye Junjian, and Yang Xianyi. Of them, A Dream of Red Mansions, co-translated by Yang Xianyi and his wife Gladys Yang and published by FLP, along with The Story of the Stone by Hawks, the two major English translations of A Dream of the Red Mansions, have been popular in the English-speaking world for nearly half a century, each with its own distinctive features, and have an authoritative status not only in the mainstream book market but also in the international sinology and redology circles. This also offers another solution to Chinese classics translation for China’s publishing houses: to absorb in excellent translation talents and masters and join hands to lay a solid foundation for Chinese classics’ communication with a foreign culture and foreign readers.

(2) The Subject of Target Language

The subject of target language refers to those individuals or organizations in the target language environment and their advantages of communicating with foreign or alien cultures lie in that they have an in-depth understanding of the target receptors and good control of the means of communication in the target language environment. For the subject of the target language, the content of translational communication is often determined by the cultural needs of the environment.

Mai Jia's ''Decoded'' is a typical example of a contemporary Chinese literary work that has “gone global” thanks to the subject of the target language. After the work won the Sixth National Book Award and was nominated for the Sixth Mao Dun Award, it was translated into English by a British sinologist Olivia Milburn and Christopher Payne, and co-published by Penguin Publishing Group in the UK and Elite Publishing Group in the US on the recommendation of the sinologist Julia Lovell. Due to their rich experience in marketing, the two publishing groups have made the English version of ''Decoded'' an enduring bestseller through various marketing channels, including the production of promotional videos, media coverage, book reviews, and global lecture tours by the author, and has been selected as the only contemporary Chinese literature work in the Penguin Classics.

As the target language subject--the publishing bodies act as the subject of translational communication, their access to the introduced works is mainly through translators and copyright agents, and the works recommended by these two groups are mostly classics from the source language country or region. Chinese classics are classical enough, plus enough exposure and strong publicity, all these make them enter the vision of the subjects of the target language and become their choice. Therefore, from the perspective of translational communication, the translation of Chinese classics depends not only on the discerning eyes of sinologists and subjects of the target language, but also on the classical atmosphere created by the Chinese government, the Chinese media and the Chinese people as the source language subjects. That’s the truth: Blooming flowers will always attract butterflies.

(3) the Subject of Source Language and the Subject of Target Language

Joint control by the source language subject and the target language subject means that two communication subjects in the source language environment and the target language environment are jointly responsible for a translational communication project. In the publishing industry, two publishing houses in the source language and the target language cooperate to complete the whole process of publishing and distribution, including the granting of translation rights, translation, publication, marketing and market feedback. The publication of the English translation of the famous science fiction ''The Three-Body Problem'', written by the Chinese writer Li Cixin, is a typical example of this model.

In 2012, China Educational Publication Import & Export Corporation and Science Fiction World signed a book copyright agreement with Liu Cixin, the author of ''Three Bodies'' for the translation rights of its English version, and chose Chinese-American science fiction writer Ken Liu as the translator of the first book. In 2014, the company licensed the English version of ''Three Bodies'' to Thor Press in the U.S. for worldwide publication, and in 2015, Thor Press granted back the rights to the company for the English version in Greater China, and thus it was released in mainland China, Hong Kong, Macau, and Taiwan. So we can see that the English version of ''Three Bodies'' was jointly published and distributed by Chinese and American publishers who fully captured the content of this masterpiece and made good use of the local distribution advantages of British and American publishers, and finally gained a great success.

So what can Chinese classics translation learn from it? There is no denying that the subject of the source language or Chinese is monitoring the whole process of translational communication. But it will never be a way out while holding excellent classic works in the bosom as it will be difficult for us to have the advantages that the subject of target language does: identify the target receptors, understand their cultural psychology and select the types of classics that will interest the target receptors as well as find the best form of communication. So cooperation will be a win-win choice, especially today when Sino-foreign exchange has been increasingly close.

===Section Two Translator in Translational Communication ===
Translator distinguishes translational communication from general communication, and they have the qualities of general translators and proficient ability to manage cross-cultural issues and, more importantly, the flexibility to interact with other elements to ensure the quality of translation and the communication effect, which are all examples of the subjectivity of translators. In the specific process of translational communication, the subjectivity of translations can be divided into two kinds: intra-translational subjectivity and extra-translational subjectivity (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 88). Extra-translational subjectivity refers to the translator's activeness and passivity in interacting with other elements of translational communication beyond language conversion, and it runs through the process of pre-translation negotiation and post-translation coordination. Intra-translational subjectivity refers to the translator's activeness and passivity in language conversion under the influence of other translational communication elements, and it runs through the process of translation.

(1) Pre-translation Negotiation

In translational communication of books, translators’ pre-translation negotiation subject is mainly the initiator of translational communication. This means that the translator needs to translate according to the expectations or instructions of the initiator, such as identifying the content of the translation, determining the purpose of translational communication, and proposing specific translation standards or strategies. The translator accepts the commission, agrees on the translation plan and signs a translation contract, and should of course translate according to the subject or initiator’s requirements, and the translation should try to meet his expectations, which reflects its passivity. For another, the translator can also make suggestions to the initiator, communicate and modify the translated text, standards or strategies based on his or her understanding of target readers and target society and culture, which in turn reflects the translator’s activeness.

Before the First China-Africa Economic and Trade Expo, the Secretariat of the Organizing Committee, as the main body of translational communication, commissioned a translation committee composed of experts including Jiang Hongxin and Yin Feizhou from Hunan Normal University to translate the official documents of the Expo. The translation committee initially advised that the Chinese expression “经贸合作” in the title of the book could be translated as “business cooperation”, but the secretariat, taking into account the opinions of the experts, considered that its translation should be “economic and trade cooperation”, and the translation of “经贸” should be “economy and trade”. In fact, the translation committee quoted the official English translation of “China-Europe business cooperation” from Li Keqiang’s keynote speech at the sixth session of the China-Europe Forum Hamburg Summit, stating that the term “economic and trade cooperation” is actually the equivalent of “business cooperation”, which does not need to be translated as the lengthy “economic and trade cooperation”. Despite that, the Secretariat emphasized that the translation of the book title should be consistent with the official English translation of the China-Africa Economic and Trade Expo, and insisted on the version of “economic and trade cooperation”. After understanding the intention of the organizing committee secretariat, the translators expressed their understanding and adopted this translation (Yin Feizhou, 2021: 88).

(2) While-translation Control

It’s what translators must do to timely communicate with the author of the source text or some experts while facing some difficulties or some professional problems in translating. The famous American sinologist Howard Goldblatt once said in an interview: The dialects in Jia Pingwa’s novels are so many that sometimes I fail to understand them while translating and have to communicate with him. Besides, I have translated eleven of Mo Yan’s novels, and we have had many discussions and even arguments about various details in them. Some of the artifacts and cultural backgrounds in Mo Yan's novels have posed considerable challenges for me. There is an artifact in (si shi yi pao) ''Pow!'' that I never understood, so I turned to him for help, and Mo Yan made a sketch and sent it to me by fax (Meng Xiangchun, 2014: 26). As a result, under the joint efforts of the translator and the author of the source text, Mo Yan’s works with Chinese characteristics has been a hit in the western and American markets and eventually Mo Yan won the Nobel Prize for Literature thanks to Howard Goldblatt’s translation.

The translator is the most competent and literate member in terms of interlingual communication during the entire translational communication activity (Yin Feizhou, Li Ying: 77). This means that translators should give full play to their roles and be more creative while being loyal to the source text and responsible for the author. As far as the role of translators is concerned, translators should be more creative in their translations to enhance the readability of Chinese classics. The famous translator of ''A Dream of Red Mansions'' Gladys Yang once said: “We (she and her husband Yang Xianyi) are not flexible enough. There is one translator whom we admire very much, David Hawks (another famous translator of ''The Story of The Stone''). He was much more creative than we were. We are too rigid and readers don’t like it because we are adopting literal translation wholly. In fact, we should be more creative. Translators should be more or less that way. However, we have been restricted by our past working environment for a long time, and thus more stuck to the source text” (Wang Zuoliang, 1989). As Zhuang Yichuan (2015: 76) has said, the more creative the translator is, the closer his translation will be to the original. And vice versa.

(3) Post-translation Coordination

After the translation is finished, the translated text has to be read and examined by the translator herself and others. Others include readers of the target language, who are responsible for pointing out those expressions that are not accurate, fluent and standard, and initiator of translational communication, who aims to find wherever it is inappropriate for publishing. For the former, as Howard Goldblatt translated Yang Jiang’s ''Six Chapters from My Life: Downunder'', Joseph Lau, a young teacher at the University of Wisconsin at the time, was invited as a reader and offered valuable suggestions for the treatment of background knowledge in the translation (Xu Shiyan, 2016: 90). For the latter, in his translations of Chinese classics, Howard Goldblatt has to abridge some of his translations at the request of editors and publishers, because literary translational communication cannot take place in a vacuum. (Liu Yunhong, 2019: 76) Readers’ acceptance is one of the factors that are necessarily taken into consideration.

In a word, at the stage when the foreign translation of Chinese literature was not yet in full swing, Howard Goldblatt gave full play to his initiative, actively communicated with editors, publishers and scholars, and jointly made suggestions for the translation, publication and promotion of the works, thus achieving the success of foreign translation of Chinese literature. This is exactly the kind of translator that Chinese classics translation asks for. In fact, Howard Goldblatt came into sight of Chinese and became the hot subject of the research of Chinese translation circles after Mo Yan’s winning the prize. That’s the reality: the translator is often invisible. But for Chinese classics translation, translators are increasingly visible. This inspires us in terms of two aspects. One is such translation masters as Howard Goldblatt who makes great contributions to Chinese literature and Chinese culture deserves Chinese attention and recognition when the Chinese government or the initiator of Chinese classics translation should be open and clever enough to cooperate with such talents to serve this event. Second, Chinese translators should never be excluded, although it is always a better choice for a target language translator to have this job. But the ability speaks aloud.

So what can Chinese classics translation learn from the translator with subjectivity and creativity from the perspective of translational communication? It must be a lot to learn from.

First, Chinese classics translation needs modern excellent translators as inheritors to inject them with new vitality. This needs translators’ activeness. For example, although the version of ''Roman of Three Kingdoms'' translated by the English sinologist C.H. Brewitt Taylor is no longer popular now because of the passage of time, it is still very influential in sinological circles. For example, the American sinologist Moss Roberts referred to his version when he re-translated this classic in 1983. The Australian sinologist Rafe de Crespigny became interested in Chinese history when he saw Taylor’s translation and later wrote at least five full-length monographs on the late Han and Three Kingdoms periods, and a 500-page biography of Cao Cao, which is perhaps the only biography of Cao Cao in the English-speaking world. This is exactly where the charming of excellent translation lies in: despite being difficult to translate due to its rich content and impressive cultural marks, real responsible translators should be rising to challenges, trying to challenge their predecessors and be creative to re-illustrate the Chinese classics while standing on the shoulders of those who came before us.

Second, the cultivation of translation talents for Chinese classics translation should be valued at a national level. In the past, the training of foreign language talents and translators focused on learning foreign literature, language and culture, and a certain degree of Chinese cultural aphasia has occurred. That is, Chinese translation talents may be familiar with English and American literature and its popular culture, but know little about ''the Four Books and Five Classics'' and the national culture. Here the problem comes: if they do not know their own cultural traditions and ideology, how can they take up the important task of translating and interpreting China? Therefore, in the current training of translation talents, it is urgent to make up for the shortage of local cultural nourishment and strengthen the education of local history, culture and intellectual concepts. Throughout the twentieth century, China was good at translating from foreign culture but poor at translating Chinese culture abroad, but there was a translation master in Chinese cultural promotion abroad, and it was Lin Yutang, one of the best-known Chinese writers of the twentieth century in the world. His ''Moment in Peking, My Country and My People, and The Importance of Living'' and so on all tells China and Chinese culture to the world. At this time when Chinese culture is being exported on a large scale, and when Chinese culture has to go out and is going to have benign communication with other cultures, Lin Yutang, who is undoubtedly a model of cultural communication, is worth studying and emulating both at present and in the future.

===Conclusion===
The significance of Chinese classics translation from the perspective of translational communication studies lies in the fact that it’s the right time for the strategies of Chinese cultural communication to upgrade while facing a lingering pandemic. At the same time, from translating the world to translating China, China itself has been increasingly stressing the foreign communication of our culture, so translational communication as a new subject will be a good approach to related studies. As has been illustrated above, the initiator of translational communication and translator, as two of the six elements of translational communication, are playing an important role in this process and this importance can be seen everywhere in book publication and promotion worldwide or by means of other media. In conclusion, translational communication studies indeed provide the theory and methodology for promoting Chinese classics abroad and “telling the Chinese story well”.

===References===
*Guo Qingguang郭庆光. (2011). ''传播学教程（第二版）''[Communication Studies Course (2nd Edition]. 北京：中国人民大学出版社Beijing: China Renmin University Press, Page 4.

*Hu Zhengrong.胡正荣.(2017).''传播学概论''[Introduction to Communication Studies]. 北京：高等教育出版社Beijing: Higher Education Press, Page 19.

*Liu Yunhong.刘云虹.(2019).''葛浩文翻译研究''[Studies on Howard Goldblatt’s Translations].南京大学出版社 Nanjing University Press, Page 76.

*Meng Xiangchun.孟祥春.(2014).葛浩文论译者——基于葛浩文讲座与访谈的批评性阐释[Howard Goldblatt on Translators--A Critical Interpretation Based on Howard Goldblatt’s Lectures and Interviews].中国翻译Chinese Translators Journal, (03): 26.

*Wang Zuoliang. 王佐良.(1989).''翻译：思考与试笔''[Thinking and Practice on Translation].北京：外语教学与研究出版社Beijing: Foreign Language Teaching and Research Press, Page 84.

*Yin Feizhou, Li Ying.尹飞舟、李颖. (2021).翻译传播主体控制效应解析———以当代中国文学作品英译出版为例[An Analysis of the Control Effect of Translational Communication Subjects---The Case of English Translation and Publication of Contemporary Chinese Literature]. 湖南师范大学社会科学学报 Journal of Social Science of Hunan Normal University, Page 76.

*Yin Feizhou, Yu Chengfa.尹飞舟、余承法. (2020).''翻译传播学论纲''[Outline of Translation Communication Studies]. 湘潭大学学报（哲学社会科学版），Journal of Xiangtan University(Philosophy and Social Science)2020(05)：170-176.

*Yin Feihzhou, Yu Chengfa and Deng Yingling.尹飞舟、余承法、邓颖玲. (2021).''翻译传播学十讲''[Ten Chapters of Translational Communication Studies]. 长沙：湖南师范大学出版社 Changsha: Hunan Normal University Press, Page 17 and 88.

*Zhang Shengxiang.张生祥.(2013).翻译传播学:理论建构与学科空间[Translation Communication: Theoretical Constructions and Disciplinary Space]. 湛江师范学院学报 Journal of Zhanjiang Normal College, (01):116.

*Zhuang Yichuan.庄绎传.(2015).''翻译漫谈''[On Translation].北京：商务印书馆Beijing: The Commercial Press, Page 76.

==英语笔译曹姣 Cao Jiao 202170081564 MW==

<center>'''The Dissemination of ''The Compendium of Materia Medica'' Abroad'''</center>

<center>曹姣CaoJiao</center>

===Abstract===
The overseas dissemination of the ’’Compendium of Materia Medica’’ （《本草纲目》）has so far had a history of several hundred years. It is one of the most translated pharmaceutical works into foreign languages that China has ever produced(Wang and Sun, 2022). In the context of the coronavirus pandemic, it is of practical significance to study the origin, overseas dissemination, and reception history of the ’’Compendium of Materia Medica’’, which can both provide certain historical references for medical exchanges in today's globalized era and provide some insights into the overseas dissemination of Chinese pharmaceutical classics. At present, there is insufficient research on this topic in academia. On the one hand, there is little coverage of the overseas dissemination and reception of the Materia Medica since the 21 century; on the other hand, there is a lack of research on the reception of general readers overseas.

===Keywords===
the ''Compendium of Materia Medica''; overseas dissemination; Chinese pharmaceutical classics;

===Introduction===
1. Reasons for the study

First, since the outbreak of the COVID-19 pandemic, Chinese medicine has played an active role in the prevention and treatment of the disease. The report of the WHO Expert Meeting on Evaluation of Traditional Chinese Medicine in the Treatment of COVID-19, published on the official website of the World Health Organization, clearly affirmed the safety and effectiveness of Chinese medicine in the treatment of COVID-19 and fully recognized the important contribution of Chinese medicine in combating the pandemic. The ’’Compendium of Materia Medica’’ is the most comprehensive of all Chinese medical classics. Therefore, the study of its original source and the overseas dissemination of its translation is of great contemporary value, both in terms of providing some historical reference for medical exchanges in this globalized world, thereby promoting cross-cultural exchanges between Eastern and Western medicine, and in terms of providing some insights into the overseas dissemination of Chinese medical classics.

Second, amid the background of repeated outbreaks of the pandemic, many Chinese people are quarantined at home. However, Liu Genhong, a star personal fitness trainer, with his wife has gone viral on social media. In his livestreams, Liu and his wife are usually seen exercising to the fast-paced tune of Jay Chou’s (a Chinese famous popular singer) "Compendium of Materia Medica", which makes locked-down Chinese sweat. This is also an important reason why I came up with this topic.

2. Research significance

The Compendium of Materia Medica was compiled by Li Shizhen, a Chinese medicine man of the Ming Dynasty. It was completed in 1578, engraved in 1593 and published in 1596. It was introduced to Japan in 1604 at the latest, and then to Asian countries such as Korea and Vietnam, and to European countries such as France and England in the late 17th century. The book was published in 1593 and issued in 1596. In the 18th and 19th centuries, many European scholars translated, quoted, studied and evaluated parts of the Materia Medica. Therefore, the study of its original source and the overseas dissemination of its translation is of great contemporary value, both in terms of providing some historical reference for medical exchanges in this globalized world, thereby promoting cross-cultural exchanges between Eastern and Western medicine, and in terms of providing some insights into the overseas dissemination of Chinese medical classics.

3. Structure

This paper takes the overseas dissemination of the Compendium of Materia Medica as an example, the first part about the spread and development of its original text, the second part is about the overseas dissemination of its translation, and the third part is about the current acceptance of the book, and the fourth part is about the summary and further analysis of the dissemination of this pharmaceutical classic.

===On the Original and the Author of It===
'''1. On the original'''

The original classic ''Compendium of Materia Medica'' consists of 52 volumes(卷), including 16 classifications（部） and 60 categories（类）, which recorded 1892 kinds of herbs, 11096 prescriptions and 1110 attached drawings. Based on traditional Chinese medicine, this book integrated mass disciplines encompassing basic theories of traditional Chinese medicine, medicament, prescription, and clinical application which almost involve all the contents of traditional Chinese medicine, reflecting the comprehensiveness of herbal knowledge and marking the extraordinary significance to the development of traditional Chinese medicine.

[[File:16 classifications of the ''Compendium''.jpg]]

'''2. On the author of the original'''

Li Shizhen (courtesy name: Li Dongbi, assumed name: Li Binhu; 1518-1593) was from Qizhou (present Qichun County, Hubei Province). He came from a family lineage of physicians. His grandfather, an itinerant healer usually walked the streets to give treatment to poor people, and his father was a famous physician in his hometown. He was brought up and nurtured by his family tradition and he expressed keen interest in medicine.(Min Li, Yongxuan Liang 2015, 215-216)

===Literature Review===
Research on the "Western transmission of Chinese medicine" at home and abroad can date back to the early twentieth century. Early studies were mainly carried out by scholars of the history of medicine and science and technology, such as the first English-language ’’History of Chinese Medicine’’, co-authored by the modern Chinese medical historians Wang Jimin and Wu Liande in 1932, which devoted a chapter to the exchange between Eastern and Western medicine (Wang, Wu, 2009:105-110). From 1954 onwards, the ’’History of Chinese Science and Technology’’ series, edited by the famous British historian of science Joseph Needham (Needham,1900-1995), was published one after another, with a separate volume on "Medicine" in the sixth volume of "Biology and Related Technologies". In 1993, Ma Boying, Gao Hei and Hong Zhongzhong edited a book entitled ’’History of Chinese and Foreign Medical and Cultural Exchanges’’, which systematically reviewed the history of the spread of Chinese medicine in Japan, Korea, Vietnam, India and European countries. ", focusing on the introduction of Chinese medicine by Matteo Ricci, Deng Yuxuan and Bu Meigei, as well as the influence of acupuncture, moxibustion, and the ’’Compendium of Materia Medica’’ on the West. In 1994, Jiang Xide (Volker Scheid, Li Chunmei, 1994:12-15), a German scholar and doctor of Cambridge University, UK, was invited to deliver a lecture on the development of Chinese medicine in Europe at the Institute of Chinese Medicine Information of the Chinese Academy of Traditional Chinese Medicine(中国中医科学院中医药信息研究所), introducing the spread and development of Chinese medicine in France, Britain, Germany, and other European countries, and analyzing its political, historical and cultural background. In 1998, medical historian Li Jingwei (Li, 1998:342-402) introduced the medical exchanges between China and Japan, Korea, Vietnam, India, Australia, and other countries in Europe and America from the Qin and Han dynasties until modern times, focusing on acupuncture in modern times and the spread of Chinese medicine in Europe and America, such as the obstacles to the spread of acupuncture in Britain, as well as the British scholars Hanbury’s, Ebone’s research on Chinese medicine. In 1999, Han Qi (Han, 1999: 92-133) in ’’The Western Transmission of Chinese Science and Technology and Its Influence (1582-1793)’’ introduced Chinese medical knowledge such as pulse science and variolation, and the circulation of medical works in Europe such as the ’’Compendium of Materia Medica’’ and the ’’Collection of Cleansing Injustices’’ .

In the 21st century, with the gradual internationalization of Chinese medicine, research on the "Western transmission of Chinese medicine" has become more comprehensive and detailed. The research on the western transmission of Chinese medicine by scholars at home and abroad can be broadly divided into studies on the translation of Chinese medicine, studies on the history of the western transmission of Chinese medicine, and studies on the current situation and countermeasures of contemporary western transmission of Chinese medicine.

On one hand, the research on the translation of TCM mainly focuses on the translation of Chinese pharmaceutical classics, translation of pharmaceutical terms, theoretical approaches to the translation of Chinese pharmaceutical classics, and the establishment of a TCM translation corpus. The first is the study of the translation of classical ancient Chinese medical texts. Studies on the history of translation of classical medical texts are dominated by the doctoral theses of Qiu Gong and Fu Mingming. By compiling the history of English translations of classical medical texts such as the ’’Yellow Emperor's Canon of Internal Medicine’’(《黄帝内经》) and the ’’Compendium of Materia Medica’’, the two scholars (Qiu, 2011)( Fu, 2016) analyzed the characteristics of English translations of works from different periods and discussed the problems in English translations of Chinese medicine and future development ideas. At present, a number of full English translations of ancient classical Chinese medical texts have been published, such as the complete English translation of ’’Ben Cao Gang Mu’’ translated by Professor Luo Xiwen published in 2003 (Luo Xiwen, 2003). Among foreign scholars, the most notable research on the translation of the substantives of the ’’Yellow Emperor's Classic of Internal Medicine’’ and the ’’Ben Cao Gang Mu’’ has been conducted by German sinologist Professor Paul U. Unschuld文树理. For example, in 2008, Prof. Unschuld and Prof. Zheng Jinsheng of the Chinese Academy of Traditional Chinese Medicine led an international collaborative project, ’’Dictionary of the Ben Cao Gang Mu’’ (《本草纲目词典》), to study and translate the substantives in it, such as names of diseases, places, people, books and medicines.

On the other hand, there were studies on the current situation and countermeasures of the "western spread of Chinese medicine". For example, Ma Boying's (Ma, 2000:683) report at the International Congress of Traditional Medicine in 2000 pointed out that Chinese medicine had been introduced to the UK and had undergone a transformation process from coldness to prosperity, and analysed the ten main reasons why Chinese medicine had been able to gain a foothold in the UK, as well as the ten obstacles to its development in the West. Qin Qian (Qin, 2016) discusses the policy and legal issues facing the western spread of Chinese medicine in an international context.

===Methods and Theories===
This paper adopted the literature research method.

By the literature research method, a large number of relevant literature is collected through a variety of ways and channels. In the literature collection channels, the author draws support from CNKI, Baidu Scholar and Google Scholar, etc.; two main ways to search the literature are utilized, searching in light of keyword or subject, and reference. Moreover, the author in the search for literature with a clear direction. For example, the keywords of this article are "Compendium of Materia Medica" or “Ben Cao Gang Mu” and "overseas dissemination", so the author enters these two keywords to search the pertinent literature, selects appropriate ones to study, and also searches the literature listed in the references, to help the author form a clear and systematic understanding of the research topic.

===The Original Editions and the Other Three Popular Editions===
'''1. Jinling Edition'''
Li Shizhen has represented a great interest in medicine since he was young. He read previous works extensively, and when he had got some perceptions he would make notes and in this way he accumulated a large amount of knowledge. Meanwhile, he did not stick to the saying of the ancient people and adhered to “seeing is believing”. From the age of 35, that is, the year of 1552, in the Ming Dynasty, Li began to write the ’’Compendium of Materia Medica’’, and until the age of 62, that is, in 1578, the manuscripts were completed. During these 27 years, after arduous efforts, the Compendium of Materia Medica was finally written in 1578. Because this book encompassed the content of the anti-Taoist belief of immortals, its publishing process necessitated painstaking efforts. Finally, with the help of Wang Shizhen, a literary giant of that period, it was about to be published. However, Li passed away just as the engraving of his work was complete and was about to be printed. In 1596, the epoch-making Compendium of Materia Medica was published in Nanjing, known as the Jinling Edition（金陵本）. (Li Zairong, 2004 )

[[File:The ancestral of the ''Compendium''(Jinling Edition).jpg]]

'''2. Jiangxi Edition'''

In 1603, the book was published in Jiangxi by Xia Liangxin（夏良心） and Zhang Dingsi（张鼎思）, so it is called Jiangxi Edition（江西本）. From the perspective of text proofreading, although the Jiangxi edition was directly based on the Jinling one, and completed its engraving only ten years after Li Shizhen's death, the Jiangxi edition has encompassed additions, errors, and missing parts compared with the Jinling edition. The Jiangxi edition belonged to official engraved books, whose engraving excelled the former edition in terms of paper and ink. The early editions of the ''Compendium Materia Medica'', such as the Shiquge, the Hubei, the Li Datang and the Zhang Chaolin editions, were mostly based on the Jiangxi edition. The four volumes of the punctuated and collated edition(点校本) published by the People's Health Publishing House(Renwei edition人卫本), which was edited by Liu Henru in 1981, was also based on the Jiangxi edition till the fourth volume was revised based on the Jinling edition. This edition was so influential both at home and abroad that it was reprinted as many as 20 times. Later, his son, Liu Shanyong, followed in his father's footsteps and used the Jinling edition as a base, and carefully proofread it on the basis of the Renwei edition, publishing the best edition of the Materia Medica currently available - the new proof-reading version of the Huaxia edition（华夏本）. (Li Zairong, 2004 )

'''3. Hangzhou Edition'''

Hangzhou edition（杭州本） was published in 1640 by Qian Weiqi’s（钱蔚起） Liu You Tang ( an ancient Chinese publishing house“六有堂”) in Wulin, so it can also be called Liu You Tang edition (or Wulin Qianya edition六有堂本/武林钱衙本 ). This edition is a reprint of the Jiangxi one, and the textual content is the same as that of the Jiangxi edition, so it also followed the Jiangxi textual content in terms of additions and errors. With regard to the quality of the engraving, the Wulin Qianya edition is indeed a bit better than the Jiangxi one. It is worth noting that the Wulin Qianya edition made the first comprehensive repainting of the accompanying diagrams of the Materia Medica. The introductory note at the beginning of this edition with the accompanying diagrams said: "The focus of painting has always been put on the excellent skills, no one was willing to spend time in analyzing the resemblance. Therefore, the erudite have their own opinions on this matter. This set of books can examine and proofread each other, and the herbal medicine was reproduced pretty well in the book. Even those foreign or rare medicines could be found according to the drawings, so try your best to know more names of herbal medicines." According to the scholars, the occasions of repainted herbal medicine in the Wulin Qianya edition could be divided into three categories: (1) imitating the Jinling edition and slightly embellishing them, with an aggregate of 259; (2) partial distorting the original drawings, including increasing or decreasing the number of herbal medicines, branches, leaves, flowers and fruits in the diagrams and the background, totalling 766; (3) serious distortion, like changing the diagrams to 84 pieces that cannot be deduced from the original drawings. The identification of medicinal paintings should therefore be noted when consulting the Compendium of Materia Medica of the Wulin Qianya edition. (Zhang, 2003)

'''4. Hefei Edition'''

Published in Nanjing in 1885, the title page of the Hefei edition（合肥本） was entitled in seal script on the front with “Ben Cao Gang Mu”（本草纲目）, and on the reverse with “Hefei Zhang's Wei Guzhai（味古斋） in the summer of the Yiyou Year (乙酉年), Guangxu（光绪年间）, reprinted and re-proofread by Yu Yue (a scholar of the late Qing Dynasty：俞樾) of Deqing”, so it was also called Wei Guzhai edition（味古斋本）. This edition was presided by Zhang Shaotang over the publication, with Zhang Xizhen, Zhang Shi Yu, and Zhang Shi Heng responsible for "proofreading errors, supervising the work of engraving", doctor Wang Jingtang and Zhong Shoubai in charge of "discussing the prescriptions and classifying different categories of the materia medica", and Fan Jingcun as the manager. Other participants included Tian Zhuangyi, Cao Qingfeng, Xiong Zhongshan, Weng Tiemei, Dang Youyun, Zhang Guanzhi, Cheng Dasan, Chen Zhenyuan, Xu Gongfu and Zhu Zaochen.(Li,2004)

This is a reworked version, which, from the textual content, has distinguished differences from the Jinling edition. Some scholars have pointed out that this version, compared with the "first edition of the Jinling, which was inscribed during Li Shizhen’s lifetime, was found more than 1600 differences". Some of these revisions were indeed correct, but none of the corrections were presented in the form of proofs. Instead, they were revised directly on the original text of the ''Compendium of Materia Medica'', and many of the added entries were from later medical books. This seriously undermines the documentary value of the original work.

===Dissemination in different regions ===
'''1. In Japan'''

At the beginning of the Edo period(江户时代), the ’’Compendium of Materia Medica’’ was transmitted to Japan, starting the process of dissemination and translation of the ’’Compendium of Materia Medica’’ in Japan. The whole process can be divided into the following stages: transmitting before translating, re-disseminating, and continuing to have a wide and far-reaching impact. The dissemination of the ’’Compendium’’ played a great role in promoting the emergence and development of disciplines like herbology, pharmacology, and natural history in Japan.

In 1607, the first edition of the Japanese ’’Compendium of Materia Medica’’ was published by the Imperial Library of Japan on the basis of the "Jinling edition", in 55 volumes, named ’’Grand Hall Querying the Herbal Medicine ’’ (《广大堂质问本草》). It was limited to previews by the Shogunate's(幕府) court physicians, so it’s not familiar to most people.

In 1637, the Japanese edition of the ’’Compendium of Materia Medica’’ was published in Kyoto, and is known as the earliest Japanese edition. It is also known as the "Kanei edition"(宽永本), because it was published in the 14th year of Kanei's reign.

In 1672, Ekiken Kaibara (贝原益轩(1630-1714)) reprinted and re-proofread the ’’Compendium of Materia Medica’’ according to the Wulin Qianya edition (Hangzhou edition), and punctuated it in line with Japanese convention of composing and engraved the ’’Materia Medica Catalogue’’ and the ’’Materia Medica Appendix’’, each in one volume, entitled with the ’’Correction of the Compendium of Materia Medica’’. It is one of the most influential editions of the Ben Cao Gang Mu, and is highly respected by the scholarly community. Ekiken Kaibara was a Japanese Confucianist, naturalist, educator and materia medica scholar of the early Edo period. He was the founder of Japanese materia medica, and compiled the great work ’’Yamato Materia Medica’’《大和本草》 (also known as the ’’Great Japanese Materia Medica’’《大倭本草》, with its appendices in 18 volumes), which contributed greatly to the development of Japanese pharmacology and natural history. ( Zhang, 2003)

Soon afterward, a "Materia Medica Fever" began in Japan, and a large number of works on Chinese pharmacology and Materia Medica were published. Japanese Confucianists and pharmacological scholars began to punctuate and preliminarily interpret the ’’Compendium of Materia Medica’’ in light of Japanese convention.

'''2. In Korea'''

The Joseon Dynasty(朝鲜王朝) was a vassal state of China during the Ming and Qing dynasties, and its ideology and culture were heavily influenced by Chinese culture, and so did its traditional pharmacology. According to the historical data available, the name of the ’’Compendium of Materia Medica’’ first appeared in the book list of ''The Diary of Laojiazhai's Life in Peking of the Joseon Dynasty''(《老稼斋燕行录》), which was written in 1712 by the Joseon emissaries from Beijing. After that, Chinese copies of the ’’Compendium of Materia Medica’’ were imported to various parts of Korea. (Sanmurong,1963) The ’’Essence of Materia Medica’’(《本草精华》) was a monograph on materia medica compiled by Koreans during the Joseon Dynasty, whose author was not known. The book follows the classification method of the ''Compendium'', with the difference that it has omitted the “division of clothing and utensils”(“服器部”), and also placed the divisions of jinshi, water, fire and earth after the division of people, whereas in the original these four divisions are placed before the division of grasses.

The influence of the ’’Compendium Materia Medica’’ on the late Joseon Dynasty was not confined to pharmacological circles, as most of the Joseon literati were exposed to the book, and it was discussed in many of the later Joseon literary collections. The influence of the book is evident in the fact that both medical scholars of the time and literati all dabbled in the ’’Compendium’’. In the late Joseon Dynasty, Lee Kyu-kyung(李圭景) (1788-1857) devoted his life to writing Oju-Yeonmunjangjeon-Sango(《五洲衍文长笺散稿》). The book is an encyclopedic work that covers everything like rules and regulations, religious customs, literature and art, technology and civilisation, customs and traditions, military science and technology, history and archaeology, and art and literature. The book quoted the ’’Compendium Materia Medica’’ frequently. Encompassing the author's general assessment of the original, it imitated the contextual model of the ’’Compendium’’. Arguments that disagreed with the original were also in it.(Shen & Zhou, 2018)

’’’3.In America’’’

The ’’Compendium of Materia Medica’’ was introduced to the United States in the 18th century. At first the Jinling engraving edition(it was the first engraving) was brought from China to Japan, and then from Japan to the United States, and was made all the more valuable because it was proofread by the Japanese herbalist Mori Rikuzuki（森立之）. However, the study of the ’’Compendium Materia Medica’’ in the United States began roughly in the 20th century. When Ralph Mills（米尔斯）of the United States was in Korea, he translated the ’’Compendium Materia Medica’’ into a manuscript (some 40 volumes) with his Korean colleagues, and later returned to his home country, where he handed the manuscript, together with specimens, to Bernard Emms Read（伊博恩）, an Englishman in Beijing (Wang, 1949(35):11 - 12). Since then, Emms Read, in collaboration with Chinese and Korean scholars, has worked for many years on the basis of Mills' research and has made a comprehensive introduction and study of the contents of the 44 volumes of the ’’Compendium Materia Medica’’ in English. This translation provides a shortcut for Western readers to understand it, and although it was not a complete English translation edition, the essence of the original work is largely presented. In 1973, Nathan Sivin（席文）, a leading American historian of science, and William C. Cooper（库帕）published ’’Medicines in the Human Body’’(《人身中之药物》), which was written in reference to the ’’Compendium’’. In the same year, Sivin published a 14-volume ’’Biographical Dictionary of Scientists’’ (《科学家传记辞典》), which encompassed a lengthy biography of Li Shizhen, providing a more comprehensive account of his life and the ’’Compendium of Materia Medica’’. It is one of the most complete biographies of Li Shizhen in Western works to date. (Liu, 2014)

’’’4. In Europe’’’

Around the 18th century, the ’’Compendium’’ was introduced to Europe. According to Joseph Needham, a British historian of science, Jacques Francois Vander-monde, a French physician, obtained the ’’Compendium’’ and collected 80 mineral specimens during his medical practice in Macao, China in 1732, and then prepared an early abridged translation of the ’’Compendium Materia Medica’’ with the help of the Chinese. It was only after a hundred years that these mineral specimens were noticed and examined, and the 164-year-long backlog of extracted translations was finally published as a whole (Zhang, Wang. 1993:87 – 93). In 1735, an abridged translation of the ’’Compendium Materia Medica’’, published publicly in European languages, appeared in the French edition of the ’’Complete History of the Chinese Empire’’ in Paris. Immediately after its publication, the book made a stir in Europe and attracted the attention of people from all walks of life. The French edition sold out that year. It was then translated into English, German and Russian, and attracted a great deal of interest from European scholars(Fu, 2020）.

By the 18th century, several abridged translations of the ’’Compendium’’ were emerging in Europe. According to the British sinologist Joseph Needham (1900-1995) in his ’’History of Chinese Science and Technology’’, between about 1720 and 1732, a French physician named Jacques Francois Vandermoade collected 80 inorganic chemicals in accordance with the entries of the ’’Materia Medica’’ (equivalent to 60% of all entries) and prepared a brochure entitled ’’Eaux, Feu(et Cautères), Terres, etc. Métaux, Minéraux et Sels, du Pén Tshao Kang Mu’’(《本草纲目》中水、火(及灸)、土等金属、矿物及盐类).

In addition to documentary research on Chinese herbology with reference to the ’’Compendium’’, European scientists also used specimens to conduct practical research on chemical analysis, pharmaceutical classification and cultivation, extraction of active ingredients and pharmacological experiments in conjunction with documentary records. This brought the study of the ’’Compendium’’ to a new level, promoting and enriching the modern disciplines of pharmacology, botany, medicinal chemistry, and pharmaceutical science. Since the 21st century, these scientific methods were in turn transmitted to China, which has also enabled Chinese scholars to organise and discover the traditional medicinal heritage more effectively. Only by using scientific principles and methods to study classical scientific works such as the ’’Materia Medica’’ can we truly see its value and evaluate Li Shizhen's contribution, and thus take a new step forward. (Li Zairong, 2004 )

===Reception in contemporary foreign market===
’’’1.In Janpan’’’

When the author searched the Japanese Calil website (which only shows which libraries in Japan have the books you searched) for the names of titles, I found that the search results contained not only Li Shizhen's ’’Compendium of Materia Medica’’, but also Ono Lanyama's ’’The Enlightenment of the Compendium of Materia Medica’’(《本草纲目启蒙》). The ’’Enlightenment’’ book was originally his lecture notes, which was published in 1803 after being put into order by his grandson, Ono Kunitaka, and his disciple, Okamura Haruyoshi, and revised and proofread by him. The most important feature of the book is that it is not a translation of the ’’Compendium’’, but a textbook of the lectures on the Compendium given by Lanyama at the medical school, as well as a record of his notes and experiences in teaching herbalism to his disciples. It can be said that "Enlightenment" is both an introductory book to the study of the ’’Compendium’’ and a concentrated reflection of the results of Lanshan Ono's thoughtful study of the ’’Compendium’’. At the same time, the author typed in "The Compendium of Materia Medica" on Amazon Japan and found the book ’’Illustrated Materia Medica’’ in the recommendation section, with 189 reviews and a positive rating of 96%. In addition, the author also found Li Shizhen's unillustrated Ben Cao Gang Mu in Japan's most renowned library, the National Diet Library(日本国立国会图书馆).

[[File:The ''Compendium'' in Japanese National Diet Library.jpg]]

’’’2.In America’’’

The hardcover English translation of the ’’Materia Medica’’ can be found on Amazon.com in the United States, where it has received a rating of 70% out of 5 stars and 30% out of 1 star. So it got 4 stars from customer reviews finally on Amazon. There’re comments praising it for its contributions to medicinal herbs. And some remarks say: ” This book is a necessary reference for anyone interested in Chinese medicine who can't read the Chinese (which is quite difficult--lots of plant names and obscure disease names and so on)”. And they also recognize the translators’ work: “The translators have done a fine job with indexing and gotten the scientific names right (subject to some changes due to recent genetics work).” On Amazon, it ranks 1,944,335 in Books in Best Sellers list, while 119,368 in medical books.

’’’3.In Europe’’’

In the early 20th century, a series of more comprehensive English translations of the ’’Compendium of Materia Medica’’ appeared, compiled mainly by the British scholar Bernard EmmsRead (1887-1949) together with a number of Chinese and foreign scholars from the Peking Society of Natural History(北京博物学会). In 2003, a complete English translation of the ’’Compendium’’, translated by Professor Luo Xiwen(罗希文), a researcher at the Institute of Philosophy, Chinese Academy of Social Sciences(CASS), was published by Foreign Languages Press. Till then, the complete English translation of the ’’Compendium of Materia Medica’’ was available. It took him over 20 years to prepare, and 10 years to translate. The translation of the Materia Medica by Luo Xiwen was widely circulated in Europe. The author has retrieved the full set of translations in several collections, including the University of Westminster Library and the Joseph Lee Institute of Cambridge University. Such translations are also available on foreign book buying sites, and Dr. Fu Lu of the Chinese Academy of Traditional Chinese Medicine mentioned that she had received several comments from British readers. Reader Minagpa said: "(It’s a) Great translation, few typos or serious grammatical errors, but regrets the lack of Chinese characters in the text for proper nouns such as the names of characters ...... Regarding the Ben Cao Gang Mu itself, it is a great book for TCM practitioners, museum scientists, and botanists. And it is a wonderful work for anyone interested in Chinese museums 500 years ago." Reader E. N. Anderson stated, "Recognition needs to be given to this great work. It is a wonderful basic translation of Chinese herbal medicine, which is still in use throughout East Asia. Li Shizhen was one of the greatest botanists who ever lived, and he independently did much of what Westerners were doing at the same time, such as studying wild plants and observing their effects, recording some folk medicine and combing through ancient texts from an earlier period. This is an essential reference book for those who do not know Chinese but are interested in Chinese medicine. The translator has done a good job of indexing, cataloguing and identifying the modern scientific names to which these herbs correspond."(Fu,2021)

===Analysis and enlightment===
Joseph Needham (1954: 147), the world-renowned British expert on the history of science and technology and a member of the Royal Academy of Sciences, considered that the greatest scientific achievement of the Ming dynasty was Li Shizhen's masterpiece, the Ben Cao Gang Mu. This great work remains an inexhaustible source of knowledge for the study of the history of science in all its branches. A systematic analysis of the origins, dissemination and translation of this great work will provide important insights into the strengthening of the translation and dissemination of Chinese medicine culture in the context of today's the Belt and Road.

1. The acceptability of the translation is important

A translation that complies with the cultural norms of the target language can reduce reading difficulties and obstacles and help improve the acceptability of the translation. The acceptability of pharmaceutical translations is also inseparable from the cultivation of Chinese pharmaceutical translation talents. The knowledge required to translate Chinese pharmaceutical texts is extensive, especially when translating ancient Chinese pharmaceutical classics, and translators must also have a good understanding of Chinese history, literature, allusions and other texts that are essential. Therefore, we need to train high-level specialists who have a systematic and solid knowledge of foreign languages, basic knowledge of Chinese medicine, knowledge of Chinese medicine literature, familiarity with the academic development of the discipline at home and abroad, and the ability to engage in translation of Chinese medicine literature, Chinese medicine clinical translation, Chinese pharmaceutical classics, etc.

2. Culture calls for exchange and mutual learning

Chinese medicine began to germinate in ancient times, started in the Zhou Dynasty, took shape in the Han Dynasty, then prospered in the Song, Yuan and Ming Dynasties. Nowadays, with the Coronavirus raging around the world, the talk of "pandemic" has become a major topic of medical exchange, as has the consideration and research on the causes and prevention of pandemics and public health. The dissemination of translated pharmaceutical books has facilitated the exchange of Chinese and foreign medicine science, and the author believes that finding the interface between Chinese and foreign medicine will help to better control the spread of the pandemic.

===Conclusion===
In short, the genealogy of the ’’Compendium’’ can be reckoned as 'one ancestor has three lineages', i.e. the ancestral edition (the Jinling edition) and three lineages: the Jiangxi edition, the Hangzhou edition and the Hefei edition. The later versions of the ’’Materia Medica’’ were basically derived from the latter three.

The ’’Compendium of Materia Medica’’ is regarded as the gem of the world medicine treasury. With the strengthening of China's national power, the demand for Chinese pharmaceutical classics translation is increasing year by year. We need to further strengthen the discipline of the Chinese pharmaceutical classics translation, and gradually build up a professional team of translators and researchers with profound attainments both in English and Chinese, as well as profound knowledge of Chinese and Western studies, so as to systematically disseminate the essence of five thousand years of Chinese culture to the world. It is hoped that the discussion in this paper will contribute to the construction of the discipline of the Chinese pharmaceutical classics translation, and we look forward to more knowledgeable people devoting themselves to the noble and arduous task of this discipline, despite the difficulties.

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==英语笔译陈路瑶 Chen Luyao 202170081565 CE==

<center>A Study on the Popularity of Tie Ning's ''The Bathing Women'' Abroad</center>

<center>Chen Luyao</center>

===Abstract===
Tie Ning is an important writer in the history of modern Chinese literature. Her literary creation almost started in the period of reform and opening up. In 1983, her novel ''Ah, Xiangxue'' won the national excellent short story award, and Tie Ning quickly entered the center of contemporary literature. The overseas translation and introduction of Tie Ning's novels began in the mid and late 1980s. At first, the number of translations and introductions was small. Then, in the 21st century, relying on the background of China's rise, the scale and volume of overseas communication of Chinese contemporary literature have expanded rapidly. The number and attention of the overseas translation and introduction of Tie Ning's novels have also increased significantly, and the communication area has been expanding. However, the degree of acceptance has always been low, and the overseas research is relatively weak. Compared with its domestic influence Status is not commensurate. It is worth mentioning that Tie Ning's novel ''the Bathing Women'' has attracted more attention overseas, especially in the English world. Due to the differences in culture, politics and focus of attention between China and foreign countries, as well as the different understanding of his works abroad and at home, there are both positive praise and frank and sharp criticism of his works. The overseas translation and research of Tie Ning's novels provide reference and reflection for Chinese literature to go abroad and enter the world literature.

===Key Words===
Tie Ning; ''The Bathing Women''; World Literature

===Introduction===
This paper consists of five parts. The first part is a literature review, which introduces the dissemination of Tie Ning and her works in China and abroad, as well as the research status of experts at home and abroad on Tie Ning's works. The second part is the introduction of Tie Ning's life experience and ''the Bathing Women''. The third part analyzes in detail the popularity of Tie Ning's ''the Bathing Women'' abroad, taking the United States and Japan as examples. The fourth part discusses the reasons for the popularity of ''the Bathing Women'' abroad. The fifth part talks about the enlightenment brought by the popularity of Tie Ning's works abroad. The last part is the conclusion based on the above phenomenon analysis and enlightenment.

===Literature Review===
Tie Ning is a unique existence in the contemporary literary world. She is the third chairman of China Writers' Association after Mao Dun and Bajin. She integrates political identity, writer identity and female identity. With the continuous maturity of Tie Ning's works, the research on Tie Ning has also entered a period of in-depth excavation and comprehensive integration.

At present, the overall research results of Tie Ning can be roughly divided into the following two categories: the first category is research monographs. The table works are interpreted subtly. In 1990, Chen Yingshi's ''Tie Ning and Her Novel Art'' was the first monograph to study Tie Ning and her creation. In 2005, He Shaojun's ''Tie Ning Critical Biography'' is the first review book that comprehensively combs Tiening's literary path and growth track. In the same year, Shen Hongfang's ''Commonness and Individuality of Female Narration: A Comparative Study of Wang Anyi's and Tie Ning's Novel Creation'' compared the similarities and differences between Wang Anyi's and Tie Ning's creation from the four themes of love and marriage, social history, desire and its expression and narrative discourse individuality. Fan Chuanfeng's book ''where the Mermaid's Fishing Net Comes from: A Study of Tie Ning's Novels'' gives a subtle interpretation of many of Tie Ning's representative works. In 2007, Liang Huijuan, Wang Sufang and Li Suzhen co-wrote ''the Cool and Warm Colors - Research on Tie Ning's Creation'', which is a insightful and high-level research work, and makes a penetrating analysis of Tie Ning's creative ideas and creative methods. In 2009, ''the Research Materials on Tie Ning'' edited by Wu Yiqin included many research materials and comments on Tie Ning in the past 30 years, which is of great reference value. In the same year, Zhou Xuehua's ''Eternal Moment - A Narrative Study of Tie Ning's Novels'' is the first work on narratology in Tie Ning's research. It makes a multi-dimensional evaluation of Tie Ning's works from the perspectives of time and space, structure, perspective, language and so on. In 2012, Liu Li's ''Chinese Women in the Rose Door - Tie Ning and the Gender Identity of Contemporary Female Writers'' is the research result of Tie Ning's female writing, which investigates the female self-identity and the identity of female writers in the new era. In 2014, ''Tie Ning's Literary Almanac'', compiled by Zhang Guangming and Wang Dongmei, carefully combs Tie Ning's creative experience and activities, outlines the development track of Tie Ning's creation and makes simple comments. It is a material that can not be missed in the study of Tie Ning. In 2015, Wang Zhihua's ''Dance of Soul and the Beauty of Neutralization - On Tie Ning's Novels'' and in 2016, Xu Qingsheng's ''On the Art of Tie Ning's Novels'' gave artistic explanations to many of Tie Ning's important works.

The second category is research review papers. In 2005, Chu Hongmin's ''Review of Research on Tie Ning's Novels'', in 2009, Si Zhenzhen's ''Review of Research on Tie Ning's Works'', in 2010, Wang Lijun's ''Review of Research on Tie Ning's Novels'', and in 2017, Wang Jingjing's ''Review of Research on Tie Ning's Novels'' all summarized and analyzed the characteristics of Tie Ning's research stages, research subjects, research priorities and research deficiencies to varying degrees in the form of a review, which can restore the outline of Tie Ning's research over a period of time, Probably due to the limited space, most of them stay at the level of collation, and the research needs to be further expanded. There are also many phased research achievements. For example, in 2007, Tang Xin's ''Review of Tie Ning's Creative Research in the Past Ten Years'' summarized the ten years after Tie Ning's research entered the mature stage. In 2009, Wang Xiaoyu's ''Review of Tie Ning's Early Novels'' combed Tie Ning's early works. In 2015, He Shaojun's ''Falling in Love with Things That Human Hearts Can Feel Together -- On Tie Ning's Recent Literary Creation'', Wang Binbin's ''Understanding of the Depths of Human Nature'' in 2017, Shen Bin's ''Creation of Earthly Spirit -- Review of Tie Ning's Recent Novels'' and other papers commented on Tie Ning's creation since the new century, mainly the short story collection ''Flying Winemaker''.

Based on the research status of Tie Ning in the past 40 years, it can be seen that Tie Ning's research path has gone from the outside of literature to the inside of literature, and then to the integration of inside and outside. The research angle has changed from single to multiple, and the research method has changed from closed to open. Based on the background of the canonization of modern and contemporary Chinese literature and the historical materials of theoretical criticism in the contemporary literary world, it is time to comprehensively discuss Tie Ning, a typical representative contemporary writer.

===Methods and Theories===
Although Tie Ning's works are unique and thought-provoking, and many people have studied and analyzed them, with the advance of time, the popularity of Tie Ning's works is decreasing, and the opportunity of exposure is also decreasing. Although the previous research results on Tie Ning and her works are commendable, most of them are analyzed from the perspective of the whole, connecting Tie Ning's life experience with each work. Only a few of them start with a detailed analysis of one of her works, and make in-depth analysis and Reflection on the popularity of Tie Ning's works abroad. In the current context, it is more necessary to analyze the popularity of her works overseas, so as to learn from experience and help Chinese literature go abroad. This paper adopts the methods of literature analysis and cultural research. Literature analysis refers to the analysis of Tie Ning's specific text, taking time as the clue and text as the texture to sort out Tie Ning's creative process. The cultural research method is to explore how the external political, historical, cultural, commercial and other factors of literature interact with Tie Ning's creation and research beyond the internal laws of literature.

===Introduction===

1.Introduction of Tie Ning

Tie Ning was born in Beijing in 1957. Her father was a painter and her mother was a vocal music professor. When she grew up, she became a writer.

In 1975, Tie Ning, who graduated from high school, was influenced by the political trend of thought and the idea of accumulating creative materials in the countryside, but gave up the opportunity to stay in the city and chose to jump the queue in ZhangYue village, Boye County, Baoding. This rural life not only made Tie Ning accumulate a lot of writing materials, but also prompted her to create a series of novels reflecting rural life, such as the Night Passage. Although these works are not heavy, Tie Ning has attracted the attention of writers Ru Zhijuan and Sun Li, who have given her encouragement and support.

In 1979, Tie Ning was transferred to the editorial department of Huashan, a literary journal of Baoding Federation of literary and art circles as an editor. In 1982, Tie Ning published the short story Ah, Xiangxue. Sun Li praised this work and thought it was as pure as a poem. This work was reprinted in magazines such as Novel monthly, Selected Novels and Xinhua Digest. Subsequently, this work won the "National Excellent Short Story Award" in 1982 and won a wide reputation for Tie Ning.

In 1988, Tie Ning's first novel, ''the Rose Door''，was published by the writers' publishing house. This work marked the change of Tie Ning's creative style. The innocent Xiang Xue disappeared and was replaced by Si Qi Wen, who was full of "evil". After the publication of the Rose Door, it attracted wide attention. The following year, ''the Rose Door'' seminar was held in Beijing. Writers such as Wang Meng, Wang Zengqi and radar affirmed Tie Ning's work at the meeting. The female consciousness shown in the novel also attracted the attention of some participants. Writers such as Li Tuo thought that this work provided a feminist perspective, Some researchers also believe that this work cannot be classified as a female literary work.

In 2000, Tie Ning's novel ''the Bathing Women'' was published by Chunfeng Literature and Art Publishing House. Although the title and sexual description of Cezanne's famous works caused some criticism, Professor Wang Yichuan of Peking University pointedly pointed out that this work is "an elegant or serious literary work that greatly depends on the reader's reading patience and high understanding". In November2006, Tie Ning was elected chairman of the Chinese writers' Association and published the novel Stupid flower. This work no longer only focuses on women, but closely combines personal destiny with historical background, composing a love between family and country with a profound sense of history. During this period, the characters in Tie Ning's works became more three-dimensional, and the creative theme became more profound.

[[File:Tie Ning.jpg]]

With her excellent ability, she served as the chairman of Hebei writers' Association and the vice chairman of China Writers' Association. In 2006, she was elected chairman of the Chinese writers' Association. In 1975, he began to publish literary works. His main works include novels such as ''the Rose Door'',''the Bathing Women'', ''Stupid Flower'', and more than 100 short stories such as ''Ah, Xiangxue'', ''the Twelfth Night'', ''the Red Shirt without Buttons'', and ''How Far Is It Forever'', with a total of more than 4 million words. In 1996, she published five volumes of Tie Ning's works, and in 2007, the people's Literature Publishing House published nine volumes of Tie Ning's works. Her works have won six National Literature Awards including the "Lu Xun Literature Award"; In addition, novels and essays have won more than 30 awards for major academic journals in China. The film ''Ah,Xiangxue'' written by Tie Ning won the grand prize of the 41st Berlin International Film Festival, as well as the Golden Rooster Award and Hundred Flowers Award of Chinese films. Some of his works have been translated into English, Russian, German, French, Japanese, Korean, Spanish, Danish, Norwegian, Vietnamese and other languages.

Tie Ning's writing has been wandering between warmth and cruelty, tradition and Avantgarde. Although her writing has been greatly welcomed by mainstream culture and ideology at the beginning, she is always trying to escape the naming and classification of her creations from all sides in the literary world. The pursuit and reflection of true self constitutes an important theme of Tie Ning's creation; On the other hand, the warmth, love and consideration for the little people living at the bottom of the society are also carried out throughout the writer's creative process. Tie Ning's early works describe ordinary people and things in life, especially the characters' hearts, which reflect people's ideals and pursuit, contradictions and pain, and the language is soft and fresh. In 1986 and 1988, she successively published two novelettes, Haystacks and Cotton Stack,which reflected on the ancient history and culture and paid attention to the survival of women, marking that Tie Ning entered a new period of literary creation. In 1988, she also wrote his first novel, ''the Rose Door'', which changed Tie Ning's poetic realm of harmony and ideal in the past, and completely tore open the ugly and bloody side of life through the competition among generations of women.

2.Introduction of ''The Bathing Women

''The Bathing Women'' was originally the name of an oil painting. Tie Ning's novel named after it naturally has a unique moral. The protagonists of the novel are a group of contemporary women centered on Yin Xiaotiao. Their painful growth process under the bath of social and times is the main focus of the writer.''The Bathing Women'' reveals how hard and painful it is to grow up. The enemy of the self comes not only from the outside, but also from the inside. Women's own weaknesses and limitations have become the main object of reflection in this novel. Yin Xiaotiao, the main character in the novel, is a successful intellectual woman. The plot unfolds in her relationship with her two younger sisters, her parents, her lover, and her girlfriend tang Fei. ''The Bathing Women'' describes the heroine Yin Xiaotiao's arduous growth and emotional journey: because of her mother's red apricot coming out of the wall and her little sister's fall and death, she bears the spiritual burden of students and alienates her relationship with her mother; Younger sister Yin Xiaofan competes with her in everything. She is not so much a relative as an opponent; Yin Xiaotiao is a strong woman. She is very successful in her career, but she is proud and lonely in her heart. Fang Jing, the big star she was infatuated with, approached and found that she was a big layman who only wanted to possess but was unwilling to pay. Of course, he is really smart and talented. He caught up with the tide of the times and became a contemporary hero and public figure in the cultural context of the 1980s. Just like many "successful people" today, having a large number of women has become an important goal of his life. Yin Xiaotiao is just one of his many trophies.

=== An Analysis of the Overseas Popularity of ''the Bathing Women'''''===

Tie Ning is one of the most influential female writers in the contemporary literary world. Her works are famous for their distinctive female consciousness. In her numerous novels, she is always full of deep humanistic care for the living conditions and the ups and downs of the destiny of Chinese women. With poetic and perceptual strokes, she carefully describes the moral and emotional shocks and ripples that contemporary Chinese women encounter.The Bathing Women is one of her representative works. In 2000,the Bathing Women became an eye-catching sight in the literary book market in that year: as one of the famous brands, Cloth Tiger Series, it topped the list with a brilliant performance of 200000 copies at the spring ordering meeting of the national literary and art book group. It can be seen that the Chinese readers' expectation and love for this novel.

[[File:The Bathing Women.jpg]]

Tie Ning's works have always been loved by Chinese readers. Her works have also been widely spread in other languages in the world, and the English world is one of them. After the Bathing Women was published by the people's Literature Publishing House in 2006, it was not until 2012 that Scribner's published the English translation of ''the Bathing Women'', which was jointly translated by Zhang Hongling and Jason Sommer. On the back cover of the translation, the publishing house introduced Tie Ning and ''the Bathing Women'' as follows: in 2006, Tie Ning, 49, became the youngest president of the Chinese writers' Association. Her works have been translated into Russian, German, French, Japanese, Korean and other languages.

1.Analysis on the Popularity of Tie Ning's ''the Bathing Women'' in the United States

''The Bathing Women'' is Tie Ning's first novel translated into English. Therefore, it is of great practical significance and academic value to study the English translation and overseas popularity of Tie Ning's representative work the Bathing Women. By discussing the unique content of ''the Bathing Women'' and its acceptance in the English world after its publication, we can have a glimpse of the process and mirror image of Chinese contemporary female literature spreading abroad.

At present, the Chinese versions of Tie Ning's four novels, such as ''the Rose Door'', ''the City without Rain'', ''the Bathing Women'', ''Stupid flower'', and the short stories, such as ''Haystacks'', ''How Far Is It Forever'' are collected in American libraries. The following is the collection of Tie Ning's main works in the United States.

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It can be seen from the table that Tie Ning's Chinese works with the largest number of Libraries in the United States are ''Stupid Flower'' published by the people's Literature Publishing House in 2006, followed by ''the Bathing Women'' published by Chunfeng Literature and Art Publishing House in 2000, and ''the Chocolate Fingerprint'' published by the people's Literature Publishing House in 2006. American libraries usually select the books to be purchased by designating several core publishers in a certain field. Among the 26 works collected by more than 20 libraries, 11 are published by the people's Literature Press, In the ''Series of Contemporary Chinese Writers:Tie Ning'' published by the agency in 2006, several works, including ''Chocolate Fingerprints'', ''As Clear As Paper Cutting'', ''A Walking Dream'', ''the Bathing Women'', ''the City without Rain'', have been collected by American libraries, which shows the recognition of the people's Literature Publishing House and Tie Ning's works by the American library community.

In the 1980s, Tie Ning's works began to be translated into English. From the perspective of the form of expression, these English translated works can be divided into three types: one is the long novel single edition and the short and medium story album, that is, only the English translation of Tie Ning's works is included; The second is a collection of Tie Ning's works, that is, a collection of the works of many writers; The third is the English translation published in magazines. The only single edition of Tie Ning's works that have been translated and published in English is the novel ''the Bathing Women''. Tie Ning's works albums mainly include ''Haystacks'' and ''How Far Is It Forever''. Several libraries have collected ''the Bathing Women'', and few American libraries have collected the other two works.

Number English name Translator Press Series of books Year of publication Number of American collection Libraries

1 Haystacks Wang Mingjie,Mei Danli Chinese Literature Press Panda Books 1990 53

2 Haystacks Mei Danli Foreign Languages Press Panda Books 2005 22

3 How long is forever Qiu Maoru,Wu Yanting Reader's Digest / 2010 20

4 The Bathing women Zhang Hongjun,Jason Sommer Scribner / 2012 16

The first edition of the independent edition of ''the Bathing Women'' was published in 2012. In that year, Scribner and Thorndike Press published this work. Scribner press is subordinate to simon&schuster, Inc., which is one of the largest book publishing companies in the United States. Together with Random House, Inc., Penguin Group and Harper Collins publishers, Scribner press is known as the world's four major English publishing groups. This publishing company publishes a wide range of books, Scribner is a publishing house under Scribner that specializes in publishing literary works. It has published the works of Annie Proulx and other well-known writers, and has strong strength. The great bathing woman was copyrighted by Simon & Schuster and published by Scribner publishing house. It can be said that the publication of Tie Ning's works in the United States has stood at a high starting point from the very beginning.

2.An Analysis of the Popularity of Tie Ning's ''the Bathing Women'' in Japan

In foreign countries, Japan is one of the first countries to pay attention to Tie Ning, and the number of translations of Tie Ning's works ranks first. In december 2007, the Journal of Japan-China Contemporary Literature Research Association, No. 21, published A list of Japanese translations of Chinese literature in the new era, which counted all works of contemporary Chinese literature published in Japan from the end of the cultural revolution in 1976 to June 2007. A total of 2652 works by 486 contemporary Chinese writers were collected. Among them, the top five writers in the number of Japanese translations are Mo Yan (54), Can Xue (46), Wang Meng (41), Tie Ning (35) and Shi Tiesheng (25). From 1984 to 2010, Tie Ning has translated 48 works into Japanese.

Tie Ning was noticed when she appeared in the literary world. In 1982, Tie Ning's famous work ''Ah,Xiangxue'' was published in the fifth issue of youth literature. Sun Li spoke highly of this novel is a poem from beginning to end, which has been reprinted in Novel Monthly, Selected Novels and Xinhua Digest. In 1984, the work won the National Award for excellent short stories. In the same year, The magazine Chinese language published Ah,Xiangxue translated by Hiroko Matsui, which is the earliest Japanese translation of Tie Ning's works.

After the publication of the Japanese translation of ''the Bathing Women'', literary critic Song Shanyan published a book review, Insight into the Nuances of Modern China.His characterization of the novel is that it tells the story of a young girl growing up in a local city, feeling guilty when she was young, falling in love and becoming mature. He pointed out that the work did not fall into the stereotype of telling the story of a woman who was teased by fate. The women in the book are indomitable, not afraid of betraying others, but also desperately seize happiness. What impressed him was the scene of Yin Xiaotiao, Tang Fei and Meng Youyou secretly making delicious food during the cultural revolution. He pointed out that even in the dark ages, they also crave food and dress up. After sexual awakening, they look for love, compete with each other, envy and desire glory. However, after the cultural revolution ended and the world became rich, they became more and more dysfunctional.He said that after reading ''the Bathing Women'', the impression of the Chinese people will take on a new look, as if they were around. The author has insight into the most subtle aspects of contemporary China and superb writing ability.Song Shanyan's major has nothing to do with Chinese language and literature. Before he sawthe ''the Bathing Women'', China and Chinese people were foreign and strange to him. However, after reading ''the Bathing Women'', his impression of the Chinese people has taken on a new look and he can feel the most subtle scene of Chinese society. This is the embodiment of the unique role of excellent contemporary Chinese literary works such as the Bathing Women in conveying the true image of China and the Chinese people by telling good Chinese stories in the cultural exchange between China and Japan.

===An Analysis of the Reasons for the Overseas Popularity of ''the Bathing Women''===

As one of the Chinese literary works that have entered the world literature and won the favor of overseas readers, Tie Ning's ''the Bathing Women'' has been praised by many writers and writers, and also provides a reference for Chinese works to go to the world. In this context, the popularity of ''the Bathing Women'' abroad has also become a hot issue for discussion and analysis.

1.In Depth Analysis of Women

Historically, women have been ruled and ignored for a long time.Men are the main body and absolute, while women are the other. In ancient China, the concept of feudal ethics deeply constrained the development of women. The three cardinal guides and the five constant virtues as specified in the feudal ethical code made women take their husband as their priority at home, consciously attached to men, and eventually became male appendages without independent consciousness. The story of Adam and Eve in the western book of Genesis also has symbolic meaning of different status of men and women: according to the traditional saying, Eve was extracted from Adam's superfluous bones. The human world is male. Men define women not from women themselves, but from the inherent male perspective. Women are not regarded as an independent existence. Whether it is Yin Xiaotiao's fascination with each other in the early stage, or Zhang Wan's cosmetic surgery to find Yin Yixun happy, it is a kind of female unconsciousness and voluntarily becomes a vassal in the male discourse world. Tang Fei is even more ups and downs in the male world. She likes men, and she likes to let men like her. Captain wearing white shoes , dancer, master Qi, Xiao Cui and Yu Shengli are all self exiled among them. She was playing with men and being played with by selling her body, but finally she was alone in the hospital bed, unattended, which became a tragedy.

In addition, Tie Ning's thinking on women's survival is not limited to exposing the oppression of women by the patriarchal society. She pays more attention to the real female world and their conscious awakening, As she mentioned in the creation of the Rose Door: When dealing with female subjects, I have always tried to get rid of the eyes of pure women. I am eager to obtain a two-way perspective or a third sexual perspective, which will help me more accurately grasp the real living conditions of women. In China, not most women have a clear concept of themselves. It is not men who really enslave and suppress women's hearts, but women themselves. Out of this thinking, Tie Ning shows a deeper perspective to examine the fate of women, revealing that women hurt women in ''the Bathing Women'' and women's heavy consciousness of introspection. The female world has a dual nature, which is not simply good or evil or angels and evil women in the male discourse. They have the complexity of being born human. The women in the bathing women are more likely to hurt each other. Yin Xiaotiao asks Tang Fei to sell her body in exchange for her favorite job. Yin Xiaofan and Yin Xiaotiao, the sisters, are fighting each other because of the shadow left by Yin Xiaoquan's death. Yin Xiaofan always approaches and vies for Yin Xiaotiao's clothing accessories and even suitors. Tie Ning's questioning about family and friendship shows her deeper reflection on the path of women's self-growth.

2.Facing Male Chauvinism Bravely

In addition to analyzing women, Tie Ning also uses the concern of female writers to force and torture the patriarchal rule, striving to break the restrictions of male discourse on women and restore the true female image.

When analyzing Tie Ning's novels, many critics point out that her works have a strong sense of examining mother. This kind of mother trial consciousness is one of the ways Tie Ning breaks away from male discourse. Under the tradition of male discourse, mother is selfless dedication and a glorious image of following her husband and taking care of her children. However, Zhang Wu, the mother in ''the Bathing Women'', was the embodiment of desire. She cheated on Doctor Tang and stayed up all night on the night when Yin Xiaofan had a high fever, As Beauvoir said, maternal love has been distorted since the religion of motherhood preached that mothers are sacred. Because maternal dedication may be very pure, but in fact it is not. Motherhood often contains factors such as self intoxication, serving others, lazy daydreaming, sincerity, bad intentions, concentration or ridicule, which is a strange mixture. Tie Ning restored the image of mother to an objective person full of desires and self needs. To a certain extent, she rebelled against the definition of mother in the male tradition, separated the aura and sacred color imposed on the word mother by the male discourse, and rewritten the traditional maternal myth.

At the same time, in ''the Bathing Women'', Tie Ning also wrote a new image of men. Yin Yixun, the head of a family, is so hypocritical.The way Yin Yixun found to express his feelings made him a victim all his life. He vented what he wanted to vent, but it didn't seem cruel. He used his' unknown truth 'to maintain the normal operation of a decent family and his own dignity. So far, he has also mastered Zhang Wu's eternal guilt for him.. Yin Xiaotiao hates his father's inaction in cheating on his mother. The weak Yin Yixun doesn't think so. He uses his own trap to deceive Zhang Wu's uneasiness and his dignity as a husband.

3.Acknowledging the Evil of Human Nature

There are many expressions of sin in ancient Greek. Hamartia is often used to express the crime of crime, while parabasis is more used to express the violation of laws and regulations. Anomia is often translated into injustice in Chinese translation, which is opposite to righteousness. Therefore, the meaning of sin is not only external behavior, but also internal attitude. Under the constraints of laws and regulations, it is also under the control of soul conscience. Vertically, it shows that the relationship between its own value origin is broken, that is, crime; And the rupture of the relationship between people caused by this deviation is evil. The so-called guilt refers to an individual's deep-seated recognition of a crime. This sense of guilt is manifested in the synchronic aspect of guilt for people and things, and in the diachronic aspect of repentance for society, history and the whole mankind. Everyone is guilty, but not everyone knows, confesses and repents.Taking Yin Xiaotiao, Yin Xiaofan and other individuals as the center, the writing of the crime in the Bathing Women spreads from struggling individuals to the outside, not only analyzing the crime of innocence in personal desires; It discloses and interrogates the social crimes of the characters in the paradoxical survival dilemma; It also explores and reflects on the unspeakable crime of existence.

The evil discussed in ''the Bathing Women'' is not composed of evil characters. It is just some ordinary people who restrict each other in social relations. They are in an opposite position in the ordinary environment. Their position makes them knowingly commit crimes, and none of them is completely wrong. With Yin Xiaoquan as the center, these figures show the relationship between examination and being examined: when Yin Xiaoquan was alive, she and Zhang Yun became the focus of Tang Fei, Yin Xiaotiao and Yin Yixun's examination. Facing Zhang Wu's cheating behavior, Yin Xiaotiao is eager to intervene in the adult world as an adult in the absence of his father, so as to examine his mother and sister Yin Xiaoquan. When she heard that Dr. Tang was going to be a guest at home, she looked at her busy mother with a hazy adult consciousness. When Zhang was dressing up in front of the mirror and asking her how her hair was, she obviously smelled the smell of lampblack on Zhang's hair, but was not busy expressing her position. Instead, she asked Zhang is Dr. Tang a man or a woman. This cross-border vision is always accompanied by anxiety and uneasiness that are difficult to dispel. When Tang Fei confirmed that Yin Xiaoquan may be Dr. Tang's daughter, she acted as an ethical judge of her mother's infidelity. In her childhood when she should have enjoyed childlike innocence, she intervened in the adult world early with a precocious attitude, peeping into the adult world with bad deeds in the subtle clues. However, facts have proved that this way of crossing the border is not recognized. Her sensitivity and precocity make her a reviewer of her mother's words and deeds, which evolves into the separation between her and her family, and falls into the struggle of ethics and moral emotion prematurely. In the face of Yin Xiaoquan, who looks like Doctor Tang, Yin Yixun is unable to face the outside world and has no courage to accept Zhang Yun's infidelity. Tang Fei could not accept such a life like her own. Yin Xiaoquan was like an invisible torture instrument to her, which brought her more painful torture than the actual torture instruments. The death of Yin Xiaoquan not only did not weaken the scrutiny between Yin Xiaotiao and Yin Yixun, but also aggravated the gap between them. Yin Xiaotiao, Yin Xiaofan and Yin Yixun closed themselves to each other, tried to seek their own liberation from Yin Xiaoquan's death, and in turn tried to control each other. They "torture" each other, and everyone is always in the "eyes of others" and is supervised and examined. Yin Xiaofan tries to avoid the ugliness in his heart, whitewashes himself with his imagined positive image, and examines and supervises yiYn Xiaotiao from his own perspective. Yin Xiaotiao examines the hypocrisy of Yin Yixun. She feels sorry for Yin Yixun's experience, but resents Yin Yixun's disguised punishment of Zhang Yun. Yin Xiaotiao, Yin Xiaofan and others have formed a distorted family relationship. They can not get rid of the state of being influenced by the eyes of others, and lack a correct understanding of themselves. Therefore, the relationship between them can only be mutual pursuit and mutual exclusion. Everyone is looking at others, but they are also being looked at by others, and fall into a difficult survival dilemma.

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4.Exploring the Path of Redemption

The sense of guilt brought about by the death of Yin Xiaoquan is the cause of the character's spiritual struggle, and the necessary condition to eliminate the plight of survival is the realization and redemption of sin thus evolved the development track of confession - confession - atonement. The heavy sense of guilt in the works and the suffering created by the times show that the mutual derivation of crime and suffering has caused the plight of the characters. Writing about sin and suffering is not the ultimate goal. Guilt is the image state of being prayed to be saved and the spiritual image of Redemption. Ultimately, it is necessary to restore the meaning connection in the vertical and horizontal directions and rediscover the pure, real and eternal value meaning in one's own life. Therefore, the fundamental purpose of this work is to take the initiative to bear the sin, to confess the soul devoutly, to find an effective way to solve the survival dilemma and to explore the individual redemption. Many researchers are exploring the theme of Redemption in the Bathing Women, focusing on the two sisters of the Yin family, realizing the importance of self-examination of the soul in the redemption of the characters in the work, and finally affirming the completion of the redemption of the characters. However, no matter from what point of view, the people in the work are still suppressed by an unknown crime and cannot be really released, It has always been in the attempt and expectation of Redemption after all. As Liu Xiaofeng discussed, sin is not evil, and its opposite is not good. Therefore, seeking to cover up good deeds and good thoughts does not mean that sin has been redeemed.

''The Bathing Women'' focuses on the characters' choice of controlling and indulging in lust. In the exploration of redemption, it actively seeks ways to eliminate the plight of existence. The Redemption in the work tends to be comfortable with the original life, and is more reflected under the influence of the concept of redemption in the sense of Chinese traditional culture. Through the display of three different redemption in the works, we will further explore the deep motivation of the character's redemption, and then deeply explain the results of redemption and the possibility of dilemma resolution.

5.Focusing on the Influence of Family on Children's Growth

Western Bildungsroman is mainly to shape social people, so they often throw people into the social environment. This kind of novel also inherits some characteristics of picaresque and quest. Almost all the protagonists are on the road and on the journey, and have obtained enlightenment and growth in life. For Chinese people, family is very important and the first environment for teenagers' growth. Its role in teenagers' growth can not be ignored. Maslow believes that family plays a leading role in shaping personality. It is not only people's safe belonging, but also meets people's need for love. Chinese teenagers may not have the opportunity to travel far, but their family environment has a great impact on their personal temperament and personality types.

As the foundation of human morality, family contains the embryo and bud of the continuous development and evolution of human morality. The continuous evolution and change of family indicates the continuous enrichment and development of human morality. The traditional Chinese family stresses the order of the young and the old, which plays an important role in cultivating individual moral concepts. Therefore, most novels will describe the family in a harmonious and beautiful way to affirm the positive impact of the family on the growth of the protagonists. However, Tie Ning did the opposite. In ''the Rose Gate'' and ''the Bathing Women'',She focuses on the moral imbalance within the family, so that the growing protagonists face a relatively bad family environment before they set foot in the society.
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6.A Bold Depiction of Sex

Since the late 20th century, body writing has increasingly become an important means of female writing. This situation is obviously influenced by Elena Sisu's concept of using milk as ink to show the female body, a huge field beyond the control of male discourse in Medusa's laughter. In the era when male discourse dominates everything, only the female body can not be experienced by men, so it can become a field for women to escape male power. In their body descriptions, female writers not only fight back against the male's fictions about women, but also gain subjectivity by re exploring their own bodies. In the late twentieth century, there were two views on the description of the body in female writing: one was to describe the body, but subconsciously, they still thought that the body was an irrational factor and held an obvious attitude of exclusion; The other is infatuated with the display of the body and indulges the desire, resulting in the absence of the soul.

''The Bathing Women'' rarely realizes the blending of soul and flesh in the real sense. In Yin Xiaotiao's life, sex acts as a ladder for her to mature and release herself. Although her first night was dedicated to the hypocritical Fang Jing, she finally transcended this frustration in her life experience. And her feelings with Mike let her know that she loves Chen Zai. The long-term emotional accumulation and soul coordination with Chen Zai make her sex with Chen Zai come naturally without affectation. That's why we can sigh that everything is so harmonious and so good. At the same time, the perfect sexual experience with Chen Zai finally opened Yin Xiaotiao's heart knot. The guilt that Tang Fei and Yin Xiaoquan imposed on her has been dispelled, and Xiaotiao feels that "she seems to have no fear anymore. The simultaneous liberation of the soul and the body has created a harmonious relationship between them. This fusion of soul and flesh should also be the natural direction of body writing. Only when soul and body are present at the same time can the meaning of body writing be truly displayed.

===Enlightenment for Chinese Works to Go Global===

The spread and acceptance of Tie Ning's works abroad also urges us to think about how to make contemporary literary works spread more widely and further overseas from the perspectives of translation, publication and promotion. Next, I will talk about the Enlightenment of Tie Ning's ''the Bathing Women'' to Chinese works' going global from the internal and external factors.

1.Internal factors

The theme of the work concerns the female world. Chinese literature has entered the world through translation and introduction, which involves more than a simple bilingual transformation of words or literature. The choice of translated text, the construction of translation process, the communication path and communication mode after the production of the translation, and the acceptance and formation influence after entering the target language countries constitute the complete picture and research focus of Chinese literature translation. As far as text selection is concerned, generally speaking, the Western reading of contemporary Chinese literature is often driven by curiosity. The rapid development of China since the cultural revolution, the economic take-off, the changes of cities and even the differences in daily life have brought new cultural experiences to the West. Among them, the realistic literary works from the female perspective are full of direct writing of women's personal experience, showing a distinctive urban culture and the flavor of the times, coupled with the rendering of sexual and political elements, so it is particularly easy to arouse the interest of Western readers.

The book has a special background. ''The Bathing Women'' is set in the cultural revolution. In order to return to the countryside and stay in the city all the time, Zhang Wu had a relationship with Dr. Tang and got a false note. She cheated many times and later gave birth to Yin Xiaoquan. Zhang's daughters Yin Xiaotiao and Yin Xiaofan don't like the child. They see that she has an accident but they don't rescue her. Many years later, when several girls grew up, Yin Xiaotiao became entangled between Fang Jing and Chen Zai. Dr. Tang's niece Tang Fei sold her body again and again in exchange for what she wanted. Zhang Wu's inner pain did not disappear with the end of the cultural revolution. The love disputes between men and women are integrated with the special political background. ''The Bathing Women'' directly satisfies the American readers' desire to spy on the Chinese people under the background of the cultural revolution, so it has also been recognized by the publisher.

2.External factors

Adopt the mode of co-translation between Chinese and foreign translators. From Chinese literature to world literature, translation plays a vital role. Excellent translation can promote the canonization of a literary work in different languages and cultures. On the contrary, poor translation may make the excellent works that have been included in the classics pale in another language and culture or even be excluded from the classics.The English translation of bathing girl was completed by Zhang Hongling and Jensen Sommer. The cooperation between the two translators ensures that the translation is not only faithful and accurate, but also readable and literary.

===Conclusion===

Therefore, through the above analysis, we draw the following inspiration from the popularity of Tie Ning's works overseas.

First,pay attention to the translation of female writers' works. Chinese female writers are a neglected group in the English world. In terms of the English translation and dissemination of the author's personal works, the dissemination and acceptance in the United States of Tie Ning's ''the Bathing Women'' has shown the possibility of Chinese female writers being recognized in the United States. The commonality of human emotions is the basis for the overseas spread of literature, and the experience and perception of Chinese women have also been resonated in foreign countries. In addition to these similarities, the unique features and temperament of Chinese women have yet to be shown to the world. Therefore, the translation of female writers' works should not be ignored.

Second,improve translation quality. Translation is not only the transformation between Chinese and English, but also has the function of interpretation and communication. There are great differences in language, historical traditions and values between China and the United States. Excellent translation can bridge the gap between the original and overseas readers, while unqualified translation may bury an excellent original.

Third,adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. Adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. At present, the copyright agency system is widely implemented in the United States. Copyright agencies and copyright agents play an important role in book publishing, translation and promotion. However, there are not many copyright agencies in China, especially those with good relations with American Publishers. In addition, the copyright departments of many publishing institutions have been used to buying copyright rather than exporting copyright in the decades of spreading from the west to the East, and they are not very skilled in relevant businesses. Even the existing domestic copyright agents are mostly interested in this industry and receive little support behind it. All of the above reasons make the export channel of Chinese literary works copyright blocked. In this case, there is a great chance that the works can be successfully spread overseas. Therefore, it is necessary to adapt to the current situation of industry development, establish and improve relevant mechanisms, encourage industry development and cultivate corresponding talents.

Fourth,pay attention to the promotion of works and improve the popularity of writers abroad. Although many overseas readers have a preliminary understanding of the writer Tie Ning, what impression does Tie Ning leave on overseas readers besides her identity as a writer? I'm afraid not. Even Mo Yan, a more popular Chinese writer overseas, can hardly leave an impression on overseas readers other than writers. With the development of science and communication technology, there are more and more communication channels between authors and readers. The traditional way of participating in book fairs and holding exchange activities deserves our attention, and the mass media and new media cannot be ignored.

In a word, Chinese literature, as a special form of eastern culture, still has a long way to go before it can be recognized and accepted by the West and even the world. It needs the joint efforts of writers, translators and other multiple dimensions.

===References===

*Wang Jing 王静.(2019).铁凝作品在美国的传播与接受.[Dissemination and acceptance of Tie Ning's works in the United States]. Beijing Foreign Studies University 北京外国语大学.

*Wang Zhaojun 王昭君.(2005).逃离与追寻——铁凝寻找"自我"的历程[Escape and pursuit -- Tie Ning's process of seeking self]. Jiangxi Normal University 江西师范大学.

*Liu Jia 刘佳.(2020).直面·迂回·悬置--"多棱镜"式的铁凝小说主题研究[A study on the theme of Tie Ning's novels in the form of multi prism]. Harbin Normal University 哈尔滨师范大学.

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==英语笔译邓阳林 Deng Yanglin 202170081567 MW==
<center>'''A study on Xu Yuanchong's Translation of Song Poems'''</center>

<center>Deng Yanglin</center>

===Abstract===
As a huge diamond in the laurel wreath of ancient Chinese literature, song Ci is a brilliant pearl in the langyuan of ancient literature. All translators know that translation is not just a matter of simply converting source language into target language, and poetry with rhyme and pattern is naturally a great challenge in translation, which makes the majority of translation scholars shy away from poetry translation. Mr. Xu Yuanchong put forward the theory of "three Beauties" in his translation practice for many years, which has played a very enlightening and guiding role in the field of English song ci translation. From the perspective of xu Yuanchong's theory of "three beauties", this paper explores the specific application of "meaning beauty", "sound beauty" and "form beauty" in the translation of classical Song ci poems. It can be seen that the theory of "three beauties" is of great guiding significance to the translation of Classical Song ci poems. Translators should take "three beauties" as the standard in their poetry translation so as to lose the artistic charm of the original poetry and the beauty of Chinese poetry can be appreciated by the world.

===Key words===
Song Ci Poems；Xu Yuanchong; The theory of "three beauties"; Poems Translation

===Introduction===
The evolution of ci poetry began in the Liang Dynasty, formed in the Sui and Tang Dynasties, flourished in the Five Dynasties and ten States, and reached its peak in the Song and Song dynasties. Song Ci is a fragrant and gorgeous garden, full of elegant charm, for thousands of years for many readers love, is a bright pearl in the history of ancient Chinese literature. In terms of artistic charm and aesthetic value, song Ci can compete with Tang poetry and Yuan opera. In terms of faction theory, song Ci can be divided into graceful and bold. The euphemism mainly describes the love between children and women, and is carefully conceived. Its language style is mellow and pays attention to the harmony of rhyme, giving people a sense of tenderness and softness. Haofangpi describes the military situation of the state, the creation of a broad vision, imposing momentum, not in rhythm, giving a generous sense of solemn and stirring, representative figures such as Su Shi, Xin Qiji.
In terms of themes, song ci poems are different from those originally used for entertainment occasions, covering themes such as emotion, society, politics and chanting. They fully reveal the true features of social life in song Dynasty and bring readers endless aesthetic enjoyment.
Since its publication, Song Ci poems have been translated into English by many translators at home and abroad. One of the most famous is Xu Yuanchong, who is known as "the only person who translated poetry into English and France". In view of xu Yuanchong's achievements in the English translation of Song Ci poems, many scholars have studied his English translation of Song Ci poems. In view of the diversity of perspectives and conclusions, this paper reviews xu yuanchong's research on the English translation of Song Ci, points out the shortcomings of the current research, and then points out the future research directions, in order to shed some light on the current literary translation research.

===Literature Review===
Song Ci, as one of the double elements of Chinese classical literature, presents the highest level of Song Dynasty literature with its unique attitude and verve. Famous Chinese translators such as Lin Shu, Fu Lei and Zhu Shenghao, as well as foreign scholars such as Herbert Allen Giles, Ezra Pound and Arthur Waley, have all actively participated in the translation of Chinese and foreign literary works. Translation is a bridge between different languages. How to master the two languages well, make the best of the strengths and avoid the weaknesses in the process of translation, and make the translation reach a natural and emotional state, which requires a high level of competence for translators. Mr. Xu Yuanchong is known as "the only one who can translate Poetry into English and French". He has translated the Book of Songs, 300 Poems of Tang Dynasty and 300 Ci poems of Song Dynasty, etc., forming the method and theory of rhyming style poetry translation. He pursues not only perfect rhyme, but also perfect realm, transforming the beauty created in China into the beauty of the whole world.

===Methods and Theories===
This paper adopts the method of literature research.It mainly refers to the method of collecting, identifying and sorting out literature, and forming a scientific understanding of facts through literature research. Literature method is an old and vigorous scientific research method.
General process
The general process of literature method includes five basic steps, which are: putting forward a topic or hypothesis, research design, collecting literature, sorting out literature and conducting literature review. The proposed topic or hypothesis of literature method refers to the idea of analyzing and sorting or reclassifying relevant literature according to existing theories, facts and needs. The first step in research design is to establish research objectives. Research objectives are designed into specific, operable and repeatable literature research activities based on the subject or hypothesis in an operable definition, which can solve special problems and have certain significance.
The main advantages
(1) The literature method transcends the limitation of time and space, and can study a wide range of social situations through the investigation of ancient and modern Chinese and foreign literatures. This advantage is not possible with other survey methods.
(2) The literature method is mainly written survey. If the literature collected is real, it can obtain more accurate and reliable information than oral survey. Avoid all kinds of recording errors that may occur in oral investigation.
(3) Literature method is an indirect and non-interventional survey. It only investigates and studies various literatures without contacting the respondents or intervening in any reaction of the respondents. This avoids all kinds of reactive errors that may occur during the interaction between the surveyors and the respondents in the direct survey.
(4) Literature method is a very convenient, free and safe survey method. Literature investigation is less restricted by the outside world, so as long as the necessary literature is found, research can be carried out anytime and anywhere; Even if there is a mistake, it can be remedied through re-study, so its safety factor is high.
(5) Document method saves time, money and high efficiency. Literature survey is based on the achievements of predecessors and others, which is a shortcut to acquire knowledge. It does not require a large number of researchers or special equipment, and can obtain more information than other survey methods with less manpower, money and time. Therefore, it is an efficient survey method.

===Introduction of Xu Yuanchong and his English translation of Song Ci===

As reading poetry, we need to pay attention to the beauty of artistic conception, hazy beauty and the beauty of antithesis and rhyme. Chinese ancient poetry is characterized by simplicity, conciseness and leaping. It expresses as much emotion as possible in very limited poems. Its biggest characteristic can be summarized by a word "beauty" : artistic conception, language, rhyme and form. English poetry stresses rhythm, rhythm and melody, and the style is relatively free. Thus, the linguistic and cultural differences between Chinese and English make it particularly difficult to translate Song Ci into English.
Aesthetics is a subject with a wide range of application, and there is also the shadow of aesthetics in translation, so "beauty" is everywhere. The purpose of aesthetics in translation is to analyze the aesthetic features in translation so as to provide correct theoretical guidance for translation practice and translation discipline.
In the second half of the 20th century, Mr. Xu Yuanchong put forward his own translation theory on the basis of previous experience and summed up the key words of "the art of beautification is like a competition to create excellence". Practice is the only criterion to test truth, which also applies to translation. Translation theory comes from translation practice, and translation practice can test whether translation theory is correct, and translation theory plays a guiding role in translation practice. On the basis of his long-term translation practice and theoretical experience, Mr. Xu Yuanchong put forward the theory of "three beauties", namely, "meaning beauty", "sound beauty" and "form beauty". His translation aesthetic ideas have guided the translation of many classical poems and provided correct guidance. Up to now, he has published more than 150 famous translations. He is the only one in China who can translate classical poetry and English and French poetry. Because of him, we know the poetry classics of western countries; Because of him, western countries encountered the excellent traditional culture of the Chinese nation.
Similarity in meaning, sound and shape is the basis of "three beauties". Care about similar, similar sound and similar shape on the basis of "meaning beauty", "sound beauty", "form beauty". In Professor Xu Yuanchong's opinion, the pursuit of meaning seems to be to accurately translate the content of the original text, without mistranslating, omission or multiple translation. When there is a conflict between "sense-like" and "sense-like", we should pursue "sense-like" first and "sense-like" second, because "sense-like" is only the surface structure of text, while sense-like is the deep structure of text. Musical beauty refers to the rhythmic and rhyming, catchy to read and pleasant to listen to. In Professor Xu yuanchong's philosophy, rhyme and style must be reflected in poetry translation.
Since the content and form of the poem are closely related and inseparable, if the original poem uses rhymes but the translated poem does not, the artistic conception, image and atmosphere of the original poem cannot be reflected and conveyed in any way. As for form beauty, it mainly refers to the "length" and "symmetry" of poetry. It's best to be "look-alike," or if look-alike isn't perfect, at least "roughly neat."
In xu Yuanchong's translation theory, he also holds that the three beauties are not in parallel, but in order of importance and importance. Among the three beauties, meaning beauty is the most important, followed by sound beauty, and finally form beauty. We should try our best to achieve all three beauties under the premise of translating the original text beautifully. If the three can not appear at the same time, then we can first of all do not ask for similar shape, also can not ask for similar sound, but we must do our best to convey the meaning of the original text and the beauty of sound. The principles of the relationship between the three beauties complement each other and restrict each other. They are also progressive and interlinked. Only by closely combining them can we achieve better translation artistic effect.

===The Application of "Three Aesthetics" in the English Translation of Song Ci poems===

Roman Jacobson, a prominent American linguist and literary theorist in the 20th century, said: "Poetry, by definition, is untranslatable." This shows that the difficulty of poetry translation is ineffable and invisible to the translator. But it doesn't follow from one of his conclusions that poetry is untranslatable. There are still differences of opinion between translators and experts in the field about the translatability of poetry. Due to many factors, most people hold a view that the translatability of complex words in Classical Chinese is an impossible task. If we want to discuss this problem, we must give a clear explanation to several propositions in Mr. Xu Yuanchong's theory. According to him, translation is an attempt to reproduce in the target language what someone has said or written in another language. There should be a great deal of similarity in meaning, form and sound to the text used to represent it. The similarity lies in the common interpretation and implication between them. In practical translation practice, the faithful transmission of implied meaning from the original text to the target text is different in content, but their concept and meaning are almost the same. Therefore, we can say that poetry is translatable, and the traditional poetry with many reduplication is also translatable under certain circumstances.

===Meaning beauty of eliciting mental pleasure: skillfully translating the poetic core and reproducing the artistic conception===

The meaning of Song Ci poem lies in its concise words and phrases to shape or graceful empty, or even bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.

===Sound beauty -- pleasing: the charm is clever, and the words are skillfully used===
The meaning of song ci lies in its concise words and phrases to shape or graceful empty, or bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.
=== Sound beauty -- pleasing: the charm is clever, and the words are skillfully used ===
"Sound beauty" refers to the rhythm and rhyme pattern of the translated poem. Mr. Xu Yuanchong pays attention to meter, rhyme and sentence number in his translation of ancient Chinese poems. The musicality of song ci is more unique, and pays more attention to the harmony of words, so the rhyme of Song ci is more harmonious and perfect, and the beauty of words and music is both. English poetry is generally pay attention to the rhyming, especially at the end of each sentence, it's a bit like Chinese level and oblique tones, but not so rules, because of the English words and characters of syllables, most of the English word of two or more than two syllables, and the Chinese character is a syllable, so of course is Chinese more neatly, but English poetry has its unique in rhythm and rhyme beauty.
Due to the different phonology of Chinese and English poems, it is difficult to copy or reproduce the rhythm of the source language in translation. Therefore, translators need to translate the text into a way that readers can understand in order to help readers realize their aesthetic appreciation and perception of the translated sound [4]. Take Professor Xu Yuanchong's translation of Li Qingzhao's "Sound Slow · Searching and Searching" as an example: as the first seven pairs of reduplicated words in the history of Chinese literature, they have attracted wide attention from translators, and all of them have their own unique views. These lines of the original word, the poet in the "seeking" "seeking" center of god uncertain, as if lost manner; The loneliness of wandering alone in "cold" and "clear"; "Desolate" "miserable" "Qi" in the state of mind is vividly depicted. Through the study of Xu Yuanchong's translation of "Sound slow", we find that "Search, clear, desolate" belongs to the flat sound; "Find, cold, miserable, qi" is oblique tone; "Mimi" is also a dental sound, flat tone oblique tone teeth appear alternately, so that the line of cadence, resounding sound. From "look" to "know" and then to "feel", Mr. Xu Yuanchong uses three sensory verbs to bring readers into it and feel them. He compensates for the repetition of the original word in the form of double rhymes to achieve a very natural and smooth equivalent effect. Translation with the original word "miss" in the word "find", "cheer" and "qi" in the original word, even in front of consonants and vowels close also same, visible of language poetry translation the translator second-guessing, choose close to mandarin pronunciation of the English vocabulary to implement the "sound", convey sound beauty, an ability to make a sound effect.
In the "cold and warm... On the processing of this sentence, Professor Xu's translation once again shows the ultimate beauty of sound. The 4 short sentences in the original word are translated into 9 short sentences, and all use rhyme, which is catchy to read. "Late wind urgent" was translated into "swift" to describe the haste of the night wind. The short/I/in the translation is pronounced like the final of "urgent", which is not only clever but also accurate. In the translation of "time" and "knowledge", Professor Xu uses "alas" and "pass", where the rhyme is perfectly similar to the original word. Showers rhymes with flowers. Everything has its place. While the words "faded" in the original poem were both faded and had similar meanings, Mr. Xu's translation used "Faded" and "Fallen," which not only have similar meanings in English but also alliterative with/F /, suggesting professor Xu's pursuit of vocal beauty has gone into overdrive. "Now" in the translation rhymes with "how" in the next sentence, and "pace" with "plane's" in the next sentence, which also adds rhyme to the translation. In the translation, "drizzles" and "Grizzles" correspond to the reduplication of "dribs and DRBS" and combine the sound with the sound of "I :/" to show the rhythm of endless rain. Finally, the words "grief" and "belief" rhyme together with "IEf", further reflecting the beauty of sound and the author's lonely and melancholy mood in the original word.

===Conclusion===
For thousands of years, the charm of Chinese classical poetry has attracted many scholars and translators to further explore it. With the increasingly close international exchanges, cultural exchanges are also very important. Ancient Chinese poetry brings us beauty and enrichis our emotions. Its beauty is deeply refreshing and refreshing. The beauty of meaning, sound and form of the theory can correctly guide the translator to translate the original image, rhyme and form of Chinese classical poetry. Mr. Xu Yuanchong's "three beauty theory" promoted the spread of excellent Chinese classical poetry and made western readers appreciate the charm of Chinese language and culture. As translation scholars, we should be aligning with professor xu yuan-zhong, study its excelsior translation meticulous attitude and practical spirit, improve their ability of translation practice, enrich their translation theory knowledge, with good knowledge of translation theory to guide translation practice, constantly accumulate experience from the translation practice, can achieve ideal state finally.

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==英语笔译何丽娜 He Lina 202170081569 CE==

<center>'''A Study on the dilemma of the Chinese Cultural Classics'''</center>

<center>He Lina</center>

===Abstract===
With the continuous progress of the times, cultural soft power becomes more and more important as a standard to measure the comprehensive strength of a country. As one of the important sources of China's cultural soft power, Chinese cultural classics is an important link to enhance the country's cultural soft power. This paper will mainly introduce soft power and cultural soft power, and analyze the current dilemmas of Chinese cultural classics and their causes, and try to find solutions.

===Key words===
Chinese cultural classics;cultural soft power;dilemma

===Introduction===
Many cultural classics and books handed down in Chinese history are the crystallization of the wisdom of Chinese ancestors and represent their ideological and spiritual achievements. These books have always been an important part for Chinese people to learn. Even in the ancient imperial examination period, Confucian classics were used by rulers in various dynasties as content of the examination to select talents, which shows the importance of classical books in Chinese history. With the development of times, China is gradually going out of the country and gradually being impacted by world literature. Because people have more freedom to read, and modern and contemporary literature is more readable, unlike many cultural classics written in classical Chinese, which are more difficult to understand, more people prefer to read foreign classics or works written by modern and contemporary Chinese authors in vernacular Chinese or Mandarin. Reading the classics seems to be a problem for more and more people. Today, With the rapid development of China's economy, China has begun to show its strength in the world stage, and has become more and more aware of the importance of cultural soft power, and cultural classics as an important part of Chinese culture has been further valued. However, it should be faced that reading classic books in China is still not the mainstream, and abroad, Chinese classic books have not been accepted as expected. So far, Chinese cultural classics seem to be in a dilemma. From the perspective of cultural soft power, this paper will briefly discuss the current difficulties of Chinese classics, analyze the causes of these difficulties and try to find some countermeasures.

===Theories and Literature Review===
Soft Power

Soft power is actually a political term used to measure the overall strength of a country. In 1990, Joseph·S·Nye, a professor at Harvard University, put forward and expounded the concept of "soft power" in an article titled "Soft Power" published in Foreign Policy magazine. In this article, he comprehensively and systematically analyzed and expounded the concept of national power, status and development trend of The United States as a global power, and further pointed out that a country's strength consists of "soft power" and "hard power". Joseph Nye argues that "soft power" is as important as "hard power". "Hard power" includes basic resources, military power, economic power and scientific and technological power. The essence of "soft power" is "Soft power is an ability to affect what other countries want." He describes soft power as follows: "This power tends to raise from such resources as cultural and ideological attractions as well as rules and institutions of international regimes."（cf:Joseph Nye, 1990:167)

Cultural Soft Power

Since the concept of "soft power" was introduced into China, many domestic experts and scholars have expressed their views on it.
Wang Huning regards culture itself as a kind of soft power through expressions such as "culture as soft power". (cf:Wang Huning,1993:91-96) Influenced by Joseph Nye, some scholars believe that culture is one of the important sources of soft power. Xu Wanxiao and Xu Fangxiong believe that cultural soft power should be derived from cultural resources, which can be divided into tangible cultural products such as movies, cultural heritage, food and intangible cultural concepts such as ideas, values and systems. (Xu Wanxiao, Xu Fangxiong, 2021) Wei Enzheng and his partners pointed out that cultural soft power refers to the internal cohesion, mobilization, spiritual power and external penetration, attraction and persuasion of a country's traditional culture, values, ideology and other cultural factors. (Wei Enzheng, Zhang Jin, 2009) From the Angle of the power form, Hong Xiaonan divided the soft power into five parts: powerful cohesion and centripetal force of the national culture to stimulate a country; national cultural attraction making other countries follow; cultural innovation to promote the development of a nation; national culture integration which organizes the cultural elements into the maximum organic effectiveness; the cultural radiation to correctly express intention of national culture to the world. (Hong Xiaonan, Qiu Jinying, Lin Dan, 2013)
Redefining and summarizing the domestic scholars' views on soft power, Cai Libin and Wang Chenlin summed up China's "cultural soft power" : the definition of "cultural soft power" refers to a country or a nation's traditional culture, values, ideology, cultural resources or cultural factors such as internal cohesion and mobilization force, spirit power and external attraction and persuasion, influence and so on.(Cai Libin, Wang Chenlin,2020)

===Methods===
From the definition of cultural soft power, this paper qualitatively analyzes the internal and external difficulties encountered by Chinese cultural classics and Further discusses the reasons behind. Finally the paper tries to find some corresponding solutions from the author's own perspective.

===Chinese Cultural Classics and cultural soft power===
In English, the word "classics" originally referred to the literature of ancient Greece and Rome. As we all know, the civilization of this period is the fountainhead of western civilization. Accordingly, for China, Chinese cultural classics are collections of literature that can represent Chinese civilization. Dianji/典籍(Chinese Classics) literally means "classic books" in Chinese, and there is a similar concept in Chinese dictionary ''Han Dian''《汉典》, which refers to important documents such as ancient codes and books, and refers to ancient books in general. In the modern sense, cultural classics refer to those timeless works that are exemplary, authoritative and dominant in the field of culture. They are perfect works that, after years of washing and historical screening, have always been at the top of a certain field or industry. (Liu Jinxiang,2022) For example, the four Great Classical Novels of China (''Water Margin''《水浒传》, ''Romance of The Three Kingdoms''《三国演义》, ''Dream of the Red Chamber''《红楼梦》and ''Journey to the West''《西游记》), as well as ''the Analects of Confucius'' 《论语》and ''Mencius''《孟子》. These classics are not only a summary of the author's personal wisdom and life experience, but also reflect the characteristics of an era and the inner spirit of a nation. They embody the national spirit and culture of a country. The culture and spirit of a nation is the most direct source of cultural soft power, and even it is a kind of cultural soft power itself.

===The Plight of Cultural Classics in China===
A country with strong cultural soft power must also have a high level of national cohesion, which can effectively protect and preserve the cultural achievements of its predecessors, as well as generate heartfelt feelings of awe and care for all the cultural achievements of past people. That is to say, cultural inheritance is of great significance. Reading classics is the first step in passing on culture. But in modern and contemporary China, people's enthusiasm for reading classics has always been low. Although the Chinese government has always included the study of classics in the curriculum of primary and secondary schools, these are mostly fragmented learning, and students' learning of classics is not comprehensive. Take college students for example. Although Chinese language is a compulsory subject for students, reading classics is not the main content of students' learning. According to a survey report on classic reading of college students, only 14.40% of them often read classic works, 84.10% read them occasionally, and 1.50% never read classics. (cf:Zhang Junxiong, 2022:87-89) It can be seen that as a group receiving higher education, college students still lack enthusiasm for reading classics. On this assumption, the number of people in China who insist on reading will only be smaller. Without reading classics, we cannot understand classics, nor can we understand the spiritual connotation behind classics, nor can we carry forward traditional Chinese culture.
In addition, I logged on dangdang(当当网), a popular Chinese book sales website, and looked up the top 10 best-selling books in recent years. Only a few literary classics were on the list. In terms of the 2021 list, the number one book on the list is ''Counselling For Toads:A Psychological Adventure'' (a classic Introduction to Psychology in The UK), followed by ''Historical Records for Young Readers''《少年读史记》(a history book for children), and the third was ''Educated'', an autobiographical book about her family and education by US author Tara Westover. The rest of the top 20 included classics from the West, mystery novels from Japan and works by contemporary and contemporary Chinese authors. But traditional literary classics are nowhere to be seen. The second most popular book, Historical Records for Young Readers o, shows that some Chinese parents are consciously cultivating the habit of reading ancient literature in their students, but in general, the sales of cultural classics still account for a small proportion in the Chinese market as a whole.
Such a situation is fatal to a country in urgent need of developing cultural soft power. If a country wants to develop its culture, it should first be based on its own country. If fewer and fewer Chinese read the classics, how can a country convince other nations that its own people do not value its own cultural heritage?

===The Plight of Chinese Classic Books in the West===
Acceptance of a certain culture will often cause psychological and emotional yearning, rational identification. Anything that comes from this culture has a certain influence. Obviously, the more widely a country's culture is spread, the greater its potential soft power is likely to be.But obviously Chinese cultural classics are far less influential in the international community than western literary works.
According to current research, ancient Chinese cultural books were translated into European languages for the first time in 1592. Juan Cobo (1546-1592), a Spanish missionary, translated ''Ming Xin Bao Jian'' 《明心宝鉴》, a textbook for learning compiled by Fan Liben（范立本）, a Chinese scholar in the late Yuan and early Ming Dynasties, into Spanish for the first time. In modern China, we have been committed to introducing Chinese culture to the world. On October 15, 2014, General Secretary Xi Jinping（习近平） of China stressed at the Forum on Literature and Art Work held in Beijing that artists should tell China's stories well, spread China's voice well, and fully present China's image so that people around the world can better understand China through appreciating China's excellent literature. Supported by China's "going out" strategy, some Chinese classics have been successfully translated abroad, but these are rare cases. At the same time, there are several obvious problems in the translation and dissemination of classic books. Taking the Chinese-English version of The Great China Library as an example, literature accounts for 50% of the 110 classic books, followed by philosophy 19.1%, technology 13.6%, history 9.1% and military 8.2%. Second, the main composition of the translation is not reasonable. Besides,It shows that all the translations with wide influence outside the region are mainly written by western missionaries or Sinologists, and there are few works widely spread outside the region by domestic and local translators, especially in the modern and contemporary times, the translations with great influence outside the region are scarce. Some Domestic scholars conducted a survey on the sales of Chinese classics in 2019 on Amazon, the largest book sales website in the western world. The amazon website does not show sales volume, but only review stars. The higher the star rating, the more popular the product. Among Chinese cultural classics on sale, ''the Art of War''《孙子兵法》, a classic Chinese military work written by Sun Wu（孙武）, a General of the State of Wu（吴国） who was originally from Le 'an(乐安), Qi（齐国） during the Spring and Autumn Period（春秋时期）, has the highest star rating of 7,763, while the second most popular book has only 740 stars. In addition, ''the Art of War'', the bestselling Chinese classic translation, ranks 532 among all books on Amazon. (c.f:Gu Chunjiang, 2020) This shows that, on the whole, the spread of Chinese cultural classics in the Western world is still in a small range, and the acceptance of Chinese classics in the western world is still at a low level.

Another problem with the dissemination of Chinese cultural classics is that many of the translations that are out there are not Chinese translations, but works of foreign translators. Similarly, according to the statistics of Amazon website, taking The Art of War as also an example, almost 90% of the translations on Amazon website are those of overseas Sinologists, while those of domestic translators only account for less than 2%. (c.f:Gu Chunjiang, 2020)Overseas Sinologists who understand the language style and culture of the target language country preference, will make western readers accept the Chinese classics, but they always not the first users of Chinese language. In the process of translation, in order to make the western readers adapt to the original culture, they will be more likely to lose the characteristics and flavor of the original works.The connotation of Chinese culture in the classics received by western readers will also deviate, which is detrimental to the external dissemination of Chinese cultural classics. That means that western people always understand Chinese classics and Chinese culture with their own wisdom, so such cultural communication is invalid in a sense, and the influence of Chinese culture can never reach the height of western culture.

===The Possible Reasons===
1. It is difficult to read cultural classics.

There is a big reason why young people in contemporary China do not want to read cultural classics. These classics are written in classical Chinese, which is difficult to understand and requires a certain level of knowledge and education. During the period of the Republic of China, some advanced intellectuals, in order to break the passive situation of the old China, introduced advanced foreign ideas and cultures, and got rid of feudal and superstitious ideas, launched the New Culture Movement, advocating vernacular Chinese and opposing classical Chinese, with the purpose of introducing new culture and ideas. Since then, vernacular Chinese, also known as putonghua, now widely used in China, has gradually become the mainstream language of The Chinese people, and ancient Chinese is no longer taught in schools. The whole Chinese society has entered a new era. However, at the same time, ancient prose was no longer popular in Chinese society and became a language mastered by a few professionals, which greatly increased the difficulty for people to read classic ancient books. Although modern Chinese evolved from ancient Chinese, modern Chinese has developed into a system of its own after nearly 100 years of development, which is very different from classical Chinese. Without professional and systematic learning, it is difficult for ordinary people to fully understand classical Chinese. Because of the difficulty of reading these classics, it takes more energy to read them, which makes many people stop reading them. On the other hand, with the development of the times, Chinese modern and contemporary literature has emerged a lot of works, known as the new classics, these works are also very excellent works, at the same time, the vernacular or modern Chinese writing, more easy to understand, that is, become the reading choice of many people. In addition, due to the development of the Internet world, there are many online novels and popular works. Compared with the classics, these works do not need to spend time thinking, and they are also pleasant and popular with many people.

2. Cultural innovation capacity still needs to be developed

Cultural innovation refers to the creative vitality of culture, which belongs to the independent innovation, absorption and re-innovation of culture. National cultural innovation is the ability to reprocess the cultural elements and materials absorbed and influence the market. (Cai Libin, Wang Chenlin,2020) Cultural classics are difficult to understand, but we can use innovative means and innovative communication forms to convey the original connotation of classic books, so as to attract people to read classic books again. But from the point of the current Chinese market, the adaptations of Chinese cultural classics give priority television works, and in the past two years there have been some cultural TV programs, such as "China in classic books" (in the form of a play to deduce classics story), "the Chinese poetry conference" (it takes "enjoy Chinese poetry, cultural genes, taste the beauty of life "as the basic principle, through the competition and appreciation of the knowledge of poetry, sharing the beauty of poetry, feeling the interest of poetry, absorbing nutrition from the wisdom and feelings of the ancients and cultivating the soul, etc.)Although these programs have aroused some domestic online discussions, they still can not get widespread attention. In addition, in the film art with international influence, Chinese cultural classics are few and far between. In 2019, ''Ne Zha''(哪吒之魔童降世), adapted from the classic Chinese mythological novel ''The Legend of Gods''《封神榜》, set a record in The history of Chinese animated films, grossing more than 5 billion yuan. Nezha has become a hot topic for a while, and the Classic novel The Legend of Gods has also come into people's sight again. The following year, however, ''Jiang Ziya''《姜子牙》, a film also adapted from the mythological novel , earned only 1.6 billion yuan at the box office and received far less critical and influential reviews. From this we can see that there are still great deficiencies in China's cultural and creative ability, which cannot become a long-term driving force to promote the inheritance and development of Chinese classics and even Chinese culture.

3. The challenge of Western ideology

What cannot be denied is that western ideology has always occupied the dominant position in the world. Western powers spread their values and beliefs to other countries through their powerful media advantages, and to a large extent reshape their values, behavior, social system and identity, and ultimately achieve the purpose of protecting themselves. Especially with the rapid development of the Internet, it provides a new platform for the western society to carry out cultural communication. With the advantages of economy, technology and extensive application of English, western powers spread their own cultural values and behavior patterns to the outside world, which to a large extent affected the influence of local culture. The cultural mainstream of western powers seriously threatens the dominant position of Chinese culture in the hearts of the people and is a severe challenge to the development of China's cultural soft power. (Ning Deye, Shang Jiu, 2010) At present, many young people in China are obviously "Westernized" in terms of lifestyle and values. For example, iPhone is very popular among Chinese young people, western traditional festivals such as Christmas are very popular among Chinese young people, and they pursue foreign luxury brands. All of these are manifestations of the young generation's detachment from Chinese culture, and also obstacles to the development of China's cultural soft power. In addition, Joseph Nye, after the end of the Cold War, "lost no time" in putting forward the theory of soft power, pointing out and emphasizing the importance of soft power in the era of peace and information, which in essence sounded the horn for the Western society to enter the cultural field, leading to greater investment in cultural expansion of the Western society. It is difficult for China to develop cultural soft power and maintain the subjectivity and independence of national culture. (Ning Deye, Shang Jiu, 2010)
As China is also in the international community, it will inevitably be influenced by western mainstream culture, and more people are willing to read western classics. This can also be seen from the best-selling books on the aforementioned domestic book sales website in China. Eight of the top 20 best-selling books, or almost half, are foreign classics. The author consulted the summary of high-scoring books in 2021 on a popular book rating app in China, and found that seven of the top ten books with the highest rating were foreign works, while the top three were not Chinese works. This is enough to illustrate the influence of western mainstream culture in China. (douban.com)China's cultural soft power is not strong enough to equal the realm of the western world. If popular culture is still western one, Chinese cultural classics will face greater difficulties. In addition, it is not very optimistic that the translation of Chinese cultural classics can be recognized by foreign cultures. Quite a number of Chinese and Foreign translations are facing the fate of "export to domestic sales". These translations are not taken out for exchange with foreign countries, but become the translator's self-appreciation or for the study and reference of the Chinese people.

4.Hard power support is relatively weak

When participating in international competition and international affairs, those with strong hard power are more likely to win the dominant power and the right to speak, to control the development direction and trajectory of events and current situations, and to reflect and enhance their national cultural soft power. In addition, cultural communication is a basic link in the development of cultural soft power. Under the conditions of modern information communication, the support of hard power derived from technology is a necessary condition for cultural communication. In short, the development of national cultural soft power must rely on the support of hard power. In recent years, China's economy has developed rapidly and its hard power has been greatly improved, but there is still a big gap between China and western developed countries. When participating in international affairs and competition, the supporting force of hard power is still relatively weak, and it is difficult to win the dominant power and the right to speak, which restricts the development and improvement of China's cultural soft power. The relatively weak supporting force of hard power is a fundamental challenge facing the development of China's cultural soft power, which should arouse high vigilance.
This is also reflected in China's talent training and overseas publishing industry.
China's current employment of translation professionals is far from adequate. There are more people who take translation as a part-time job or hobby. In recent years, more and more people are engaged in translation, but how many people are really devoted to the translation of Chinese classics? Although we have made great achievements, the realization of the true value of Chinese classic culture has been reduced due to the limitations of translators' skills, publication organization, quality and promotion.
On the other hand, good translations also need good overseas channels and proper marketing to attract overseas markets. However, at present, few Chinese enterprises have overseas publishing channels, and even if they do, the scope is not wide enough, which increases the difficulties for the translation and dissemination of Chinese cultural classics.

===Countermeasures===
1. Develop a reading habit

Since it is difficult to read classic books, schools should set up corresponding courses and treat the study of classic books as a part of daily learning, not just the content of exams. In this process, we should guide students to develop good reading habits and cultivate students to understand, read and learn classics from childhood. Appropriately increase the proportion of Chinese classic books in students' book list, and at the same time, and open some related activities centering on the reading of classic books, such as reading clubs, knowledge contests, speech contests and composition contests, which can not only enrich students' learning life but also increase their interest and motivation in learning cultural classic books. And gradually they can absorb the nutrients of Chinese culture from the learning process of classic books, form China's own values, and enhance cultural confidence.

2. Increase investment in cultural and creative undertakings

The state should further strengthen investment in cultural innovation and encourage practitioners to create more and more excellent works to spread cultural classics and the spiritual culture contained therein. In addition, the country should train innovative talents and further strengthen the cultural innovation ability of the whole country. With a new way to deduce the story of the classic books, we can bring out rich connotation and vitality of Chinese cultural classic books.

3. Learn the advantages of Western culture

Western culture can cause great influence in the world because of its own quality culture. At the same time of western culture shock, we should also learn the advantages of western culture, and absorb and transform, so as to form our own advantages. For example, we can learn from the development model or successful cases of western culture to promote Chinese cultural classics to the world.

4. Improve "hard power"

Only by further developing the economy and perfecting the social system can we provide professional security for translators and attract more translation talents. We should strengthen foreign exchanges, help Chinese publishing enterprises to go out, improve publishing channels and marketing strategies, so as to expand the foreign market of Chinese cultural classics, further spread Chinese culture, and enhance the influence of Chinese

===Conclusion===
Chinese cultural classics are the essence of Chinese traditional culture and are closely related to cultural soft power. After this paper the author found that the inheritance and transmission of Chinese culture classics still exist many problems, we must attach great importance to it, and take corresponding measures to solve these problems to help our cultural books to go into people's study life,to concentrate the power of culture, thus further to go into the world and influence the world. Only in this way can China improve its cultural soft power, enhance its competitiveness and gain recognition in the world.

===References===
*Nye, J. S. (1990).''Soft Power''.''Foreign Policy'',80,153–171pp.

*Cai Libin, Wang Chenlin 蔡礼彬,王晨琳.(2020).''世界遗产与中国文化软实力''[A World Heritage Site and Chinese Cultural Soft Power].''中国文物科学研究''Chinese Cultural Relics Scientific Research (01), 17-23.

*Gu Chunjiang 顾春江.(2020).''中国典籍英译本海外传播研究''[A Study on the Overseas Communication of the English Translation of Chinese Classics].''文教资料''Cultural and educational materials (31), 7-10.

*Hong Xiaonan, Qiu Jinying, Lin Dan 洪晓楠,邱金英,林丹.(2013).''国家文化软实力的构成要素与提升战略''[The Constituent Elements and Promotion Strategy of National Cultural Soft Power].''江海学刊''Jianghai Journal,202-207.

*Liu Jinxiang 刘金祥.(2022).''文化经典的主要特征和当下价值''[The Main Characteristics and Current Values of Cultural Classics].''书屋''Library (02),13-15.

*Shi Zuhui施祖辉.(2000).''国外综合国力论研究''[A Study on Foreign Comprehensive National Strength].''外国经济与管理''Foreign Economy and Management (01), 13-19.

*Xu Wanxiao, Xu Fangxiong徐宛笑,徐方雄(2021).''文化软实力的概念、实质及构成要素探究''[Explore the Concept, Essence and Constituent Elements of Cultural Soft Power].''文化创新比较研究''Comparative Research on Cultural Innovation (10), 8-11.

*Wang Huning王沪宁(1993).''作为国家实力的文化:软权力''[Culture as a National Power: soft power].''复旦学报(社会科学版)''Fudan Journal (Social Science edition) (03), 91-96 + 75.

*Wei Enzheng, Zhang Jin魏恩政,张锦(2009).''关于文化软实力的几点认识和思考''.[Some Understandings and Thoughts on Cultural Soft Power].''理论学刊'' Theoretical Journal (03),13-17.

*Zhang Junxiong张军雄.(2022).''大学生经典文献阅读情况调''[Investigation on the reading situation of classical literature by college students].''合作经济与科技''Cooperative Economy and Science and Technology (11), 87-89.

*图书畅销榜-2021年畅销书排行榜Book bestseller-2021-Dangdang (dangdang.com)http://bang.dangdang.com/books/bestsellers/

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==英语笔译胡良明 Hu Liangming 202170081570 MW==

<center>'''A study on Lin Yutang’s translation of Six Records of a Floating Life'''</center>

<center>Hu Liangming</center>

===Abstract===
Translation is a special art. When translating, the translator needs to express the original content in another different language. In this process, the translator not only needs to translate the original content, but also needs to preserve the mood, imagery, rhythm and writing style of the original text. Therefore, translation is not only a transformation between two different languages, but also an exchange between different cultures represented by the two languages. As a special type of translation, literary translation involves famous Chinese and Western literary works, so it is necessary to pay more attention to the connotation of words and sentences while translating. In literary translation, the translator should strive to express the artistic conception of the original work, so that readers can read the literary connotation from the translated work as if reading the original text, and can feel the beauty of the language. The Three Beauties Principle, which consists of beauty in sound, beauty in sense and beauty in form, is the translation standard put forward by the famous translator Xu Yuanchong. The Three Beauties Principle is regarded as the translation standard of Chinese classical poetry. Under this standard, the translator must express accurately the beauty in the poem. Since the styles of poetry and prose are very similar, this article aims to explore the effective methods of English translation of Classical Chinese by studying the translation aesthetics in Lin Yutang's English translation of Six Records of a Floating Life.

===Key words===
Three Beauties Principle, English translation of Classical Chinese, Six Records of a Floating Life.

===Introduction===
For a long time, in the process of English translation of classical Chinese, translators usually follow the cultural background and reading habits of English readers to understand Classical Chinese and translate them to English, so that the English translation of such articles has lost the unique literary style and form of the original text. What’s more, some translators and readers may find such articles changed in sense, sound and form. Once the Classical Chinese are translated to English, the logic always becomes muddled and the artistic value will be diminished, even though there are no grammatical errors in the translation. Still, during the translation of such articles, it is unavoidable to make some misunderstandings due to translator’s deviation from Chinese. The special style and form are quite independent and original that they can not be found in traditional western literature. To do the English translation of Classical Chinese well, the sound, sense, and form must be taken into consideration. And this thesis aims to connect English translation of Classical Chinese with Three Beauties Principle.
Like Chinese classical poetry, Chinese classical prose has the characteristics of beautiful and condensed language, rich literary talent, and rich and profound artistic conception. Therefore, when translating Chinese classical prose, the translator can not only be satisfied with faithfulness and reciprocity, but also focuses more on the presenting the aesthetic perception of the original text into the target language. This article adopts the comparative method and the case analysis method, and uses Xu Yuanchong's Three Beauties principle as the framework to study the English translation of Six Records of a Floating Life.
Six Records of a Floating Life" is a collection of essays by Shen Fu, a writer in the Qing Dynasty. The language is plain and natural, and the content is rich and interesting. It fully embodies the author's leisurely spirit, the taste of life and the unswerving love between the author and his wife Chen Yun. The English translator of this book, Lin Yutang, is a well-known writer and translator who has studied Chinese and Western culture deeply.
This thesis is divided into three parts. First of all, the research background and significant points of this thesis will be presented. Then chapter two mainly makes a brief introduction to the Three Beauties Principle and its presenter as well as Lin Yutang and his translation strategies. And the rest of the thesis mainly focus on the research of Lin Yutang’s English translation Six Records of a Floating Life under Three Beauties Principle. This thesis aims to make a profound study of the English translation of Classical Chinese and hopes to help the future researchers and learners with the practices.

===Literature Review===
Although the translation of Classical Chinese into English has been several centuries, it seems that the theoretical research on this kind of translation is not yet very popular. There are several reasons to explain this situation. First of all, Chinese is a totally different language from English, not to mention the Classical Chinese. Chinese is a non-inflectional language, while English is an inflectional language. It means that there are some differences when it comes to the transformation of two different languages. Secondly, Chinese is parataxis while English is hypotaxis. Chinese sentences are connected together by the internal logic and semantic relations. While English sentences are connected together by using conjunctions and verbal morphology. As a result, it requires translators to master the essence of both English and Chinese to do the translation work well. It is for the above reasons that there are very few scholars who are proficient in both Chinese and English. Nevertheless, in the history of translation in China, a group of excellent translators have emerged. Most of these translators have studied ancient and modern and are very proficient in Eastern and Western cultural knowledge. It is precisely because of the existence of these translators that we can bring excellent Chinese works abroad, and let people all over the world appreciate the charm and long history of Chinese culture.
Chinese classic works are the historical crystallization of Chinese civilization and an important part of Chinese culture. For thousands of years, these excellent cultures have deeply influenced the descendants of the Chinese nation from generation to generation, and have played a role in inheriting culture and educating future generations. These classic works have not only social and historical significance, but also cultural construction significance. Chinese culture with a history of thousands of years belongs not only to China, but also to the world. It is the social responsibility and historical mission of each of us Chinese to spread Chinese culture and let the world truly understand China to enhance exchanges between different cultures. In this context, it is more practical to conduct research on the English translation of Chinese classics. Under the current economic and cultural globalization, the dissemination of excellent Chinese Classics barely matches our country’s comprehensive national strength and international status. Therefore, how to better spread the culture of 5000-year-old should be put into the first priority for English learners. The English translation of classics is an excellent way for the world to understand China and allow China to participate in global cultural exchanges. At the same time, it is of great benefit to enhance our country's cultural charm and cultural soft power. The Chinese nation is a nation that is open to all different cultures and is eager to learn from these differences. In the long process of spreading Western learning to the east, we have translated and learned a lot of Western culture in politics, economy, culture, technology and so on. We have successfully learned Western culture, and now the key is to spread our own culture and actively participate in the exchange of world culture, so that the people of the world can learn more about Chinese culture in order to maintain the inherent cultural identity of the Chinese nation. The English translation of classics enables Chinese classical works to be presented to people again, and can make the essence of charm across the ocean, allowing Western people to appreciate the elegance of Chinese culture, enhance the national pride of Chinese descendants, and at the same time better promote foreign language learning and cultural exchange.

===Three Beauties Principle===
Three Beauties Principle was put forward by Professor Xu Yuanchong, who has created such a translation standard from his diligent working and a great number of translation practices. Undoubtedly, such a translation theory has exerted great significance in translation circles and provided a new perspective for us English learners to study literary translation. Three Beauties Principle means beauty in sense、beauty in sound、and beauty in form. Beauty in sense emphasizes that the profound meaning hidden in poems are kernels of poems, and the major job of translators is to translate the sense, which will be of great importance for target readers to understand poems（Xu，1984）. Beauty in sound indicates that poems are in rhyme, assonance, alliteration, and the heroic couplet and so on. So when doing translations, translators are required to keep the rhyme as stringently as possible. Beauty in form keeps a watchful eye on poems that are written in some forms, like traditional Chinese seven-character octaves that there are only seven characters in each line. Xu （Xu ，1984）holds the opinion that the three beauties are not equally important. Xu once said: “Of the three beauties, beauty in sense is of the greatest significance and should be placed in the first place; beauty in sound is of secondary importance; beauty in form is of least weight and can be put in the third place.”(Xu，2006：81）
The first principle of poetry translation is to retain the meaning of the original text to the highest degree, so as to achieve the same effect as the original text to move the reader. In other words, poetry translation should lose the beauty of the original text as little as possible. It not only means translating the denotative form of the original text, but more importantly, translating the connotative meaning of the original text. Poetry translation should retain the artistic beauty of the original poem. Poetry is rich in appreciation value and is the highest state of literary creation. It uses the most concise language to express the most profound meaning. The artistic conception embodied in a good work is often amazing, and it will make people keep tasting the charm of it even unforgettable for a lifetime. However, the rich connotation of poetry will make different readers and translators have different feelings, and this different understanding will make the translated works appear very different in the reproduction of the original works. Therefore, under the principle of aesthetic beauty, translators are required to integrate into the environment of poetry, gain insight into the author’s mood, and appreciate the author’s true intentions.
The beauty in sound can be tasted in rhyme and rhythm, which are the indispensable parts of classical prose and poetry. As we all know, poetry and music are closely related to each other. From life experience to emotional expression, music is integrated with poetry, producing unlimited artistic charm. In the poetry works, the harmony of voice, the ambiguity of tones, and the musical beauty produced by the rhythm of sentence patterns make the emotions expressed more intense, the portrayed images are more vivid, and the works are more appealing. Music breaks through the conventional thinking mode through poetry, which can not only improve the musician's sensibility and comprehension, enrich his imagination and emotional experience, but also make his works have a deeper depth of thought. Poetry not only has an impact on music creation, but also plays an important role in music performance. Therefore, in poetry translation, translator must try their best to convey the beauty of the original works. As we all know, Chinese is a tonal language, with a single character as the unit of rhythm, and the pronunciation of each Chinese character is almost the same, and the difference is only in tones. Therefore, in the process of translating ancient poems and prose, it is necessary to take into account both Chinese and English prosody, and vividly reflect the Chinese phonology with English phonology.
Xu Yuanchong suggested that beauty in form refers to “line length, verse rhyme, repetition of words, couplet and parallelism in structure, etc.”(Xu,1992：25）. This means that in the process of poetry translation, the translator needs to take into account the beauty of the original poem's form. The so-called form means to keep the translation consistent with the original text in terms of words, sentence structure, expression techniques, and rhetorical means in the translation of poetry and poems. Therefore, the form refers to the whole of the poem, and the corresponding relationship of various forms is extremely complicated and difficult in the article composed of different languages. Especially for poetry works, most of the beauty of its form cannot be completely translated, and it needs to be recreated. The original poem has the beauty of the text itself, so the translation of the poem also needs to have the beauty of the text itself.

===Reflection of Beauty in Sense in Lin Yutang's translation ===
3.1.1 Choice of Words
In Lin Yutang's translation, the accuracy and fluency of his words show his proficiency in Chinese and English. Chinese literati pay attention to the choice of characters when they write poems and lyrics. In their creation, if they can use characters cleverly, they can make the whole article unique. In the process of translation, translator also needs to pay attention to precise and proper wording. In order to faithfully reproduce the meaning and charm of the original text, Mr. Lin Yutang has painstakingly studied the choice of words and sentences during the translation process, so as to expect to convey the essence of the original text faithfully and smoothly. Here are some examples showing the accurate choice of words.
Chinese Version 1: 刺绣之暇，渐通吟咏。
English Version 1: Between her needlework, she gradually learned to write poetry.
Although “Between” is the most common preposition in English, it is used in this place to make the original meaning easy to understand, and there is no lack of vividness and beauty in the plain and simple text. It expresses the original meaning of the original text, that is, because her father passed away early, Yun had to rely on embroidery to support her family. Therefore, free time is naturally hard-won for her. Therefore, this word here fully shows the hardship and arduousness of Yun's life. The time she spends on recognizing characters and writing poems is squeezed out, which is completely consistent with the meaning of leisure in the words and sentences implicit in the original text.
Original text 2: 时但见满室鲜衣，芸独通体素淡，仅新其鞋而已。
English Version 2: At this time, the guests in the house all wore bright dresses, but Yun alone was clad in a dress of quiet colour, and had on a new pair of shoes.
The word “quiet” completely expresses the meaning that the original writer intended to express. It was originally a very ordinary and inconspicuous word, but when matched with the “color” in the text, it looks very apt and vivid. It not only expresses the elegant and light color of the clothes, but also expresses the protagonist’s gentle and introverted character. In order to conform to English expression habits, sometimes quantifiers do not need to be accurately expressed in the translation. Therefore, the translation also adopts flexible processing methods when dealing with the translation of some quantifiers.
Original text 3: 秋侵人影瘦，霜染菊花肥。
English Version: Touched by autumn, one’s figure grows slender,
Soaked in frost, the chrysanthemum blooms full.

In these two verses, Lin Yutang drew a picture in English, the externalization of sad autumn emotions, the coolness of autumn makes people shrink up, but frost tinges the chrysanthemum and aggravates the color of the chrysanthemum. In the contrast between people and chrysanthemums, we have a very vivid picture in our minds. Because of these precise words, readers of the target language can also clearly feel what the original author wants to express.

===Reflection of Beauty in sound in Lin Yutang's translation===
In Lin Yutang’s view, artistic texts include poetry, lyrics and music. In the process of translation, translator must first note that poetry is one of the cultural forms with Chinese characteristics. So they must be able to fully understand its artistic conception and master the form of the original text. Only in this way can they be as vivid as possible and express the connotation of the word. In addition, Chinese classical literature also focuses on phonology. Therefore, Lin Yutang uses the method of combining alliteration and ending rhyme in the translation process, and uses the repetition of syllables to fully express the beauty of the original phonology and rhythm.
3.2.1 Rhythm
Original Text1: 清斯濯樱，浊斯濯足。
English Version1: When water is clear, I will wash the tassels of my hat; and when the water is muddy, I will wash my feet.
This sentence in the original text is a standard antithetical sentence. It means that I can choose to wash my hat here where the river water is clean, and I can choose to wash my feet here where the river water is dirty. During the translation process, Lin Yutang also translated the symmetry of the original text, and the sentence patterns were consistent. Therefore, when the target reader reads the target text aloud, he can also clearly feel the sense of rhythm. Moreover, the last words, “hat” and “feet” , of the translation formed the end-rhyme.
Original Text2: 曾经沧海难为水，除却巫山不是云。
English Version2: It is difficult to be water for one who has been the great seas, and difficult to be clouds for one who has been the Yangtze Gorges.

Once having seen the best, the rest is not worthwhile looking. The meaning of this sentence: People who have experienced the incomparably deep and wide sea, the water elsewhere can hardly attract him; except for the clouds of Wushan where the clouds are steaming, the clouds everywhere are eclipsed.
The water of the sea and the cloud of Wushan are metaphors for the depth and breadth of love. I have seen the sea and Wushan, but the water and clouds elsewhere are hard to see. Except for the woman whom the poet thinks and loves, there is nothing that can make me fall in love. The original text here uses allusive rhetoric as a metaphor for my loyalty to love. When Lin Yutang dealt with this sentence, he used the same sentence pattern in both clauses of the translation. Therefore, readers of the target text will feel catchy when reading, which enhances the appeal of the article, which not only greatly increases the beauty of the original text, but also vividly expresses the precious feelings between the original author and his wife.

===Reflection of Beauty in Form in Lin Yutang’s translation===
Sentence layout and cohesion are an important part of text organization in translation, and are closely related to translation. Sentence layout mainly refers to the fit of language means and logical relations in a sentence. Cohesion mainly refers to the external connection of language, which is mainly related to the tangible components of language connection. In many literary works, the author will use many different sentence patterns. These different sentence patterns can be used to express different functions, including grammatical functions. Therefore, the appropriate sentence pattern will add beauty to the form of the target words and sentences annotations. Here are some examples.
Original Text1:芸曰:“世传月下老人专司人间婚姻事，今生夫妇已承牵合，来世姻缘亦须仰借神力，盍绘一像祀之？”
English Version1:Yun said ：“It is said that the Old Man under the Moon is in charge of matrimony. He was good enough to make us husband and wife in this life, and we shall still depend on his favor in the affair of marriage in the next incarnation. Why don’t we make a painting of him and worship him in our home?”

We can see from the original sentence that this sentence has an obvious feature, that is, there is a rhetorical question at the end of the original sentence. In the translation, the rhetorical question here is also accurately translated. Therefore, the translator here has fully achieved the formal correspondence, and readers of the translation will not feel any doubt when reading this.
Original Text2: 芸双目闪闪，听良久。
English Version2: Yun stared at me, listening for a long time.

In the original text, there are two motions made by Yun, which are stare and listen respectively, and the first motion mentioned is more important obviously and the latter is accompanied. In the translation, the translator made the second motion an accompany adverbial which accords with the original text.

===Conclusion===
From the above content, we know the importance of translating Chinese classics into English, and we also clearly understand that we will encounter many difficulties in translating excellent classical cultural works. However, we can still see from Lin Yutang's translation that this difficulty can be overcome. Lin Yutang is proficient in two languages and devoted his life to spreading Chinese culture to the West. In his translation process, he not only obeyed the principle of being faithful to the original text, but also expressed the unique charm and beauty of the original text. The beauty in translation is mainly expressed in meaning, sound and form. And in Lin Yutang’s translation of Six Records of a Floating Life, we can appreciate the profound meaning contained in the short words and sentences of classical Chinese.
This thesis is supposed to delve into Lin Yutang’s translation of Six Records of a Floating Life and pays much more attention to the sense, sound and form of the translation. Through the study, we may study more useful methods and strategies to translate Classical Chinese into English properly. What’ more, through the work, many more classic works can be spread to other countries and the charm and beauty of Chinese can also be shared by the rest people of the world.

===References===
*[1] Bassnett, Susan. Translation Studies (Third Edition) [M]. Shanghai: Shanghai Foreign Language Education Press, 2004.
*[2] Bassnett, Susan and Andre Lefevere. Translation, History and Culture [C]. London and New York: Pinter Publishers, 1990.
*[3] Kramsch, Clair. Language and Culture[M]. London: Oxford University Press, 1965.
*[4] Lefevere, Andre. Translation, Rewriting, and the Manipulation of Literary Fame [M]. London and New York: Routledge, 1992.
*[5] M. H. Bornstein. The Influence of Visual Perception on Culture [J]. American Anthologist, 1995, 77(4): 774-798.
*[6] Newmark, Peter. Approaches to Translation [M]. Oxford: Pergamon Press, 1981.
*[7] Chen Fulani 陈福康. 中国译学理论史稿（修订本） [M]. 上海：上海外语教育出版社，2000.
*[8] Dong Hui, Guan Kuilin董晖. 管窥林语堂翻译作品中的用词特色[J]，辽宁工学院学报(6)81-82, 2004.
*[9] Fan Xiaoyan范小燕.从目的论看林语堂《浮生六记》英译本中的“变译”现象，湖南师范大学，2007.
*[10] Han Zhihua 韩志华.林语堂英译《浮生六记》的审美再现[D].河北师范大学，2007.3.
*[11] Liu Miqing 刘宓庆. 新编当代翻译理论[M]. 北京：中国对外翻译出版公司，2005.

==英语笔译黄琼 Huang Qiong 202170081571 CE==
<center>'''The Translation and Spread of Yu Hua's Works in Europe'''</center>

<center>黄琼 Huang Qiong</center>

===Abstract===
Yu Hua, a famous contemporary author in China, wrote a lot of novels such as ''To Live''《活着》, ''Cries in the Drizzle''《在细雨中呼喊》, and ''Chronicle of a Blood Merchant''《许三观卖血记》. He is one of the pioneers of Chinese avant-garde literature in the new period. As a contemporary Chinese writer, this paper will explore the translation and dissemination of Yu Hua’s works（''Brothers'' as an example） in Europe with an emphasis on France and Germany. This case is to provide some experience for the dissemination of Chinese contemporary literature, so as to expand the influence of Chinese literature.

===Key words===
Yu Hua, ''Brothers'', Chinese contemporary literature, translation.

===Introduction of Yu Hua and His works===
Yu Hua is a famous writer in contemporary China. When describing his novels, Chinese readers often use words like "misery" and "sadness", saying that he left the pain to the readers. In recent days, he has given a number of interviews, including detailed interviews with several Up （Up is short for "upload", a content sharer on the video website Bilibili which is a well-known video bullet screen website in China and is very popular among young people.）on Bilibili's knowledge section, in which Yu presents a humorous image to readers. Previously, ''To Live'' was adapted by the famous Chinese director Zhang Yimou, starring Ge You and Gong Li. In 1994, the film won the Grand Jury Prize and the Best Actor Award at the 47th Cannes International Film Festival, and the novel ''To Live'' also became very famous in China. In his interviews, he is humorous. He is nothing like his novels that has a sense of sadness. Many of his funny stories are circulating on the Chinese Internet. For example, when he worked as a dentist for several years, he saw the people in the county cultural center do nothing but roam the street every day. He thought this job was very good, so he wrote a novel and published it, and then entered the cultural center to work. Humor seems to be the latest impression of Yu Hua.

Yu Hua's novels have been bestsellers. ''To Live'' （《活着》）has been popular for nearly 20 years since its publication. From 1992 to 2020, the sales volume exceeded 20 million, creating a new record in the contemporary Chinese literary field. Yu Hua's new book, ''Wen Cheng''(《文城》), has already printed 1 million copies in just three months（Li Chunyu 2021, 143）Openbook is a professional commercial organization providing consulting, research, and survey services for the book industry, and also the founder of the continuous tracking and monitoring system for the retail data of the Chinese book market. According to the China Book Retail Market Report 2021 released by the institute, Yu Hua’s new book ''Wen Cheng'' ranked 10th on the 2021 fiction list and first on the new fiction list, apparently thanks to Yu Hua’s status among Chinese writers. ''To Live'' was the seventh best-selling book. In 2020, ''To Live'' was the fourth best-selling fiction series, and in 2019, ''To Live'' was the no. 1 fiction series, which also topped the overall list for a second year. ''To Live'' topped the list for 11 consecutive months from March 2018 to January 2019, and also topped the list for nine months in 2019. Among the sales reports in recent years, only Lu Yao’s ''Ordinary World'' in the serious literature category ranked fourth on the fiction list in 2019. On top of that, ''To Live'' has been published for more than 20 years and has been on the bestseller list every year, which is not easy.

Yu Hua has many readers. According to Douban, a Goodreads-like website, ''To Live'' has received more than 690,000 comments, with a score of 9.4 points. ''Brothers'' has more than 50,000 reviews. ''A Dream of Red Mansions''(《红楼梦》), one of China’s four most famous novels, received only 370,000 comments, while the ''Three-Body Problem'' (《三体》), a popular science fiction novel, received 400,000 comments. Compared with other contemporary writers' books of China, ''Frog'' (《蛙》)by Mo Yan, China's first Nobel Laureate in literature, received only 20,000 comments, while ''Life and Death are Wearing Me Out'' (《生死疲劳》)received only 18,000. Lu Yao’s novel ''Ordinary World'' has received more than 60,000 comments. All the above data show that Yu Hua is a very famous writer in contemporary China, and his appeal to readers is also very strong.

Yu Hua is also famous abroad. Wu Yiqin, president of Writer publishing House(作家出版社), commented that Yu Hua was the first contemporary Chinese writer who really "went out" in the sense of literary noumenon. In a sense, he corrected the bias that the Western world was usually keen on "reading China" rather than "reading literature" when facing Chinese literary works. He has received many foreign awards, including the James Joyce Award, and France's Prix Courrier International. In 1998, ''To Live'' won the highest prize in Italian literature — The Grinzane Cavour. The earliest foreign language translation of Yu Hua's novel is the 1992 German translation ''To Live''. However, it is more suitable to regard 1994 as the first year of the full spread of Yu Hua's novels, because in this year, his representative work ''To Live'' was translated into many languages and published separately, and his works were widely translated and introduced to other countries successively. For example, ''To Live'' was published by Hachette Publishing Company in France, published by De Geus in the Netherlands; Livani in Greece also published ''To Live'' (Liu Jiangkai 2014, 134).

Yu Hua is a prolific writer. Shortly after his debut as a fiction writer in 1983, his first breakthrough came in 1987, when he released the short story ''On the Road at Age Eighteen''（《十八岁出门远行》）. In 1990, his first novel, ''Cries in the Drizzle'' （《在细雨中呼喊》）, was published. In 1992, ''To Live'' was published. In 1995, the full-length novel ''Chronicle of a Blood Merchant'' （《许三观卖血记》）was completed. From 2005 to 2006, two parts of ''Brothers'' （《兄弟》）were published successively. In 2013, the full-length novel ''The Seventh Day'' （《第七天》）was published. Yu Hua has written five novels, six collections of stories, and three collections of essays. His novels have been translated into English, Spanish, Portuguese, French, German, Russian, Italian, Dutch, Czech, Polish, Romanian, Swedish, Hungarian, Korean, Mongolian Malayalam, and Danish.

===Literature Review===
1. Domestic Literature Review of the Translation Research of Yu Hua’s Works in Europe

As a famous contemporary writer in China, Yu Hua has been studied very extensively in the Chinese academic circles and achieved very fruitful results. Using “Yu Hua” as the keyword to search articles in the Chinese National Knowledge Infrastructure （CNKI 中国知网）, a total of 6679 articles were found. Using “Yu Hua overseas dissemination” as the keyword to search, 287 articles were found. Using “Yu Hua translation” as the keyword to search, 112 articles were found. Mo Yan, China’s first Nobel Prize winner in literature, is about 2-4 times more popular than Yu Hua.

Liu Jiangkai’s article The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance（当代文学诧异“风景”的美学统一:余华的海外接受） systematically introduces the translation situation of Yu Hua’s works in various countries, arranges the literature review of Yu Hua at home and abroad, and discusses the differences between the domestic and foreign comments on ''Brothers''. Hang Ling, Xu Jun’s article Different Interpretations and Acceptance of Yu Hua’s ''Brothers'' in The Context of French Culture（《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介）. The translation and reception of the Brothers in France are analyzed. Another article by Hang Ling, Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media（《法兰西语境下对余华的阐释——从汉学界到主流媒体. 小说评论》）, analyzes the views of mainstream media and academic circles in France on Yu Hua. Sun Guoliang and Li Bin’s article Overview of Research on the Translation and Translation of Modern and Contemporary Chinese Literature in Germany（《中国现当代文学在德国的译介研究概述》）, made quantitative statistics and qualitative analysis on the translation of contemporary Chinese literature in Germany by referring to some data and the journal materials collected by the authors during their visiting study. His other article on Germany, A Study of Yu Hu’s Translation and Acceptance in Germany, focuses on Yu Hua（《余华在德国的译介与接受研究》）. Chen Daliang and Xu Duo’s article The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media（《英国主流媒体对当代中国文学的评价与接受》） is based on the first-hand reports on contemporary Chinese writers and works by British mainstream media, and tried to answer several questions from four aspects: basic situation, evaluation emphasis, problems, and reflections. As for the situation in Spain, the Netherlands, Italy, Norway, and other European countries, most researchers only regard Yu Hua as a part of contemporary Chinese writers and do not have a deep study of Yu Hua’s works.

2. Foreign Literature Review

There are many foreign scholars who are interested in Yu Hua and did much research about him. Chen Jian Guo’s Violence: The Politics and the Aesthetic: Toward a Reading of Yu Hua in the American Journal of Chinese Studies explores that our life is surrounded by a world capable of what Dostoyevsky called the “variety of sensations” for vicious violence. Deirdre Sabina Knight publishes the article Capitalist and Enlightenment values in 1990s Chinese fiction: The case of Yu Hua’s Blood Seller. Through interpreting the social, economic, and moral foundations of selfhood and autonomy in Yu Hua’s novel, the author thinks that analysis of the uses of self-ownership diminishes its attractiveness as a primary value in favor of values less complicit with capitalist principles. Wedell-Wedellsborg, Anne’s Multiple Temporalities in the Literary Identity Space of Post-Socialist China: A Discussion of Yu Hua’s Novel Brothers and its Reception. The acceptance of Brothers in various countries was discussed. Overseas scholars Yang Xiaobin also wrote many papers on Yu Hua. The above are overseas scholars who focus on Yu Hua, and their research ideas can be roughly divided into works, themes, and comparative studies. It involves Yu Hua’s long, medium and short works.

===The Translation and Spread of Yu Hua’s Works in Europe===

On the whole, the influence of Chinese contemporary literature in world literature is low. Compared with the fellow Asian countries like Japan, there are huge differences. For example, Japanese writer Haruki Murakami's English translation of ''Norwegian wood'' (《挪威的森林》) on the Amazon has more than 6500 comments. By comparison, China's first Nobel Prize winner, Mo Yan's ''Frog'' (《蛙》) just has more than one hundred comments. The Nobel Prize in Literature only promoted Mo Yan's overseas acceptance and did little to change the overall situation of contemporary Chinese literature. The whole overseas dissemination of Chinese contemporary literature is in a marginal position. However, although the overall situation of Chinese literature is not optimistic, there are a few contemporary Chinese writers, such as Yu Hua, Wei Hui, and so on, whose influence is expanding abroad. Due to a large number of Yu Hua's works and limited space, this paper focuses on the analysis of the translation and reception of Brothers in Germany and France. For ''Brothers'' alone, there are many languages and a large number of translations. ''Brothers'' was short-listed for the Man Asian Literary Prize, and a winner of France's Prix Courrier International. It is an epic and wildly unhinged black comedy of modern Chinese society running amok. With sly and biting humor, combined with an insightful and compassionate eye for the lives of ordinary people, Yu Hua reappears the history, showing his criticism of the power in the 1960s and 1970s, and his concern about the lack of spiritual life in the people in the early stage of Reform and Opening-up and some human concern.

1. France

France is the country that publishes the largest number of contemporary Chinese literature, surpassing the number of English translations. Compared with other countries, France has a broad market prospect. As a major country of Sinology, France has always paid close attention to the development of Chinese contemporary literature and actively translated Chinese contemporary literature. The French version of ''Brothers'' was published in 2008, whose translators are Angel Pino and Isabelle Rabut by the famous publishing house Actes Sud. Isabelle Rabut translated many of his books. She is a professor in the Department of Chinese literature at the National Institute of Oriental Languages and Cultures in France, specializing in the study of modern and contemporary Chinese literature. She is also one of the most active translators of modern and contemporary Chinese literature in France, as well as a member of Actes Sud's "Chinese Literature" section as chief editor. After ''Brothers'' was published, she made the first contact to acquire the rights, and with her husband, Sinologist Angel Pino spent a year translating the novel. ''Brothers'' is Yu Hua's seventh book published in France. It set off a wave of enthusiasm in France, and some important media, such as Le Monde, Liberation, and so on, devoted rare space to promoting a foreign writer and a foreign novel to the French-speaking world and generated 50-60 comments.[ For detailed information in 王侃,蔡丽娟,朱志红.《兄弟》在法语世界——法语书评翻译小辑.] Many newspapers praised the novel for its complete portrayal of complex contemporary China, but that was not the case at home, where it received mixed reviews. Most of the criticism in China was that this novel was too vulgar. For example, the novel begins with li Guangtou(李光头), the main character, peeking at a woman's arse while going to the toilet. It is also worth discussing why there is such a wide gap between domestic and foreign opinions in the book.

Sales of Yu Hua's books in France did not start well. According to Eva Chanet, far East literature editor of Actes Sud, sales of Yu Hua's works were limited in the early days, with only 500 to 900 copies sold. (Eva Chanet mentioned this figure in a lecture given in January 2011 at the International Centre for Literary Translators in Arles, southern France.) But they did not give up on Yu Hua and looked at the long-term benefits, so Yu Hua gradually built his reputation in France. In 2008, with the publication of the French translation of ''Brothers'', Yu Hua began to receive intensive attention from the French mainstream media. Up to now, it has sold more than 50,000 copies, far surpassing Yu Hua’s previous works. The hardback edition of ''Brothers'' has more than 700 pages and has been printed more than a dozen times. The previous bestselling book in France, ''Chronicle of a Blood Merchant'' sold only a few thousand copies(Ji & Zhou 2015, 39 ). There are some comments on Amazon. "An exceptional book.(Un livre exceptionnel.)" "It works well. The 700 pages form a "beautiful" history of the history of contemporary China.( ça marche bien, les 700 pages défilent et forment une “belle” histoire de l'histoire de la chine contemporaine. )." The ratings are mostly four to five stars. Modern and contemporary Chinese literature works have a place in France, but it is far from rising to mainstream literature. Even in the translation literature, British and American literature still attracts more attention. Therefore, Chinese contemporary literature still has a lot to go.

2. Germany

According to statistics from Bochum University, about 900 works of Chinese literature were translated into German between 1827 and 1995. Most of them were published in the 1920s and 1980s, with 40 translated into German in 1987 alone (Ulrich Kautz 2005, 8). In 2012, the publishing house Fischer Taschenbuch released the German version of ''Brothers''. The translator is Ulrich Kautz, winner of the "Special Contribution Award of Chinese Books" and a famous German translator. He has translated Yu Hua's ''To Live'', ''Chronicle of a Blood Merchant''(《许三观卖血记》), ''Brothers'', ''China in Ten Words''（《十个词汇里的中国》）, ''The Seventh Day''（《第七天》）, and ''Cries in the Drizzle''（《在细雨中呼喊》）, all of which are of high quality. In addition, five of Yu Hua's short stories have been translated into German by Hefte fur Ostasiatische Literatur and other famous German sinologists.

According to Yu Hua himself, in his own book ''To Live'' is the most popular novel in the United States, Spain, and Italy, while ''Brothers'' is the most popular novel in France and Germany. ''Brothers'' sold more than 27,000 copies between 2009 and 2015. Yu Hua's ''China in Ten Words'' sold about 7,000 copies. On Goodreads, there are German comments. "Brilliant book. A different world, and it's very well written." (Geniales Buch. Eine andere Welt und so toll geschrieben. ) On Amazon, the rating is 4.4. "The development of this fictitious city is followed in this novel over a period of several decades, which opens up interesting insights into the development of Chinese society for us."(Die Entwicklung dieser fiktiven Stadt wird in diesem Roman über einen Zeitraum von mehreren Jahrzehnten verfolgt, was durchaus interessante Einblicke auch für uns in die Entwicklung der chinesischen Gesellschaft eröffnet.)

2009 is a milestone year for the translation and dissemination of Chinese literature in German. For the first time, China participated in the Frankfurt Book Fair as the guest of honor, the largest and most influential in the world. Tie Ning, Su Tong, A Lai, and other famous Chinese writers visited the Frankfurt Book Fair and had in-depth exchanges with the world publishing industry. It is hoped that China will participate more in these book fairs in the future, strengthen national cooperation and exchanges, and spread Chinese classic literature.

3. Other Countries

The following table shows some of the translations of ''Brothers'' in European countries(except England). From the table ''Brothers'' have a lot of translation versions. Spain, Italy, Norway, Denmark, and so on have translated the book. There is no special study of Yu Hua's articles in other European countries except in Britain, Germany, and France. In 2017, the Italian press Feltrinelli Editore published the Italian version. The translator is Silvia Pozzi. However, Mo Yan, Yu Hua, and Su Tong, among the most well-known Chinese writers, have sold less than 10,000 copies in Italy. Spain's Seix Barral publishing house mainly promotes Yu Hua's works and released ''Brothers'' in 2009.

The dissemination of Yu Hua's works mainly follows two basic laws. One is the well-developed economy and culture. For example, the countries in Europe have relatively developed economic levels and cultural traditions, and rich spiritual life of their people. The other is the historical and cultural connection, which is highlighted by the spread of Asian countries such as Japan, South Korea, and Vietnam, which have a close cultural origin with China and form a common cultural circle (Liu Jiangkai 2014, 135).

[[File:hdhd jzjzj.jpg]]

===The Opinions about the Dissemination of Chinese Contemporary Literature ===
Some suggestions are summarized from Yu Hua’s overseas dissemination to help Chinese contemporary literature to the world.

1. Excellent Translator and Publisher

Generally speaking, many well-known Chinese writers have a regular translator in each different language. Finding a suitable and stable translator is very important for the overseas dissemination of writers. So much the better if the translator is influential, for example, Howard Goldblatt to Mo Yan, Ken Liu to the ''Three-body Problem''. As for Yu Hua, Ulrich Kautz became the official translator of the German version of Yu Hua's works. Wolf Baus speaks highly of the quality of the translation: "His fidelity to the drama of the original, his ability to control the tone with the confidence of an ordinary citizen, and his amazing hues, make the book irresistible thanks to the translator's intelligence, simplicity, and openness."(Wolf Baus 2000, 164) Newspapers in the French-speaking world also praised Angel Pino and Isabelle Rabut. "The image of the novel is fully reflected in the French translation. Thanks to the erudition of these two translators, they can accurately and easily restore the original novel in the real Chinese context."（Le temps 2008）They have a solid foundation in the Chinese language and good literary quality. Meanwhile, they have a relatively comprehensive and in-depth understanding of Yu Hua and hold an attitude of recognition and appreciation of Yu Hua's works, which lays a foundation for their excellent translation. With a regular translator, the communication between the author and the translator will be smoother.

The press also played a great role in the dissemination of Chinese contemporary literature. Since 2000, Yu Hua's works have changed from multiple presses to regular press in Actes Sud. The translation of Yu Hua's works has gone from disorganized to systematic. With the continuous efforts of this publishing house, Yu Hua has become one of the most translated Chinese writers in France. The long-term and stable cooperation with Actes Sud laid a good foundation for the establishment of Yu Hua's literary image in France. Seix Barral in Spain attaches great importance to the translation and introduction of Chinese literature and has formulated a long-term and systematic publishing plan for Chinese literature. The Spanish edition of ''Brothers'' was published by their press. In 2014, Wuzhou Media Publishing House cooperated with Planet Publishing House, the largest publishing house in Spain, to translate and publish Mai Jia's work ''Decode'' (《解密》). With large-scale publicity, this work set a record for the first release of modern and contemporary Chinese literary works with 30,000 copies（Lan Bo 2020, 45）. An excellent publishing house with reliable marketing ability and strong financial support can play a positive role in the dissemination of the translation. The combination of Chinese and foreign publishing houses is conducive to the mutual promotion of writers of the two countries and the further integration of foreign literature and domestic literature.

2. Film Adaptation

Mo Yan, Su Tong, and Yu Hua have all received film adaptations by Zhang Yimou. Zhang Yimou's 1991 film ''Raise the Red Lantern'' （《大红灯笼高高挂》）, based on Su Tong's novel ''Wives and Concubines'' （《妻妾成群》）, won the Silver Lion at the 48th Venice Film Festival and in 1992 was nominated for Academy Award for Best Foreign Language Film. ''To Live'' was adapted into a film by director Zhang Yimou, which won the Grand Jury Prize at Cannes in 1994. In 1988, ''Red Sorghum'' （《红高粱》）, adapted by Zhang Yimou, won the Golden Bear at the West Berlin Film Festival, attracting the world’s attention to Chinese films and greatly promoting novel translation. Undeniably, the adaptation of the novel into a film by the internationally renowned director Zhang Yimou does contribute to the spread of the novel. After all, Chinese literature is still read by a small number of people outside China, mostly scholars. And movies have opened up a certain market. "''To Live'' was not popular before the film adaptation, and many foreign versions of ''To Live'' had Gong li's picture on the cover," Yu said in an interview. This shows that the film adaptation did have a certain impact on overseas acceptance, which reduces the publishing house to the reader acceptance and market sales concerns.

3. Literary Features of the Novel

As mentioned earlier in the article, ''Brothers'' were generally well-received abroad but received mixed reviews in China. Some people think the content is vulgar, shallow, and in bad taste. Yu Hua wrote dirty and cruel things and is lack humanistic care and critical awareness. It holds that the bestselling of ''Brothers'' lies in the fact that ''Brothers'' buttons the secret code in the hearts of the masses and conforms to the emotional trend and reading habits of the masses. It is believed that the attitude of ''Brothers'' towards world history and the changes of the times does follow the trend, losing the value of judgment or the pursuit of meaning to the world (Wang & Zhu 2009, 13). There are also many praises. The dirt, cruelty, and vulgarity criticized by people contain very rich social content, reflecting Yu Hua's strong critical edge.

Some scholars attribute the success of ''Brothers'' in France to its Rabelaisian approach. Since Rabelais's indulgence and vulgarity is a paradigm already existing in the French literary tradition, many French critics will spontaneously associate ''Brothers'' with Gargantua and Pantagruel, thus forming a kind of identification with them （Hang Ling 2010, 136 ）. Some works that conform to the mainstream aesthetic standards of China are often considered to have a tendency to serve ideology in the perspective of French culture, which arouses the aversion of readers and media and leads to low acceptability. Cheng Baoyi, a Chinese scholar, said when talking about the differences between Chinese and Western literature and cultural concepts, "Westerners pay attention to imperfections, breakthroughs, and the existence of evil. They always believe that the relationship between man and nature is not so harmonious and complicated, and they do not hesitate to reveal the cruelty of the human world... This is caused by the different philosophical pursuits and aesthetic standards of the East and the West."(Qian Linsen 2000, 9) Although the story of Yu Hua takes place in the special historical background of China, it can show the beauty and tragedy of life, which can be shared by anyone. Therefore, how literary works grasp the present, reflect the spirit of times, the author how to transcend time and space to let foreign readers feel the life of Chinese people, or let them experience the common situation of human beings in the process of globalization, is an important prerequisite for the success of contemporary Chinese literary works going abroad. But that doesn't mean catering to other people's tastes. On the other hand, if writers excessively consider western readers' expectations of Chinese novels, they are likely to lose their "Chinese characteristics", which will lead to failure (Ulrich Kautz 2015, 9).

===Conclusion===
It is undeniable that when Chinese literature goes abroad, there is an obvious phenomenon that foreign countries pay too much attention to political issues. Yu Hua often answers questions about the censorship of China when he attends lectures and recitals abroad, although he has responded to this question. Objectively speaking, some western publishers, media, and even scholars still have an impression of Chinese literature as the stagnant closed countryside, political persecution, or twisted sex. The political misreading of Yu Hua's works in the process of translation and acceptance is an unavoidable topic. Only by treating Chinese literature as literature, not curiosity, and giving respect to Chinese literature, can we discover its real value beyond the superficial surface(Sun & Li 2021, 152）.

Through the study of the overseas reception of Yu Hua's works, it can not only better reflect on his creation and canonization process, but also observe the achievements and problems of contemporary Chinese literature in a broader world literature context（Liu Jiangkai 2014, 134）. "Chinese writers like me have limited influence even though some of our works have won awards and been published abroad," Yu said modestly. "Literary influence is a slow process. Because of that, its influence reaches across time and space." "It will take time," he said of how Chinese writers approach the world. French newspaper ''Liberation'' praised Yu Hua "The author of Brothers has a remarkable talent. He looks at the world with a caring eye. When we read his work, our emotions change from sneer to tears, from comical to tragic, from barbaric to global." There is no shortage of good works in Chinese literature, and there are many talented authors in China. It hopes that more and more excellent writers can go out and let the people of the world read Chinese works and feel the excellent Chinese literature.

===References===
*Chen Daling & Xu Duo 陈大亮 & 许多.(2018).英国主流媒体对当代中国文学的评价与接受[The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media]. ''小说评论'' Novel Review(04),153-161.
*Hang Ling & Xu Jun 杭零 & 许钧.(2010).《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介[Different Interpretations and Acceptance of Yu Hua’s Brothers in The Context of French Culture]. ''文艺争鸣'' Literature and Art Forum (07),131-137.
*Hang Ling 杭零.(2013).法兰西语境下对余华的阐释——从汉学界到主流媒体[Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media]. ''小说评论'' Novel Review(05),67-74.
*Ulrich Kautz 高立希.(2015).我的三十年——怎样从事中国当代小说的德译[My thirty years of translating contemporary Chinese novels and my relevant observations]. ''外语教学理论与实践'' Foreign Language Teaching | Fore Lang Teach(01),8-11+94.
*Ji Jin & Zhou Chunxia 季进 & 周春霞.(2015).中国当代文学在法国——何碧玉、安必诺教授访谈录[Contemporary Chinese Literature in France -- Interview with Professors Isabelle Rabut and Angel Pino]. ''南方文坛'' Southern Cultural Forum(06):37-43.
*Lan Bo 蓝博.(2020).中国现当代文学在西班牙的译介研究[A Study on the Translation and Introduction of Modern and Contemporary Chinese Literature in Spain]. ''对外传播'' International Communications(12),43-47.
*Li Chunyu 李春雨.(2021).《文城》：余华对“人”的又一次叩问[Wen Cheng: Yu Hua Once Again Asks about People]. ''文艺争鸣''Literature and Art Forum (12),142-147.
*Liu Jiangkai 刘江凯.(2014).当代文学诧异“风景”的美学统一:余华的海外接受[The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance].''当代作家评论'' Review of Contemporary Writers(06),134-145.
*Qian Linsen 钱林森.(2000).中西方哲学命运的历史遇合——法籍华人学者、作家程抱一访谈[A Historical Meeting of the Destinies of Chinese and Western philosophy -- Interview with Mr.Francois Cheng, French Chinese scholar, and writer]. ''文艺争鸣'' Literature and Art Forum,102-109.
*Sun Guoliang & Li Bin 孙国亮 & 李斌.(2021).余华在德国的译介与接受研究[A Study of Yu Hu’s Translation and Acceptance in Germany]. ''小说评论'' Novel Review(04),147-156.
*Wang Liqian & Qian Hang 王立倩 & 钱航.(2020).余华小说海外传播特征研究[A Study on the Overseas Dissemination Characteristics of Yu Hua's Novels]. (eds.)''2020年社会发展论坛（西安）论文集'' Proceedings of 2020 Social Development Forum (Xi 'an) 128-136.
*Wang Kna & Cai Lijuan 王侃,蔡丽娟 & 朱志红.(2009).《兄弟》在法语世界——法语书评翻译小辑[''Brothers'' in the French-speaking world -- French Book Review Translation miniseries]. ''文艺争鸣'' Literature and Art Forum(02),117-122.
*Wang Shouli & Zhu Qiong 王首历 & 竺琼.(2009).纷扰的《兄弟》与暧昧的余华——2007年余华研究述评[Confused Brothers and Ambiguous Yu Hua: Review on Studies on Yu Hua in 2007]. ''浙江师范大学学报(社会科学版)'' Journal of Zhejiang Normal University (Social Science Edition)(02),13-19.
*Yu Hua 余华：必须忘掉以前的小说才可能写出新的小说[必须忘掉以前的小说才可能写出新的小说]_Retrived June 6th 2022 from 中国作家网 (chinawriter.com.cn)
*Yang Ping 杨平.(2019).余华作品在欧美的传播及汉学家白亚仁的翻译目标[The Dissemination of Yu Hua's Works in the West and Allan H.Barr's Translation Goals]. ''翻译研究与教学'' Translation studies and Teaching(01),49-59.
*Baus, Wolf (2000). Yu Hua-Der Mann，der sein Blut verkaufte，in：Hefte für ostasiatische Literatur，Heft 29. München：Iudicium Verlag，S. 164

==英语笔译邝雨琪 Kuang Yuqi 202170081572 MW==
<center>'''A Study on C-E Translation of the Mao Zedong's Poetry from the Perspective of Eco-translatology '''</center>

<center>邝雨琪Kuang Yuqi</center>

===Abstract===
Based on eco-translatology theory, this thesis analyzes the translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”, namely, the transformation at linguistic dimension, cultural dimension and communicative dimension. Mao Zedong's poetry holds an important place in the history of Chinese literature. The appropriate English translation of Mao Zedong's poems is of great significance for promoting Chinese culture. This thesis will take Xu Yuanchong's translation of Mao Zedong's poems as an example to study the application of eco-translatology in the translation of Mao Zedong's poems. It aims to provide a new perspective for the study of the English translation of Mao Zedong's poetry and demonstrate the feasibility of the guidance of ecological translation, which has guiding significance to translation discipline construction, translation studies and translation practice.
===Key words===
Eco- translatology; Mao Zedong's Poetry; Xu Yuanchong's Translation
===Introduction===
With the increasingly intimate exchanges between countries, the globalization is more and more irreversible. In this condition, translation becomes increasingly important. There are also more and more interdisciplinary studies on translation. In 2001, the notion of eco-translatology was firstly put forward by Chinese scholar Hu Gengshen, which provided a brand new angle for translation studies and pushed interdisciplinary research of translation studies to a new stage.

In addition to Tang and Song poetry, Mao Zedong’s poetry also occupies a very important position in the history of literature. This thesis intends to provide a new perspective for the study of the English translation of Mao Zedong's poetry and apply the translation theory to the translation of other texts, so as to make the English translation of Chinese literature more perfect and understandable.

The thesis consists of five parts. After the introduction, Chapter One is the theoretical framework, which covers the origin of eco-translatology theory and some core concepts of ecological translation including “the translator’s subjectivity”, “selection and adaptation”, “ecological environment of translation”. Then it introduces the "three-dimensional transformation" principle which is mainly used in this thesis. Chapter Two focuses on the general review of Mao Zedong's Poetry and its C-E translation in Xu Yuanchong's version. It will introduces the two main characteristics of Mao Zedong's poems, that is, heroic style and abundant allusions. Then it looks into its translation strategies used in the C-E translation of Mao Zedong's Poetry, including domestication and free translation. Chapter three analyzes the application of eco-translatology in Xu Yuanchong's translation, and explores the translation of Mao Zedong's poetry from the linguistic dimension, cultural dimension and communicative dimension. Then comes to the last part, the conclusion. The last part serves as a summary, and points out some limitations of this thesis.
===Literature Review===
Scholars at home and abroad have done a lot of research on the English translation of Mao Zedong's poetry. From the 1950s, Russia, the United States, France, Italy and other European and American countries officially began publishing the translation of Mao Zedong's Poetry（李正栓，陶沙，2009）. Foreign scholars mainly focus on the translation of Mao Zedong's poems itself. The studies done by domestic scholars are mainly divided into three categories：introducing and commenting on the versions of Mao Zedong's poetry translation; studying Mao Zedong's poetry translation from different translation theories; comparing different translation versions of Mao Zedong's poems. Although some scholars have studied the translation of Mao Zedong's poetry from the perspective of eco-translatology, there are many viewpoints on this theory, and few analyze it from the “three-dimensional transformation” principles.
===Methods and Theories===
This thesis studies the translation of Mao Zedong's poems from the perspective of eco-translatology, and the application of “three-dimensional transformation” theory in it. Besides, Xu Yuanchong's translation of Mao Zedong's poetry is mainly used as an example, because of its high quality and complete quantity.
===I A Brief Introduction to the Eco-translatology Theory===
Eco-translatology theory is a translation method. Before going to the analysis of the C-E Translation of Mao Zedong’s Poetry from the perspective of eco-translatology, meaning and methods of eco-translatology theory are discussed first.

1.1The Eco-translatology Theory

Eco-translatology is a systematic and complete translation theory. This section will briefly introduce its original, meaning and its main viewpoints.

1.1.1The Origin of Eco-translatology Theory

Based on Darwin's biological evolutionism, that is, survival of the fittest, Hu Gengsheng put forward the theory of eco-translatology, the most important part of which is the theory of adaptation and selection. “ ‘Adaptation’ and ‘Selection’ is the basic mechanism to adjust human behavior”(Lopreato& Crippen 1999:85). Liu Aihua(刘爱华) argued that “the core content of Darwin's theory of natural selection is that ‘the most basic rule of adaptation of organisms to the ecological environment is survival of the fittest’”(Liu Aihua, 2010, translated by the author). While adapting to the natural environment, organisms will also be restricted by the natural environment. If apply this basic principle to translation studies, it is surprisingly to find that the same is true for the translators. The translators and the translation should adapt to the translation ecological environment and be restricted by it.

Eco-translatology was put forward by Professor Hu Gengshen in the 21st century. It is an interdisciplinary study of eco-translation, text ecology and "translation community" ecology and their interaction and relationship. Eco translation pays attention to the integrity of translation ecosystem. From the perspective of eco translatology, it gives a new description and explanation of the criteria, procedures, methods and principles of translation. Professor Hu's eco-translatology means that all elements of translation, including the original text, the source language and the target language, should be coordinated to achieve a dynamic ecological balance and form a harmonious and unified eco translation environment. Therefore, the translators should consider the connection and influence of all factors, adapt and make the best choice in the whole process of translation, and finally produce an ideal translation.

1.1.2 The Main Viewpoints of the Eco-translatology theory

There are some main viewpoints on eco-translatology. The first is Translator- centeredness. Eco-translatology thinks highly of the translator-centeredness, and regards it as a positive factor. Cha mingjian(查明建)defined the translator's subjectivity as “the translator, on the premise of respecting the object of translation, expresses his subjective initiative in translation activities in order to achieve the purpose of translation. Its basic characteristics are conscious cultural consciousness, humanistic character and creativity of cultural aesthetics”(Cha Mingjian, 2003:22, translated by the author). Zhang Zhizhong(张智中) believes that “translation is an art of compromise, let alone the poetry translation. The translatability of poetry embodies the translator's subjectivity and creativity”(Zhang Zhizhong, 2015, translated by the author).

Besides, the other major viewpoint is “translation as adaptation and selection”. “Adaptation” and “Selection” are the most important words through the eco- translatology. On the one hand, from the perspective of humanities, translation is also a human behavior, so the translator need to make lots of adaptations and selections in the process of translation in order to choose the suitable translation. On the other hand, from a macro view, there must be some similarities between the natural law of “seeking survival and merit” and translation activities.

According to eco-translatology, translation is the translator's adaptation and choice to the ecological environment. Ecological environment includes all the factors related to translation. The nature and process of ecology not only provide new interpretation for translation, but also provide new principles, methods and criteria for translation. Eco-translatology has its own translation principles, such as: text ecology; multidimensional integration; symbiosis; translator's responsibility. However, the essence of eco-translatology principle is “multi-dimensional adaptation and adaptive selection”.

Then is the “three-dimension transformation” principal that most people analyzed in this theory.

1.2Eco-translation Method: Three-dimension Transformation

The main translation principle in eco-translatology is three-dimensional transformation. It includes the transformation at linguistic dimension, cultural dimension and communicative dimension. The translation criterion derived from eco translatology is the adaptability of the three dimensions of language, culture and communication. In other words, translators should do themselves justice in translation, fulfill their subjective initiative, and comprehensively consider the balanced transformation of "three dimensions", so as to ensure that the translation can conform to the target language environment and be understood by the target readers.

1.2.1Linguistic Dimension

Hu Gengshen(胡庚申) explained that “the ‘adaptive transformation from the linguistic dimension’ refers to the translator's adaptive choice transformation of language form in the process of translation. This transformation takes place in different stages, levels and aspects of the translation process”(Hu Gengshen, 2011(2):8, translated by the author).

In poetry, language is very important. There are many kinds of Chinese poetry, and different kinds have different language requirements. Different genres express different emotions. And when change a word, the meaning and charm will be different. After all, poetry is very short, but it carries no less content and thoughts than a novel. Therefore, the language of poetry is required to have strong tension and cohesion. Besides, Chinese poetry is very particular about rhyme, rhythm is very important, because it will make people read catchy. Chinese poetry is quite distinct from foreign poetry, so in translation, language conversion and selection is very important.

1.2.2Cultural Dimension

Hu Gengshen(胡庚申) defined the“‘adaptive transformation from the cultural dimension’ as the translator's emphasis on the transmission and interpretation of bilingual cultural connotation in the process of translation”(Hu Gengshen, 2011(2):8, translated by the author). The translator needs to take note of the differences of the bilingual culture, make full understand of the source culture so as to avoid misunderstanding. In the translation of poetry, this kind of cultural transformation is particularly important. Because Chinese culture is broad and profound, and there are many allusions and rhetorical devices in poetry, and the expression of poetry is diverse. When translate the poetry, there are lots of factors need to be considered, especially in cultural dimension, so it is particularly important to explain its cultural sense and deep meaning of poetry.

1.2.3 Communicative Dimension

Hu Gengshen(胡庚申) interpreted that the “ ‘adaptive transformation from the communicative dimension’ means that in the process of translation, translators pay attention to the adaptive choice of bilingual communicative intention. It requires the translator to focus on the communicative level and pay attention to whether the communicative intention in the original text is reflected in the target text”(Hu Gengshen, 2011(2):8, translated by the author).

Translation is not only the transformation of words, but also the transmission of ideas. The main purpose of translation is communication. The translator is like a bridge between two languages so that two different cultures can communicate freely. It can make us appreciate the excellent culture of other countries, and can also spread our excellent culture to the whole world.
===II General Review of C-E Translation of Mao Zedong’s Poetry===
This thesis mainly studies the translation of Mao Zedong poetry. First, it analyzes its characteristics of Mao Zedong's poetry; then taking Xu Yuanchong's translation as an example, it analyzes several translation strategies used in C-E translation of Mao Zedong’s poetry.

2.1 Characteristics of Mao Zedong's Poetry

In the long history of the Chinese nation, there are many splendid poetry works. Poetry of each dynasty has its own characteristics, and poetry of different eras is even more different. Mao Zedong had experienced a lot of turbulence at his time, and his poetry expresses various emotions due to the different creative backgrounds. This thesis mainly discusses its two characteristics: heroic style and abundant allusions.

2.1.1 Heroic Style

The most important characteristic of Mao Zedong's poems is the heroic style. Ancient and modern writers can be roughly divided into two categories, one is pure literati, the other is politicians. Pure literati's sentiment is better than reason, while statesman's reason is better than sentiment. The reason lies in the author’s thoughts. To write an article is to express one's own thoughts. Mao Zedong is a politician, and only politicians can sum up the laws of society and publicize their political opinions in turbulent times. This kind of writing is not written with pen, but the fruit of the author's social practice. They experience it, feel it, reflect on it, and finally turn it to an article. The article is only a part of his career, such as the tip of the iceberg.

Mao Zedong's heroism can be seen from his childhood. When he was 16 years old, he wrote a poem “To My Father”(《七绝·呈父亲》) as follows:

ST: 孩儿立志出乡关，学不成名誓不还。
埋骨何须桑梓地，人生无处不青山?

TT: Determined is the child to go out of his hometown,
And the pledges not to come back without studying to the fame.
A land of mulberry and Chinese catalpa is not necessary for burying bone,
And human life sees nowhere without green mountain.
(Translated by Zhang Chunhou)

From this poem, his lofty ambition and ideal was well expressed. He wanted to go out to study and armed himself with knowledge. There are many more such examples. It can be seen from these poems that Mao Zedong is very bold, optimistic and confident, and his poetry has a distinctly heroic style.

2.1.2 Abundant Allusions

Besides the heroic style, there is another distinguishing feature of Mao Zedong’s poems, that is abundant allusions. The traditional way of studying in our country is to inherit. As the leader of the party, he needed to use the new practice to annotate the old familiar knowledge, which was what he often said about the Sinicization of Marxism. There are 19 poems about history in Mao Zedong's poems. And in his poems, there are many characters from history, literature and legend. These characters have rich cultural connotations and are closely related to historical events. For example, in the poem “Tune :Spring in a Pleasure Garden-- Snow”

ST: 惜秦皇汉武，略输文采;
唐宗宋祖，稍逊风骚。
一代天骄，成吉思汗，只识弯弓射大雕。
《沁园春·雪》

TT: But alas! Qin Huang and Han Wu
In culture not well bred,
And Tang Zong and Song Zu
In letters not wide read.
And Genghis Khan, proud son of Heaven for a day,
Knew only shooting eagles by bending his bows.
(Xu Yuanchong, 2015:36.3-8)

Here, Mao Zedong mentioned “秦皇汉武”, “唐宗宋祖”, “成吉思汗”, which were all great emperors in Chinese history. By describing them, Mao Zedong expressed his regret for these historical figures. Although they unified the country, they failed to stick to it. Through enumerating these historic images, Mao Zedong hoped that young people could manage China well.

These are the two main features of Mao Zedong's poems, which should be paid special attention to in translation. The following section will analyze several different translation strategies used in C-E translation of Mao Zedong’s poems taking Xu Yuanchong's translation as an example .

2.2 Strategies in C-E Translation of Mao Zedong’s Poems

In translation, different translation strategies should be used for better translation. Various translation strategies are also used in the translation of Mao Zedong's poems. Next, this section will focus on the domestication and free translation used in C-E translation of Mao Zedong’s poems.

2.2.1 Domesticating Translation

Domestication and foreignization are two main translation strategies. In the English translation of Mao Zedong's poems, domestication is mainly used. According to Venuti(2004),“domestication means bringing the foreign culture closer to the reader in the target culture, making the translated text recognizable and familiar”. Domestication is to localize the source language, take the target language or the target readers as the destination, and express the content of the original text in the way that the target readers are accustomed to.

In the poem “贺新郎·别友”, the translation of this title is “Tune: Congratulation to the Bridegroom - To Yang Kaihui”(Xu Yuanchong, 2015:4). In this sentence, the word “友” is not translated as friends, but as the name of Yang Kaihui. Mao Zedong wrote this poem in a more subtle way. Actually, he wrote the poem for his wife Yang Kaihui. But in the title, he wrote “to friends” instead of pointing out her name. However, here Xu Yuanchong translated it as “Yang Kaihui”, and made a detailed remark about her at the end of the poem, which made it better for readers to understand Mao Zedong’s melancholy and sorrow. It not only about the lingering love, but also about the unremitting commitment to the revolutionary cause. It vividly depicts the unique and rich emotional world of Young Mao Zedong.

Besides, the translation of mume blossom is also the embodiment of domestication. In Chinese culture, plum blossom is loved by scholars for its tenacity and bravery in the cold winter, but it doesn’t have such meaning in English. Therefore, when translating the title “卜算子·咏梅”，Xu Yuanchong translated it as “Ode to the Mume Blossom”(Xu Yuanchong, 2015:129) instead of “Mumeplant”.

2.2.2 Free Translation

Different from literal translation, free translation usually tries to express the original meaning, instead of restricted by the original pattern or figure of speech. Literal translation is to convey the content of the original text in strict accordance with the format of the original text, especially to retain the rhetoric and some special cultural expressions of the original text. However, each country has its own culture and way of expression. Therefore, sometimes when the expression or implied meaning of the original text is different from that of the target culture, it is easy to cause ambiguity. At this time, literal translation should not be used.

Free translation is based on the main idea of the original text. In the C-E translation of Mao’s poems, there are many examples of translation according to meaning rather than word by word. Take the poem “Capture of Nanjing by the People’s Liberation Army” as an example:

ST: 天若有情天亦老，人间正道是沧桑

TT: Heaven would have grown old if it were sentient;
The proper way on earth is full of ups and downs.
(Xu Yuanchong, 2015:81.3-4)

Here, the word “沧桑” didn’t translate into “vicissitudes”. Originally, it refers to the great changes in nature or the changeable world and the impermanence of life. However, in this sentence, this word is used to describe the hardships and twists on the road of revolution, so it was translated into “ups and downs”. Cultural information is complex and difficult to understand in depth in a short time, so free translation is adopted to make this kind of information not become an obstacle in reading.
===III Applications of Eco-translatology in C-E Translation of Mao Zedong’s Poetry===
From the Perspective of Eco-translatology, this thesis takes Xu Yuanchong's translation of Mao Zedong’s poems as an example. Xu Yuanchong is a famous and excellent translator. He has been engaged in literary translation for more than 60 years, mainly translating ancient Chinese poems into English, and has also translated Mao Zedong's poetry. There are many research perspectives in the theory of eco translation. This section mainly uses the three-dimensional transformation principle to analyze his translation.

3.1 Transformation at Linguistic Dimension

Translation begins with the transformation of language form. First of all, translators should follow the linguistic norms of the source language and the target language, and make adaptive choices at the lexical, syntactic and poetic levels. In order to achieve the dynamic balance of translation, the right vocabulary and the right language form should be chosen.

Therefore, the translation of words needs to be analyzed according to specific sentences. For example, in Mao Zedong's poems, the word "去" appears many times， but there are different translations of this word according to different sentences. For example,

ST: 黄鹤知何去？

TT: Where is the yellow crane in flight?
《菩萨蛮·黄鹤楼》
(Xu Yuanchong, 2015:11.7)

ST: 此行何去？

TT: Where are we hurrying?
《减字木兰花·广昌路上》
(Xu Yuanchong, 2015:31.1)

ST: 陶令不知何处去，桃花源里可耕田？

TT: Were the poet Tao still in the Peach-Blossom Village,
Would he not find the fertile land there good for tillage?
《七律·登庐山》
(Xu Yuanchong, 2015:112.7-8)

Obviously, the word “去” in the above poems has three different translations: “in flight”, “hurrying”. And in the third poem, the translator did not translate the word “去” in one word, but translated its meaning of the sentence.

Besides, many rhymes are used in Xu Yuanchong's translation, which is very rhyming and easy to read, for example:

ST: 屈子当年赋楚骚，手中握有杀人刀。
艾萧太盛椒兰少，一跃冲向万里涛。
《七绝·屈原》

TT: “Qu Yuan”
Qu Yuan had rhymed his griefs long, long ago;
He had no sword in hand to kill the foe.
Wild weeds o’ergrown, few sweet flowers could blow;
He plunged into endless waves to end his woe.
(Xu Yuanchong, 2015:217.1-4)

The original text is a kind of modern poetry with strict rules, named “七绝”. It has a fixed length and strict rhyme. In this poem, the last word in each line is rhymed. The second and fourth lines in quatrains must be endowed with the beauty of rhyme. In Xu Yuanchong’s translation, the last word of the second line “foe” and the last one of the fourth line “woe” is rhymed. Xu abides by the rhyme requirement of quatrains. He vividly remained the form of the original text, and successfully applied the adaptive transformation from the linguistic dimension.

3.2 Transformation at Cultural Dimension

Due to the cultural differences between English and Chinese, in order to avoid the target readers from misinterpreting the original text from their own cultural point of view, the translator should pay attention to the conversion of Chinese and English in the process of translation, as well as the transmission and interpretation of bilingual cultural connotation. So the utilization of the adaptive transformation from the cultural dimension is needed.

There are many allusions in Mao Zedong's poems, which should be handled well in translation, so that readers can understand the true meaning of Mao's poems. Take one of the poems as an example:

ST: 洒向人间都是怨，一枕黄粱再现。
红旗跃过汀江，直下龙岩上杭。
收拾金瓯一片，分田分地真忙。
《清平乐·蒋桂战争》

TT: “Tune: Pure Serene Music- The Warlords Fight”
Sowing on earth but grief and pain,
They dream of reigning but in vain.
O’er River Ting our red flags leap;
To Longyan and Shanghang we sweep.
A part of golden globe in hand,
We’re busy sharing out the land.
(Xu Yuanchong, 2015:20-21.3-8)

There are two allusions in this poem. The first is “一枕黄粱”, which refers to unattainable dreams. So the translation is “They dream of reigning but in vain”. And the another allusion is “金瓯”, which refers to the integrity of territory , but also to the territory only. Therefor, its translation is “golden globe”. Under these translations, readers can better understand the meaning of this poem.

Take another example in “Tune: Charm of a Maiden Singer- Mount Kunlun”

ST: 夏日消溶，江河横溢，人或为鱼鳖。

TT: When summer melts your snow
And rivers overflow,
For fish and turtles men would become food.
(Xu Yuanchong, 2015:68.6-8)

From the literal meaning of the original text “人或为鱼鳖”, it may mean that people will become fish and turtles. In fact, his real meaning is that people may be eaten by fish and turtles. From these two examples, transformation from the cultural dimension has been well used.

3.3 Transformation at Communicative Dimension

The adaptive transformation at communicative dimension requires the translator to pay attention to the communicative level and whether the original author's communicative intention is clearly expressed. It means that the translator attaches importance to the adaptive transformation of communicative intention in the translation process.

In translating poetry, it is more important to show and convey the spirit to the target readers. In the poem “Tune: Spring in a Pleasure Garden- Changsha”
恰同学少年，风华正茂；书生意气，挥斥方遒。

TT: When, students in the flower of our age,
Our spirit bright was at its height,
Full of the scholar’s noble rage,
We criticized with all our might.
(Xu Yuanchong, 2015:9.3-6)

In this translation, the translator added “our”, “we”, showing that they are young and vigorous, full of ambition and dreams. It describes the liberation of the youth in the new era from the shackles of the old ideas and their free and unrestrained minds. From this translation, Mao Zedong's ambition and the spirit of the young people are well reflected.

In conclusion, the communicative dimension of eco translation focuses on the intention of the original author, which requires the translator to make appropriate integration and transformation with the participation of the original author, the translator and the readers, so as to achieve the communicative purpose.
===Conclusion===
Mao Zedong, as the most influential politician and revolutionist in China, is also a very outstanding poet. His poetry is an important part of Mao Zedong Thought and a mirror of the history of Chinese revolution and construction after the founding of new China. The translation of Mao Zedong's Poetry not only enables foreign readers to understand the Chinese poetry culture, but also allows them to understand the difficulty of China's development and the strength of China.

Eco-translatology is a new perspective of translation studies, which enriches the types of translation theories. It contains many important viewpoints, including translator's subjectivity, the ecological environment of translation, the principle of three-dimensional transformation, and etc. Eco-translatology adopts a new perspective to analyze translation and improve the quality of translation to a certain extent.

This thesis analyzes the English translation of Mao Zedong's poetry from the perspective of eco-translatology, and focuses on Xu Yuanchong's translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”. Some examples are used to make the analysis more perfect. And some translation strategies used in Xu Yuanchong’s translation are also analyzed and clearly explained. The thesis summarizes the translation strategies of Mao Zedong's poetry in the hope that their application can be promoted to more other poetry translations.

However, due to personal limitations in translation theory and practice, there still exists some deficiencies, which are mainly reflected in the following aspects. First of all, the selected theoretical perspective is limited. This thesis explores the translation of Mao Zedong's poetry mainly from the perspective of “three-dimensional transformation” theory of eco-translatology. There are many other perspectives in eco-translatology that can be used to. Secondly, restricted by space, the number of instances picked out from Mao Zedong's poetry is not rich enough to make a comprehensive study. And the analysis of these examples is also not comprehensive enough. Thirdly, eco-translatology theory is still developing. There is still room for improvement in the theoretical analysis of this thesis.
===References===
*Lopreato, J.&T. Crippen. Crisis in Sociology: The Need for Darwin [M]. New Brunswick /London: Transaction Publishers, 1999.

*Cha Mingjian, Tian Yu查明建,田雨. 论译者主体性--从译者文化地位的边缘化谈起[On Translator's Subjectivity -- From the Marginalization of Translator's Cultural Status]. 中国翻译Chinese Translators Journal, 2003, (1) : 19-24.

*Hu Gengshen胡庚申. 生态翻译学的研究焦点与理论视角[Research Focus and Theoretical Perspectives on Ecological Translation Studies]. 中国翻译Chinese Translators Journal, 2011, (2) : 5-9.

*Liu Aihua刘爱华. 生态视角翻译研究考辩 --“生态翻译学”与 “翻译生态学”面对面[Translation Studies From an Ecological Perspective -- "ecological translatology" face to face with "translation ecology"]. 西安外国语大学学报Journal of Xi'an Foreign Studies University, 2010.

*Li Zhengshuan, Tao Sha李正栓,陶沙. 国外毛泽东诗词英译研究[A Study on the English Translation of Mao Zedong's Poems Abroad]. 河北师范大学学报Journal of Hebei Normal University, 2009, (2) : 104-109.

*Xu Yuanchong许渊冲. 许渊冲英译毛泽东诗词[Xu Yuanchong's English Translation of Mao Zedong Poetry]. 北京:中译出版社Beijing: Chinese Translation Press, 2015.

*Zhang Zhizhong张智中. 汉诗英译的主体性[The Subjectivity of Chinese Poetry Translation]. 外文研究Foreign Studies, 2015.

==英语笔译黎溢佳 Li Yijia 202170081573 CE==
On the popularity of Three Body abroad

==英语笔译李思敏 Li Simin 202170081574 MW==
A Study on Translation Methods of Agricultural Terms in Chinese Sci-tech Classics —— A Case Study of Tian Gong Kai Wu

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

===References===
*Goldblatt Howard.Life and death are wearing me out: a novel[M].New York:Arcade Publishing, 2012.
*Nida E A, CHARLES R T.The theory and practice of translation[M].Shanghai:Shanghai Foreign Language Education Press, 2004.
*莫言.生死疲劳[M].上海:上海文艺出版社, 2012.
*赵丽娜,邹德刚.情绪与意境的传递——浅析庞德翻译理论中对译者职责的规约[J].长春师范学院学报,2012,31(08):58-60.
*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.
*王福美.“辞达而已矣”——重读支谦的《法句经序》[J].上海翻译,2011(04):77-80.
*谢天振.创造性叛逆:争论、实质与意义[J].中国比较文学,2012(02):33-40.
*杨添婷,陈敬勇,刘君玲.译者主体性视角下《生死疲劳》中的比喻英译研究[J].英语广场,2021(34):25-27.
*张继光，张政. 国内葛浩文研究状况的CiteSpace分析[J]. 外国语文，2015（4）：96-103.
*魏泓，赵志刚. 中国文学“走出去”之翻译系统建构[J].外语教学，2015（6）109-113.
*刘再复. 百年诺贝尔文学奖和中国作家的缺席[J]. 北京文学，1999（8）：61-63.

==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

===References===
*Hall E T .(1976).Beyond Culture. chicago.

*Chen Feifei陈菲菲.(2015).生态翻译学之中国生态智慧探析——以苏词英译为例[An Analysis of Chinese Ecological Wisdom in Eco-Translatology—A Case Study of the Translation of Su Ci poems into English]. ''中国语言教育研究会''China Association of Language&Education.

*Deng Gaofeng邓高峰.(2014).《边城》英译研究的现状分析与若干思考[Analysis and Reflection on the Translation of the Border Town]. ''华北水利水电大学学报(社会科学版)''Journal of North China University of Water Resources and Electric Power (Social Science Edition)(01),120-123.

*Deng Jie邓洁.(2021).乡土中国:从《边城》看乡土语言英译——基于“求真——务实”连续统评价模式[Rural China: Local English Translation from “Border Town—Based on the "Truth-Pragmatic" Continuum Evaluation Model]. ''湖北开放职业学院学报''Journal of Hubei Open University(01),178-179.

*Feng Lei冯雷.(2013).从刘宓庆的翻译美学观看金介甫英译《边城》中意境的再现[Representation of Artistic Conception in Jeffrey C. Kinkley’s English Version of Biancheng from the Perspective of Liu Miqing’s Translation Aesthetics](硕士学位论文,西南石油大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201401&filename=1014159515.nh

*Fang Mengzhi方梦之.(2017).翻译大国需有自创的译学话语体系[China Needs Her Own Translatological Discourse System]. ''中国外语''Foreign Languages in China (5):8.

*Hu Gengshen胡庚申.(2011).生态翻译学的研究焦点与理论视角[Eco-Translatology: Research Foci and Theoretical Tenets]. ''中国翻译''Chinese Translators Journal32(2):5.

*Liu Chaowu & Yao Mengyan刘朝武,姚孟彦.(2021).生态翻译学“三维转换”视角下随笔的英译——以《早老者的忏悔》为例[Translation of Essays into English from the Perspective of "Three-dimentional Transformation" in Eco-Translatology: A Case study of The Confession of the Old Man].''开封文化艺术职业学院学报''Journal of Kaifeng Vocational College of Cuture & Art41(12):23-25.

*Liao Peiyan廖培妍.(2022).生态翻译学的译者“三维”转换视角下戴乃迭《边城》英译本研究[A Study of the English Translation of The Border Town by Gladys from the Perspective of the Translator's "Three-dimensional" Transformation in Eco-Translatology]. ''海外英语''Overseas English (04),26-28.

*Meng Fanjun孟凡君.(2019).论生态翻译学在中西翻译研究中的学术定位[On the Academic Orientation of Eco-Translatology in Chinese and Western Translation Studies]. ''中国翻译''Chinese Translators Journal40(04):42-49.

*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96.

*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.

*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209.

*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh

*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh

*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.

*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.

*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95.

*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

===Abstract===
苗语是苗族文化的主要载具。在文化历史发展的过程中，由于受经济、地理、科学技术等方面的限制，苗语没有得到很好的继承和保护。本文主要介绍苗族的概况、分布情况以及苗语的基本特点。近十年来，对苗语进行研究的专家学者和相应著述越来越多，本文主要从介绍最基本的与苗语相关的情况，试图引起更多人对苗语以及更多少数民族语言的关注，从而对少数民族语言和文化进行保护。

===Key words===
Miaoyu, Hmong,language protection

===Introduction===
20世纪30年代，美国一些学者开始关注美洲印第安语和澳洲土著语言的大规模灭绝现象，并由此引发濒危语言研究的热潮。根据1996年，教科文组织发布的世界濒危语言地图显示，目前全世界大约有2500种语言存在不同程度的濒危情况。而面临濒危情况的语言主要由于一些语言是因为使用人数仅存一人而濒临灭绝，比如巴西的阿皮亚卡语（Apiaka）、迪亚霍伊语（Diahoi）以及中国台湾的拔泽海语（Pazeh）等都极度濒危，因为这些语言在2009年前大多只剩一人会说。同样我国是一个少数民族众多的国家，因而会有众多少数民族特有的语言，比如蒙古语，客家话，土家族语等。语言不仅是一种交际工具，更是一个民族文化的传承，每一种语言都是一个族群独特文化和族群特征的重要体现和表现形式。少数民族语言也面临着同样的现象，因此想对离自己生活比较接近的语言进行了解和研究。

===Literature Review===

===Methods and Theories===

===Subtitle 1 The Motivation of the Miaoyu===
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.

===Subtitle 2 Miao Nationality ===
1.The Source of the Name “Miao”
There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.
2.The Distribution of Miao Nationality
(1)Domestic Distribution
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.
(2)Overseas Distribution
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.

===Subtitle 3 The origin of the Hmong and the historical formation of the Hmong===
1. Origin of the Miao
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."
2. Historical formation of the Hmong
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.

===Subtitle 4 Miao Folk Beliefs===
phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".

===Conclusion===
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译李媛 Li Yuan 202170081579 CE==
The Translation and Reception of Sunzi: The Art of War in the West

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

Abstract:
Vanity Fair is a long novel written by William Makepeace Thackeray. With his special sarcasm, this novel hit the nail in his age and the ages below. Its reception in China is an important topic as there had already been many versions, but few understandings of these versions exist. This thesis will introduce the versions and compare and contrast some of the versions under the Reader’s Response Theory so as to see how this novel is accepted in China.

Keywords:
Vanity Fair; Reception; Reader’s Response Theory

Introduction
Vanity Fair is a long novel written by the nineteenth-century English critical realist writer William Makepeace Thackeray. The author, with a rounded and spirited hand, paints a picture of the aristocratic bourgeoisie of nineteenth-century England in all its extravagance and rivalry, ruthlessly exposing the shameless and corrupt nature of the feudal aristocracy and the hypocrisy of the bourgeoisie in pursuit of fame and fortune.
The novel is a true depiction of the ugly faces and the weak and deceitful interpersonal relationships of the decadent aristocrats and bourgeois profiteers of the British high society during the Regency period of 1810-1820. The protagonist of the story, Becky Sharp, is a pretty girl with a good sense of humor. She has tasted poverty and is determined to take control of her own destiny and escape from her predicament. She does whatever she can to get to the top by flattery and backdoor, forming a caring and emotional story.
Vanity Fair" takes the life of two young women, Becky Sharp and Amelia Settles, as the main line, showing the life of the upper class in early 19th century England. The story of "Vanity Fair" unfolds in two threads, starting from the same starting point, intertwining, and finally reaching the same end. One of them is about a kind, clumsy woman, Amelia Settasa, who lives in a rich family; the other is about a witty, selfish and debauched orphan girl, Becky Sharp. Both left Pinkerton School for Girls in the same carriage in 1813, and both married in 1815, over the objections of their families, to two British officers about to fight in the Battle of Waterloo. Shortly after their marriage, the historic battle was fought. Amelia Settasa's husband died on the battlefield, and Becky Sharp's husband survived the battle. For the next ten years, Becky Sharp lived a smooth life, climbing the social ladder until she had the honor of meeting with the king, while Amelia Setkasa suffered great misfortune due to her father's bankruptcy. In 1827, fate reverses and Becky Sharp's life falls into the abyss of ruin, which she actually deserves, while Amelia Setkasa becomes rich and happy.

Versions of Vanity Fair in China
Up to now, there are quite a lot versions in China.
The 1957 version translated by Yang Bi, which is also the most classic version, was published by the People's Literature Press; the 1996 version by Peng Changjiang was published by the Hunan Literature and Arts Press. Their translations are the two translations that have received the most academic attention and comparison. There are also some lesser-known translations, including the 2001 translation by Jia Wenhao and Jia Wenyuan published by Yanshan Publishing House in Beijing; the 2001 version by Ji Jianlin of Inner Mongolia Culture Children and Youth Publishing House; the 2003 version by Gao Yuqi and Zuo Zhiqun published by China Zhi Gong Publishing House; the 2007 version by Rong Rude published by Shanghai Translation Publishing House, the 2007 version by Xie Ling published by Guangzhou Publishing House in 2007, and Xie Ling's version published by Guangzhou Publishing House in 2007; Zhao Feikiang's version published by Inner Mongolia People's Publishing House in 2010.
In this thesis, the Author will mainly focus on the first two versions, the Yang’s version and Peng’s version. By making comparison, the author hopes to reveal the novel’s reception in China.

Reader’s Response Theory by Nida
Nida, a famous translation theorist, assimilates the main idea of reader response criticism into his own translation theory and puts forward the distinction of “dynamic equivalence". He stressed the concept of “reader s response" theory that regarded the target readers as important factor in evaluating translation, which was a significant step forward in the study of the role of the target readers. Dynamic Equivalence is therefore to be defined in terms of the degree to which the receptors of the message in the receptor language respond to it in substantially the same manner as the receptors in the source language.
This response can never be identical, for the cultural and historical settings are too different, but there should be a high degree of equivalence of response, or the translator will have failed to accomplish its purpose. (Nida: 1964,24)
This concept attempts to move away from the old idea that a word had its meaning towards a functional definition of meaning in which a word had a fixed meaning through its context and could produce various responses according to culture. He also came to realize that the meaning could not be divorced from the personal experience and the conceptual framework of the person receiving the message. The viewpiont that the message of the original text can be determined and can elicit the same response is based on the two assumptions he makes.
Firstly, the universalists view that “anything which can be said in one language can be said in another language, unless the form is an essential element of the message”. Secondly, the communicative view that the focus of translation is shifted to the role of the receptor. (Nida &Taber, 1964:4) Thus, through defining Dynamic Equivalence from this perspective, Nida states that the significance of their approach lies in the shift of focus in translating: “The new focus, however, has shifted from the form of the message to the response of the receptor' "(Nida&Taber:1969,1). Equivalence is measured through the comparison between the receptor' s response to the translated text and the original text.
Then what the translator concerns is no only whether he is faithful to the original message, but also that he must determine what is the response of the receptor to the translated message and then compare it with the way in which the original receptors presumably react to the message when it was given in its original setting (Nida&Taber:1969,1). In other words, the measurement of the correctness of the message is not in the form itself, but in how the target readership responds to the translated text. It is the target reader s response that decides the correctness of the message. Since translating belongs to a type of reciprocal communicating, the final effect depends on what is received by the audience when it is hearing or reading a translation. “The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciate it". So Nida also stresses that judging the validity of a translation cannot stop with a comparison of corresponding lexical meanings, grammatical classes, and rhetorical devices. What is important is the extent to which receptors correctly understand and appreciate the translated text (Nida: 1993,117).
The introduction of the dynamic equivalence is crucial in introducing a receptor-based orientation to translation theory. In order to achieve the intended response, a translator has the license to change and simplify the procedure, and all potential difficulties are elided to solicit a unified response, which is equivalent to the fact that the meaning and response have been completely identified by translator. To some extent, this theory is reasonable, because if the translator does not take the reader s response into consideration, his translation would not .be called a successful one. However, the readers of translated literary works have different responses to the same literary work because they often have a large imaginative space and the growth of his age and experiences and so on. It is obvious that the readers of the target text can hardly obtain equivalent responses because they have different cultural backgrounds, different aesthetic tendencies and different ideologies.

General Review of the Two Versions
Nida (1964:154) says:" Intellectual honesty requires the translator to be as free as possible from the personal intrusion in the communication process. The translator should never tack on his own intellectual and emotional outlook. He must exert every effort to reduce to a minimum any intrusion of himself which is not in harmony with the intent of the original author and message." It may be recognized that literature is a sort of art of language; and literary translation is the re-creation of language's art. In fact, what is called for is a proper word in a proper place. It is the same for the Chinese translation of Vanity Fair. "Literature is an art of language and translation and a translation of a literary work is a re-creation of the art of language. The reason why Vanity Fair is universally acknowledged as a fine translation is that the translator has, on the other hand, tried his utmost to keep the charm of the original and on the other taken the law and usage of his mother tongue into full consideration. As a result, so pure, natural and colorful a Chinese translation is achieved that the reader can be inspired, moved, and aesthetically entertained in the same way as he reads the origna."(孙致礼，“评《名利场》中译本的语言特色”，《翻译通讯》，1984, 10.) Yang's version of Vanity Fair has been not only applauded by the common readers but also commended by the translators. The Chinese version by Yang Bi reads very smooth. Though it is not perfect, it is outstanding in the diction and well-organized sentences. There are reasons for it. On one hand, Yang does not stickle to the original work, but changes the sentence structures and sentence components flexibly and neatly according to the norms and practices of modern Chinese. On the other hand, Yang is not constrained or restricted by the given corresponding explanation in the dictionary. Observed from the perspective of reader's reception theory, the reason why all those above-mentioned and some other characteristics of Yang's translation are worthy of praise is that they could arouse Chinese readers' great interest in reading this book from the beginning to the end without a single sense of ennui, and may also bring them to a much better understanding and quite similar aesthetic enjoyment of the novel. It is no surprise that Peng's version makes some improvements over Yang's, for the latter was published about forty years later. As analyzed above, Peng is superior to Yang in the translation of the characters' names. Naming characters is an important rhetorical technique for satire and humor in this novel of Thackeray's, and Peng's special way of renaming the characters can awaken Chinese readers' reception, and thus make them mentally involve in the re-creation of the work and reproduce the similar rhetorical effect in practice. As for Yang, she simply gives the battle at this point by the practice of pure transliteration. As the newly translated product forty years later, Peng's version has something surpassing besides the name's translation.
Peng's understanding of “Vanity Fair" is evidently further than that of Yang's with the advance of the times. His means of expression in translating is more diversified and has achieved satisfactory effect(尹伯安:2000,79).
Generally speaking, of the two Chinese versions of Vanity Fair, each has its distinctive characteristics worthy of study. Taking one with another, however, it might be seen through the comparative studies of the above examples that Peng’ s translation does not agree with the whole satirical and humorous context of the original book because of his frequent stickling to the exterior appearance of the writing. Then, from the reader' s reception perspective, his version might be hard to nourish the reader' s reading interest as a whole, and thus in a certain extent hampers the Chinese reader from understanding and appreciating of the novel.

Case Study of the Versions
1. In the beginning, Thackeray uses a lot of vivid words to describe the characters in the marketplace, making them very vivid. The first character who appears in front of readers in the article is the Manager of Performance, for which Yang translates as "foreman", which is closer to the background of the time and more suitable for the identity of people who make a living by selling arts in the marketplace. Li's "舞台监督" and Jia's "演出编导" are more in line with the customary names of people in the 21st century, but they seem too advanced in the environment of the early 19th century. In addition, the use of "supervisor" or "choreographer" is also too formal and does not fit the identity and status of the character. Therefore, the choice of words cannot be separated from the specific context of the time, and the British translation theorist Newmark says that no word is an island entire to itself (1990: 100). (1990: 100). Our scholar Mr. Wang Zuoliang also says that context is not just a matter of language, but speech is a social act, and the context actually provides a social occasion or situation, and it is it that determines the meaning of words. Therefore, when we translate, we must find a word that fits the context.
2. In this paragraph, there is this sentence: "there are bullies pushing about". Yang translates it as "到处横行的强梁汉子the strong beams of men who roam everywhere", but "strong beams of men" seems to be unfamiliar to readers nowadays, because the frequency of this word is very low in the language nowadays, and it is difficult for readers to understand its precise meaning, and they can only rely on It is difficult for readers to understand its precise meaning, and they have to rely on guessing. In contrast, Li's and Jia's translations are very clear and unambiguous.
Li translates the word as "有人横行霸道，恃强凌弱”, which means: someone who is domineering and bullying. Jia translates it as "暴徒thugs", which is very easy to understand.
3. For the word "quacks", the three translators differ again.
Yang translates it as "走江湖吃四方的those who go around the world and eat the four directions". The literal meaning of "quacks" is "江湖医生", and the translation of "doctors of the jungle" is equivalent to those who walk in the jungle, which means that the translators have extended the meaning of the original work, and thus do not follow the meaning of the original text well. The translation of Jia as "卖假药的sellers of counterfeit medicines", where the "jianghu doctors" are generally classified as "sellers of counterfeit medicines", is that the translator has narrowed the scope of the meaning of the original work. In this case, it is easy for the reader to fail to understand the meaning of the original work because of the translator's mistranslation. Li's direct translation of the word as "charlatan doctor" is the most accurate, and is completely faithful to the content of the original, with natural and clear expression. The reader can read it clearly and easily. According to Neda, "translation is a kind of intercultural communication, in which it depends on what people get when they listen, speak and read the translation. The usefulness of a translation should not be judged by the corresponding lexical meanings, grammatical categories and rhetorical comparisons, but by the extent to which the recipient correctly understands and appreciates the translated text". (Eugene A Nida. 1991:156- 159). Since translation is a kind of communication, no analysis of communication is complete without a comprehensive study of the message of the receiver of the message. The emphasis on reader response is intended to enable the reader of the translated text to understand and appreciate a text in much the same way as the reader of the original language. The expression of the translated text is perfectly smooth and natural. A smooth and natural translation can enable readers to better understand the original text, avoid cultural conflicts, eliminate cultural barriers, and ultimately achieve the purpose of cultural exchange. (2) The language should be vivid and formally beautiful Next, let's look at the activities of various characters in the marketplace.
1. "There is a great quantity of eating and drinking, making love and jilt ing, laughing and the contrary, smoking, cheating, fighting, smoking, cheating, fighting, dancing, and fiddling."
Yang translates, "市场上有的在吃喝，有的人在调情，有的得了新宠就丢了旧爱，有的在笑，也有的在哭，还有在抽烟的，打架的，跳舞的，拉提琴的，诓骗哄人的。"
Jia: "人群中食客在大吃大喝；喜新厌旧的情人在调情打趣；有人放声大笑，有人伤心落泪；有人抽烟，有人闲聊，有人跳舞，有人拉琴。"
Li translates, "市场上，有人在大吃大喝，有人在打情骂俏，另寻新欢，有人在大笑不止，有人在哭得死去活来，有人在猛抽烟，有人到处行骗，有人在大打出手，有人在手舞足蹈，有人在到处胡闹。."
According to the author, it was a chaotic marketplace. When translating, you have to find out the right words to describe those characters in their backgrounds in order to make the characters more distinctive. Yang and Jia's translations are more formal, such as "得了新宠就丢了旧爱losing old favorites when you get new ones" and "调情打趣flirting and joking", which are very elegant expressions. In contrast, Li's "flirting and finding a new love" is more in line with the vulgarity of the common people in the city, and the wording is more apt. In addition, especially in the area of crying, Yang's translation is the word "苦crying", and the reader cannot well appreciate the extent to which people in the marketplace cry, while Jia's "伤心落泪sadness and tears" seems to be a more static word, giving people a feeling of silent tears and gloom, which is not in line with the This is out of place in the crowded market. Li's translation of "哭得死去活来weeping to death" accurately allows readers to experience the characteristics of crying in the market. In the article "Aesthetic Effect is Important in Literary Translation", Zheng Dahua mentioned that the expression in literary works must be accurate and expressive, and the language has vividness and formal beauty. Therefore, this sentence of Li's translation fully reflects the expressiveness of Li's language and makes the readers deeply feel the vividness of the language that the author of the original wanted to reflect.
For the translation of "cheating, fighting, dancing, and fiddling", Yang translates it as "打架的，跳舞的，拉提琴的，诓骗哄人的fighting, dancing, playing the fiddle, swindling and coaxing", first of all, "swindling and coaxing". Firstly, the word order of the phrase "swindling and cajoling" has been adjusted in the translation; secondly, the structure of these parallel phrases is not symmetrical with that of the translation he made earlier. The sudden change in the form of the sentences will make the readers feel abrupt and produce incoherence in their understanding when the original author is describing the same scene. On this point, Li and Jia have grasped it very well, and there is no problem of sentence structure. As Lu Xun says, "凡是翻译，必须兼顾着两面，一当然力求其易解，一则保留着原作的丰姿All translations must take into account both sides, one of which is to strive for easy comprehension and the other to preserve the richness of the original work." (1984: 244- 250) This requires that while conveying the ideological meaning of the original work, we also pay attention to maintaining the formal beauty of the original.

Conclusion
In literary translation, there are great deal of valuable and illuminating views and theories about translating. We can find the approaches of semiotics, pragmatics, semantics, and etc. There is no one as a fixed and everlasting law of translation. There can be and are various theories of translation. But, first of all, given the inherent linguistic and cultural barriers involved, the act of translating is expected to provide a transparent window to the audience on how the textual gaps are bridged or the potential is realized. As Nida says: “different theories of translating can help people understand aspects of communication which would remain otherwise obscure or elusive." It might, from all that has been said so far in this thesis, come as no surprise that the orientation toward the receptor's reception can not only help the translator to avoid awkwardness in expression, but, much more significantly, it helps him to create a comparatively more comprehensive version, in which the target language reader can work out the true meaning of the source language text in the cooperative process of interactions. In fact, only with the active participation and processing effort of the reader can the re-creation and aesthetic appreciation of the literary work be finally and successfully completed. This idea is as helpful to the literary research and production as to translation theory and practice. Since translation is the reciprocal communication bridging different peoples and cultures, great attention has to be paid to the audience as well as to the writer or speaker. Taking into consideration the expecting response of the reader and regarding him as the active receptor, the translator will be able to survey the translating process all-sidedly, to fix on as many as possible the problems worthy of care, and then to dope out the strategies in point so as to transfer the closest translation to his readers. As for appreciating the novel of Vanity Fair, in which satire is the main rhetorical force, the operation of reader's reception seems exceptionally significant. The understanding and interpretation of satire itself requires the reader to work out the underlying meaning behind the appearances of expression with his own experience and intelligence. In other words, compared with that of the other figures of speech, the appreciation of satire depends all the more on the reader's active effort. Satire works in various ways. Through the above observations of certain main employments of satire in this paper, i.e. naming characters, irony,' and rhetorical question, one might come to see that when translating the satire in Vanity Fair, the translator should always work for the sake of both the novel's whole settings and the reader's reception. He should be obliged to activate his reader's reaction on the basis of the whole environment of the book in every possible way. Thus the satirical sense can be rightly achieved and appreciated in the end.
Admittedly, no laws are dictated here and the reception theory cannot and will not become the exclusive criterion for translation, since the gap between emphasis on source language and target language would perhaps still remain as the overriding problem in translation theory and practice. Furthermore, how successfully this idea can be practiced in translating works other than Vanity Fair is perhaps moot. This study, however, does introduce a fresh perspective for the translation theorists and translators to investigate and undertake the practice of translation. And it will be a significant dimension for judging the products of translation. A translator has to always cherish the consciousness of his readership in his mind. Attaching importance to the reader's reception, the translator will be able to create a relatively superior version; taking it lightly, he may as likely as not produce a less effective one. Clearly, literary translation is an endless task. This study is only at a tentative but seemingly promising start. Much has still to be done to dig into the significance and impact of the reader's reception criticism in the field of translation.

Reference
[1] Nida, E. A. Toward A Science of Translating. [J] Leiden: E. J. Brill, 1964: 24,154。
[2] Nida, E. A. and Charles R. Taber. [J] The Theory and Practice of Translation. Leiden: E. J. Brill, 1969.1
[3] Nida, E. A. Language. Culture, and Translating. [M] Shanghai: Shanghai Foreign Language Education Press, 1993，117.
［4］李明.翻译批评与赏析.武汉：武汉大学出版社，2006.
［5］李运兴.语篇翻译引论［M］.北京：中国对外翻译出版公司，2000.
［6］鲁迅“题未定”草［C］.中国翻译工作者协会《翻译通讯》编辑部选编.翻译研究论文(1894- 1948).北京：外语教学与研究出版社，1984.
［7］［英］萨克雷著，贾文浩，贾文渊译.名利场.北京：北京燕山出版社，2005.
［8］［英］萨克雷著，杨必译,名利场.北京：人民文学出版社，2000.
［9］［英］萨克雷著，彭长江译,名利场.湖南人民文学出版社，1991.
［10］郑达华.文学翻译重在审美效果［J］.中国翻译,1999(6).

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
This is a paragraph. (Wang 2021:423)

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Study on the Canonization of Chinese Modern Poetry'''</center>

<center>Liu Ting</center>

===Abstract===

It has been more than a century since the birth of Chinese Modern Poetry, also known as the new poetry. As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to Chinese ancient poetry and songs, which have a long history and cultural accumulation. So, its canonization has always been the common concern of writers, scholars and researchers. In any country, canonization of any literary work is a long and complicated process in terms of time and mechanism. The canonization of new poetry has rich texture in the synchronic and diachronic aspects of literary history. This paper analyzes the essential characteristics of the so-called "classic" works and points out the problems faced by the canonization of new poetry and only by solving these problems can the canonization of Chinese modern poetry be put on the right track.

===Key words===

Chinese modern poetry, canonization, classic work

===1. Introduction===

Chinese Modern Poetry, also known as the new poetry, refers to the poetry genre that emerged around the May Fourth Movement, which is different from the Chinese classical poetry and uses vernacular when it is composed.

During the development of Chinese literature, poetry, including Han Fu, Tang poems, Song Ci, Yuan Qu, had achieved great successes. However, in modern times, the creation of classical poetry gradually became rigid, using lots of clichés, and the words used in classical poems were seriously disconnected from modern spoken language. The strict restrictions on the form including the verse style, rhyme, allusions etc., were a great constraint on poetry's ability to express the ever-changing and increasingly complex social life and to express people's true thoughts and feelings. Therefore, the new poetry revolution became the first and most important part of the New Literary Movement in the May Fourth period.

As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to the old poetry and songs, which have a long history and cultural accumulation. But with its freedom, flexibility, and versatility, new poetry has maintained its creative vigor and vitality over the past century. From form to content, from creation and dissemination to influence, new poetry can be said to be relatively complete, vigorous and uncompromising.

The issue of literary classics and the canonization of literary works is a hot issue that has always been of concern to academics. In terms of the classical quality of poetry, the power that new poetry has contributed to the history of Chinese poetry over the past century should not be underestimated. As far as the century of Chinese new poetry is concerned, the modern new poetry classics and the rationality of their canonization have been gradually recognized in recent studies, while the issue of its canonizaton is quite controversial. Canonization is actually a process rather than a result. Many scholars have doubts about whether "Canonization" of new poetry is a valid term, because the time of generation and development of them is still short compared with that of Chinese classical poetry, and "classics" must go through layers of elision by years and readers, and through the heavy burden of generations. The reason is that the generation and development of contemporary new poetry is still short compared to that of modern new poetry, and the "classics" must go through the test of time. Of course, this is the general understanding of the generation of classics, but while seeing the ephemeral nature of the generation of "classics", we should also see the commonality of the generation of them.

By clarifying the defining characteristics of Chinese new poetry and classic works, this paper points out the difficulties and misunderstandings encountered in the canonization of Chinese new poetry today, and only by solving these problems and breaking these misunderstandings can the canonization of Chinese modern poetry be put on the right track.

===2. Chinese Modern Poetry===

To solve the problem of canonization of Chinese modern poetry, first and foremost, it is necessary to have an understanding of it. This chapter introduces the development of new poetry, its representative figures, the literary characteristics of poetry and its achievements.

2.1 Development of Chinese Modern poetry

Compared with drama, novel and prose, the century-long development of Chinese modern poetry is relatively weak. Novel and prose, after all, still has Lu Xun, Ba Jin and Lao She; drama has Cao Yu, Lao She and; all these writers have been recognized by the world. Poetry, on the other hand, lacks such figures. New poetry faces two peaks that are difficult to surpass: one is Chinese classical poetry and the other is the poetry achievements of the West since Shakespeare. The existence of poetry requires the existence of a refined and mature national language, and poetry is most closely connected to language, while modern Chinese has only been existed around for a century. Nevertheless, achievements of Chinese modern poetry are remarkable. The most important development stage of it was the first thirty years after its birth.

2.1.1 The first decade

At the experimental stage, Hu Shi was regarded as "the first vernacular poet." His Trying Collection (1920) was "a bridge” between the old and new poetry. Individual poems at this time had modern lyrical forms, but most of them still could not escape from the formal tradition of classical poetry. The techniques of the new poetry were firstly, "line drawing" and secondly, metaphorical symbolism. The early vernacular poems are thus divided into two categories: the first is the objective realistic tendency of using white description; the second is the modernist tendency of putting things into context. The latter is not common in traditional poetry.

At the foundational stage, Guo Moruo's "Goddess" (1921) was the foundation of Chinese new poetry. The lyrical nature of poetry and the individuality of it were given full attention and play, and the strange and daring imagination really made the wings of poetry soar. " The free spirit of the May Fourth Era and the artistic rules of poetry itself are fully reflected in this collection.

At the normalization stage, if "Goddess" broke the traditional poetic rules with the spirit of "absolute freedom and absolute autonomy", the New Moon School was born in response to the need, with Wen Yiduo, Xu Zhimo, Zhu Xiang and Lin Huiyin as its representatives, advocating "rational moderation of emotions". " Wen Yiduo advocated the metrical and standard patterns of the new poetry and proposed the theory of "three beauties" of poetry: music beauty (level and oblique tones and rhyme), pictorial beauty (the theory that Chinese poetry and painting are connected), and architectural beauty (proportionality of stanzas and evenness of sentences).

2.1.2 The Second Decade

The Chinese Poetry Society was a mass poetry group led by the Left League, inheriting the early proletarian poetry tradition of Jiang Guangci from the previous decade, with Yin Fu as its representative. The characteristics were: first, reflecting the revolutionary struggle and major events of the times; second, emphasizing the ideologization of poetry, the subject of poetry was not the poet himself but a fighting collective; third, focusing on realism in artistic expression. This somewhat deviated from the essence of poetry, which is the catharsis of individual's emotions.

In the later period, the poems of the New Moon School shifted the focus of their lyricism to the "trembling of the soul" and the alienation of the modern human spirit. Xu Zhimo's "Collection of Fierce Tigers" and "Collection of Cloudy Travels" are representative of this. "Farewell to Cambridge Again" belongs to this period, but its mood is still a remnant of the previous one. New poets, such as Chen Mengjia and Fang Wei De, were students of Xu Zhimo. And the poetry at this period, borrowed the form of sonnets.

Shi zhe was another poet at this period. He emphasized the need to write purely modern poetry, which is genealogically related to the early Symbolist poetry and used modern rhetoric to arrange modern poetic forms. The "leaders of the poetry world" at this time is Dai Wangshu and Bian Zhilin. Dai Wangshu was known as the "Rainy Lane Poet" with his poem "Rainy Lane". Bian Zhilin, on the other hand, was influenced by Xu Zhimo and Dai Wangshu, and provided something new to the new poetry, namely, a shift from the main emotion to the main intellect. He was one of the poets in the history of new poetry who was consciously philosophical, and his poetry was surprising in its simplicity because he was good at penetrating and exploring the phenomena of daily life philosophically.

2.1.3 The Third Decade

Ai Qing accomplished the task of "synthesis" in the history of Chinese poetry. On the one hand, he insisted on developing the realistic and fighting tradition of the poets of the Chinese Poetry Society, on the other hand, he overcame and abandoned their weaknesses of "childish shouting", and at the same time, he critically absorbed some of the achievements of the modern poets in their artistic exploration of new poetry, further enriching and developing the art of poetry. He drew on the passion of Guo Moruo and the pursuit of external forms of the New Moon School, and Ai Qing began to pursue an inner beauty in Chinese new poetry. He became the most influential poet of the third decade. He was also one of the first new Chinese poets to go global.

At the beginning of the war, the Chinese Poetry Society, the New Moon School, and the Modernist poets all sang the battle hymn of national liberation. During the war period, the debate over the aesthetic and artistic characteristics of poetry and political propaganda brought people to a new level of understanding of the content and form of poetry. There were many academic works that raised the artistic discussion of new poetry to a theoretical level: Ai Qing's "Essay on Poetry", Zhu Ziqing's "Miscellaneous Discussions on New Poetry", Li Guangtian's "The Art of Poetry", and so on. Zang Kejia wrote "Songs of the Clay" and Dai Wangshu wrote "Years of Catastrophe", and there was a transformation of style, integrating the "small self" into the "big self". The most influential poetry school during this period was the July Poetry School. Under the influence of Ai Qing, this school of poetry was formed by Hu Feng as the center, with July and other publications as the main base. It advocated revolutionary realism and free verse as its main banner, and had a great influence in the National Unification Area.

After the end of the war, the new poetry took on a new life. In literary history, the Nine Poets school led by Mu Dan are known as the "New Chinese Poetry School". They emphasized, first, the modernization of the way of thinking about poetry. The second was the extreme importance attached to the application of everyday language and the rhythm of speech. "Only words and rhythms that are varied, flexible, fresh, and vivid can properly and effectively express the strange sensitivity of the modern poet's senses and the rapid changes in his thoughts." The emphasis on the basic transformation of poetic thinking and language, which characterized the Chinese New Poetry School, also concentrates on its rebelliousness and heterogeneity, which precisely echoed the claims of early vernacular poetry in a distant way.

2.2 Value of Chinese Modern poetry

The value and significance of modern Chinese poetry does not only lie in the depth and breadth of thought and emotion expressed in the works of its outstanding writers and artistic thinking, but is also closely related to the cultural characteristics it reflects. As representatives of modern Chinese intellectuals with the most prominent self-awareness, the cultural consciousness of modern Chinese poets and their many outstanding creations not only provides readers with a rich and unique scope of understanding and propositions at the level of ideology, but also gives a taste of the free power and will of their individual lives in the vibration of the intersection of different cultures and the care of national emotions.

Chinese modern poetry has been following the changes in the future and destiny of the nation, and has been deeply concerned with the suffering of the masses, especially the creation of realistic poetry, which integrates realism and lyricism into one, has gained great significance. Guo Moruo's "Phoenix Nirvana", Wen Yiduo's "Dead Water", Dai Wangshu's "I Use My Broken Palms", Zang Kejia's "Old Horse" and Ai Qing's "Snow Falling on the Land of China" all belong to this category, and they are all typical modern poems with the theme of worrying about the country and the people. As a "social discourse for the masses" with strong, sharp values and realistic concerns, they indeed disclose the heavy and oppressive environment of the time and the sense of suffering and crisis caused by the increasing destruction of modern China by the real oppressors and invaders, and those politicized complaints of grief and anger processed by the authors' reason and emotion also inherit the sense of historical mission of classical Chinese poetry: "Essays are written for the time, songs and poems are written for the matter. "The poetry of modern poets, however, is not as good as that of classical poetry. However, in contrast to classical poetry, modern poets have been able to consciously strengthen their "self-awareness" in the midst of successive social changes, national suffering, and political turmoil, thus examining the close relationship between the changes of the times, public suffering, and the poet with the poet's real identity and vision, and integrating the poet's independent "self-awareness" into the "self-awareness" of the poet. The poet's independent "self-consciousness" is integrated into the "social discourse of the masses"

Since the real feeling of individual independence and emancipation and its cultural and psychological structure have gained a dominant position in modern China, the modernization of Chinese poetry is gradually free from the traditional aesthetic thought's domination and bondage to the poet's personalized historical experience and unique feeling in the continuous farewell to the traditional consciousness of classical poetry. In other words, many modern poets have become the most important poets. In other words, many modern poets have achieved complete emancipation from the classical poetic consciousness with a very distinctive personal character. Nevertheless, modern poetry has clearly increased its tendency to express "motherly emotions" accompanied by sorrow and grief. Bing Xin's small poems, for example, have a great deal of motherly love and tenderness molten into the artistic world she has constructed, fully reflecting the modern woman's self-consciousness, and vividly embodying the modern intellectual woman's painful independent personality of "living in evil but loving goodness", which is a struggle of the inner soul. Classical poetry generally does not reveal the oppressive factors of women's existence from the perspective of women's care, and often examines women's lives with a tragic vision and a sense of suffering. In contrast, the new poetry tries to explore women's unique life consciousness, emotional imagery and their inner flashing moments of perception, in order to replace the vague and hazy or generally suppressed monotonous and long-lasting sadness of classical poetry, whose overall sense of life and overall mood underline the poet's deep concern for women's cultural consciousness. In this sense, modern poetry has gained its own vitality because of the significance of women's cultural awakening.

To sum up, the general awakening and vigorous exploration of the self-consciousness of modern Chinese poets has given modern poetry a more independent, profound, liberating and new way of thinking and value of thought and art, different from the classical poetry.

===3. What is Classic===

From the reality of Chinese literature in the 20th century, both the discussion on whether there are classics in modern literature and the sense of anxiety crisis about the classics of modern literature are greatly related to the understanding of the meaning of classics. I have the following four understandings of the connotation of the classics.

First of all, in terms of spiritual meaning, literary classics shine with the light of thought. It is often rooted in the times, showing the distinctive spirit of the times, with the character of historical reality, but also outlines and reveals the far-reaching rich cultural connotations and human implications, with the transcendent open character. It often raises fundamental questions about human spiritual life, such as man and nature, man and society, and man and himself. At the same time, classics and classical interpretation have a close relationship, and classics must be continuously compiled and organized, accepted and disseminated, and revered in order to become classics. Original classics also need original interpretation, and original interpretation may become new classics or have new classical characteristics.

Secondly, from the point of view of artistic aesthetics, literary classics should have a "poetic" connotation. It is the creation of an irreducible artistic world permeated by the writer's unique worldview, which can provide some kind of aesthetic experience that no one has ever provided before. It is a unique aesthetic grasp of the world based on sensual life, spiritual needs, and even the individual and collective unconscious. This aesthetic grasp, through original efforts, incorporates the rich and colorful world of the mind and the vivid and rich real life, and also absorbs the past and future life into the present with the "time field of presence" that is generated and acted upon. The literary classics created in this way can make the human nature and human heart connected, and the heart of literature and poetry connected, so that the culture and literature of different periods can get deep communication.

Thirdly, from the perspective of national characteristics, literary classics often open a new chapter in the history of national literature, with the value of "history". That is to say, the literary classics can promote a nation's language and thought to a new platform. Just like Shakespeare's modernity in English and English literature, Pushkin's modernity in Russian and Russian literature, Lu Xun and the new literary classics in the May Fourth era also pushed our national language and thought to a new height and a new platform through the original artistic world of modern Chinese. This made it possible for the writers and theorists of modern literature to operate, communicate and create on this platform, and thus a series of classical achievements emerged.

Fourthly, from the acceptance of the classics, literary classics must be accepted and appreciated by the majority of readers. There are indeed many classics of highbrow literature, but those that are loved, recognized, appreciated and enchanted by a wide audience are the classics of classics. The "Three Hundred Tang Poems" have been printed countless times, with billions of readers. Therefore, a classic work must be a work respected by the public, and it must conform to the public's value orientation, respond to the public's will and pursuit, in order to constantly renew new vitality and vitality in order to be immortalized.

===4. Problems about Canonization===

Although a number of well-received classics of Chinese modern poetry have emerged or are being classicized in its hundred years of development, there are still many problems that need to be solved. Only by solving these problems and recognizing some misconceptions can we better promote the process of canonization of new poetry.

The first problem is the vision of the selector. As it mentioned above: the classics are often rooted in the times, not only displaying the distinctive spirit of the times, but also summarizing and revealing the far-reaching and rich cultural connotation and the meaning of human nature and having the character of transcendent openness. Therefore, there is a need for selectors and editors with vision, thoughtfulness, noble character and culture to select and recommend Chinese modern poems that can be regarded as classics for us. However, some selectors and editors lack a comprehensive, objective and fair vision when they compile anthologies such as "New Poetry Classics of 100 years". They choose poems according to their own preferences, and choose whoever I want to choose, and let whoever I want to stand aside stand aside. In this way, some fine and classic works with superior ideology and art are blocked and rejected by him, while some unknown works with low artistic achievement and simple connotation are regarded as classics by him. In view of this we should strictly screen the professionals to ensure that they can take a serious and responsible attitude, be unbiased, to prepare an excellent collection of selected new poetry classics for everyone to appreciate, read and taste, and promote the process of canonization of new poetry.

The second problem is the vision of a literary historian. As mentioned above: literary classics often open a new chapter in the history of national literature, with the value of "history". Therefore, literary historians play a crucial role in the process of canonization of Chinese modern poetry. If a poet's poems enter the history of literature and new poetry, and are recommended and analyzed as a key poet, it seems that he will definitely be a "classic poet" and his poems "classic poems ". However, it should also be recognized that many literary historians are unable to be unbiased, and the literary and poetry histories they have written have obscured and blocked many new poetry works that have had a significant impact, and inappropriately regarded some works that readers know nothing about as masterpieces.

The third problem is the selection of Chinese modern poems in Chinese textbooks. The role of Chinese textbooks is crucial to the canonization of poetry. In my personal experience, those textbooks are more inclined to poems with aesthetic nature, complex connotations, focus on the experience of life, the beauty of humanity, etc.. However, the sense of the times is often not strong enough. Some "purely lyrical" poems are necessary, but masterpieces that reflect the spirit of the times and real life should not be completely excluded. Language teaching materials are responsible for the canonization of new poetry.

The fourth problem is the education and teaching of new poetry. When it comes to the selection and editing of new poems in Chinese textbooks, the issue of education and teaching of new poems is naturally inseparable. The canonization of poetry is inevitably associated with poetry reading, and the level, form and state of poetry reading are obviously subject to the various stages and levels of contemporary poetry education and literary education, the latter's influence on aesthetic ability and aesthetic intuition is evident to all. In reality, few teachers are willing to make great efforts to guide students to appreciate the beauty of Chinese modern poetry, and few students are really interested in them. The reasons for this are many. The first reason is that modern poetry has a low status. Chinese modern poetry is far inferior to classical poetry, which has a cultural history of several thousand years, in terms of quantity and quality, as well as the number of poets. Another important reason for the low status of modern poetry in language teaching is that it is not considered as part of the test in China's exam-oriented education. The appreciation of ancient poetry, instead of modern poetry, is often taken as a key test in the examination of poetry appreciation, and when students are asked to write something, it is often explicitly state that the genre is not limited except for poetry, etc. Secondly, teachers' poetry literacy is not good enough. The poetry literacy of Chinese teachers directly affects the quality of poetry teaching. For a long time, modern poetry is a niche literature in Chinese literature, and people in general like to listen to stories but not to read poems, to read novels but not to read poetry collections, and even many Chinese teachers have very little experience of modern poetry, very little knowledge reserve of modern poetry, and not high poetry literacy. This directly leads to the fact that in order to complete the teaching plan, teachers will only boringly read from the text and cannot well guide students to appreciate the beauty of modern poetry. Some teachers even teach it quickly and do not seek for teaching quality, which greatly erases students' interest in learning poetry.

The fifth problem is the public's awareness. The making of "classic" new poems is closely related to society, media and education. The repeated selection and publication by publishers, the repeated broadcasting and promotion by TV, radio and newspapers, and the long-term "required reading" in Chinese textbooks are the most important channels for the creation of classics. In addition, the awareness of the public is also an important factor. However, Chinese modern poetry is still far from being publicized, and only a certain circle of people knows about the new poems, while the rest of the people can only recite or memorize few poems that are selected for language textbooks, which is far from enough. The most important factor in the highest achievement of Tang poetry in ancient China lines in the its high quality and higher production, while new poetry, except for the rapid development in the first thirty years, has seen fewer and fewer excellent poets emerge in the later period, gradually fading out of the ordinary people's view. In view of this, relevant institutions can organize some programs and activities, so as to publicize Chinese modern poetry; hold related competitions, so as to reward the creation of new poems.

===5. Conclusion===

For Chinese poetry, it is a remarkable thing to leave so many influential, distinctive and standard works to posterity with only a hundred years of development. And the study and research of the canonization of Chinese poetry is also very meaningful. But the canonization of modern poetry is a long way to go and requires a lot of efforts.

In this paper, we analyze the development and value of modern Chinese poetry, introduce the elements of excellent classical works, and point out five problems in the canonization of modern poetry nowadays. The author hopes that these five problems can be properly solved in the future, so as to promote the process of poetry canonization. The classic poems we select are not necessarily the most valuable works, nor are they necessarily the works with the greatest room for interpretation, nor are they necessarily of high literary achievement, nor do they necessarily reflect the characteristics of the times most accurately, but the selection of classic poems should reflect the basic consensus of readers and be widely accepted. The new poetry classics can look for excellent works that can serve as spiritual resources, value formation and value cultivation for our younger generation and our public, while also taking into account the characteristics of the Chinese language itself. Canonization is not something that can be accomplished by any one generation, and the process of canonization requires different or the same efforts from different generations.

In short, excellent works will overcome the test of time and be immortalized and enshrined as classics.

===References===

===Terms and Expressions===

Chinese modern poetry 中国现代诗歌

Canonization 经典化；承认为圣典

Synchronic 共时性的

Diachronic 历时性的

Go global 走出去

Vernacular poem 白话诗

Lyrical poems 抒情诗

Highbrow literature 高雅的文学作品；阳春白雪

Chinese textbook 语文课本

Knowledge reserve 知识储备

Rhythm 格律；韵律

Artistic aesthetics 艺术审美

===Questions===

1. Who was regarded as "the first vernacular poet"?

2. New poetry faces two peaks that are difficult to surpass. What are they?

3. In China's exam-oriented education, which one is more likely to be examined, ancient poetry or modern poetry?

===Answers===

1. Hu Shi.

2. One is Chinese classical poetry and the other is the poetry achievements of the West since Shakespeare.

3. Ancient poetry

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On Mo Yan’s Representative Works Translated Overseas'''</center>

<center>Liu Yao 刘瑶</center>

===Abstract===
With the implementation of “Going Global” strategy of Chinese literature, more and more works of outstanding Chinese writers have been translated and published in countries around the world, and Mo Yan’s works are representative of them. In 1988, The Dry River was published in Japan, which started the overseas publishing of Mo Yan’s works. As of October 2019, there are 388 kinds of Mo Yan’s works published in 41 countries and Mo Yan has become a representative of contemporary Chinese writers to the world. A comprehensive discussion on the development history, geographical and language distribution, and audience acceptance of Mo Yan's representative works translated overseas is an important topic that can summarize some features of Chinese literature translated overseas, from which to gain some revelation related to Chinese literature's going global. This paper collects relevant papers and journals on the translation and dissemination of Mo Yan's works, based on which this paper reaches a conclusion of information related to Mo Yan's three representative works —''Red Sorghum''《红高粱家族》, ''Frog''《蛙》, ''Big Breasts and Wide Hips''《丰乳肥臀》. Taking masterpieces of well-known writers as examples, this paper is in the hope of offering new ideas for the translation and dissemination of Chinese literature.Through study and research on the topic, this paper concludes that the significance of Mo Yan's works translated overseas is mainly reflected in the following three aspects: first, showing the global influence of Chinese contemporary literature; second, contributing to the further development of the dissemination of Chinese culture; third, setting a model for cultural communications between China and other countries. The translation and dissemination of Mo Yan's works also inspire us that the spread of Chinese literature needs not only policy support from the government, but also high level translation from translators, both of which are key factors in terms of Chinese literature's going global.

===Key words===
Mo Yan; representative works; translation; dissemination

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘珍 Liu Zhen 202170081588 MW==

<center>'''A Study of Strange Stories From a Chinese Studio from the Perspective of Skopos Theory'''</center>

<center>刘珍</center>

===Abstract===
Liao Zhai Zhi Yi written by Pu Songling is a famous collection of more than 400 peculiar short stories. As a work coming into being at the very beginning of the 17th century when the classical Chinese writing was on the wane, the appearance of Liao Zhai Zhi Yi (or Liao Zhai in abbreviation) injected vigor and vitality into the classical Chinese literature. Among the many foreign translations of this book, the English version named Strange Stories from a Chinese Studio translated by Herbert Allen Giles is the most popular and influential one so far, thus becoming an indispensable part for the study of the English translation of Liao Zhai. At a time that we are calling for Chinese culture going global, as a successful case of Chinese literature work well-accepted by the foreign market, the English translation if sure of high research values and guiding significance. This thesis attempts to take Skopos theory as the theoretical basis, and take Giles’s Strange Stories from a Chinese Studio as the main research object to study the translator’s aims, the choices of translation strategies and the achievement of translation function.

===Key words===
Strange Stories from a Chinese Studio; Herbert Allen Giles; Skopos theory; Reader Expectations

===Introduction===
With the continuous improvement of China’s comprehensive national strength and international status, as well the lasting deepening of economic globalization, the speed of international communication and influence of Chinese culture have made a qualitative leap. More and more international friends are beginning to learn and understand Chinese culture when China absorbs widely from other countries. So, it is also a great challenge for traditional culture of China. How to make the traditional Chinese culture recognized and loved by young people, so has it can be inherited and continue to develop forever, is a problem that all sectors of the society need to think about. In the present society, culture is an important soft power to improve a country’s international status and its international images. It is also an important medium for foreign exchange and cultural communication. In such a context, it is particularly important to further promote the “going-out” strategy of Chinese culture. To realize the continuous internationalization of Chinese culture and truly make the “going out” of culture come true, it is necessary to learn, develop and innovate Chinese culture and create more representative works with Chinese characteristics. Moreover, it is crucial to adopt proper measures to spread the traditional culture, and show the charm of Chinese culture as a country with an ancient civilization to the whole world. As one of the four ancient civilizations, China has accumulated a profound cultural heritage from its 5000-year history. Relying on long Chinese history, and spreading splendid culture abroad have become an important part of Chinese culture’s “going out”.

===Literature Review===
The studies of Giles at home and abroad mainly focus on his translations of literary works, the works of Sinology, and the diplomatic activities and life experience, among which the translation studies of literary works including poetry, prose and novels are most significant. In the Doctor’s paper, Wang Shaoxiang(2004) had done an elaborate study of Herbert Allen Giles from Giles’s experiences in a whole life, including being a diplomatic officer in China, a professor of Sinology in the Cambridge University, and being a “Ishmael of Sinology” to debate with Thomas Francis Wade, James Legge and Arthur Waley. Pang Xuefeng (2018, 36-41) Ideological theory. Dai Yan (2018, 5-13) focused on the background and reviews of A History of Chinese Literature, and the ideas of Giles to Chinese literature were also conveyed.

The earliest English version of Liao Zhai Zhi Yi is a two-volume edition named Strange Stories from a Chinese Studio which is translated by Herbert Allen Giles, and published in London in 1880 with 164 stories. It is just the research object of this thesis. Other influential English editions include the Selected Stories from Liao Zhai containing a total of 17 stories translated by famous Chinese translators Yang Xianyi and Gladys Yang. In 1989, Strange Tales from Make-do Studio was translated by American Sinologists Denis C. Mair and Victor H. Mair with 51 stories of Liao Zhai Zhi Yi. And the recent English versions include the Strange Tales from a Chinese Studio translated by John Minford who spends 14 years, starting in 1991 and completing in 2005. It was published by the British Penguin Publishing Group in 2006. His translation includes 104 stories. The 4 volumes including 216 stories of Liao Zhai Zhi Yi was published mainly by the translator Huang Youyi with the name Selections from Strange Tales from the Liaozhai Studio. It is an English version with most stories than any others until now. But, because it is newly printed, the scholar’s attentions and studies on it are few.

Inputting the keyword “Liao Zhai Zhi Yi, English translation”, there are 80 related papers on CNKI at present. Compared with A Dream of Red Mansions which is also a classic and even with a relatively rare English translation versions, the numbers of papers are greatly limited. The domestic researches of it are far from enough. The studies on it in foreign countries are almost blank.

Other researches include the analysis of single translation of Giles from the perspective of feminist translation theory by Sun Chuanbing (2016), and Manipulation theory by Zhang Jie (2012). Su Guoliang (2014) mainly studied the Domesticating translation from Bourdieu’s Sociological theory in master’s paper which can be classified into the translation under cultural background. Qiao Yuan (2015, 96) countered the reviews of Giles’s unlimited manipulation on translation by the analysis of translation aims of Liao Zhai Zhi Yi. But she had not mentioned more about translation strategies. Much researches indicate the translator’s manipulation of translation under different social background. However, there are few studies taking Skopos theory as the research theory to systematically study Giles’s translation ideas and the skopos of the translation.

===Methods and Theories===
Theoretical Framework
With the continuous development of human cognitive ability, the functionalist theory of translation emerged in the 1970s. Since the advent of the theory, a new study perspective has been opened up in the field of translation. This theory breaks the concept of the supremacy of the original text of the linguistic translation school. The faithfulness of the translated text to the original text is no longer the first issue considered by the translator. The original text only provides the translator with information. It is pointed out that the expected purpose of translation determines the whole process and the result of translation. However, the functional translation theory was not formed overnight but went through four long stages of development. Outstanding representatives have emerged at every stage of development. All of them have made significant contributions to the development of translation theory.

The representative of the first stage is Katharina Reiss, who is one of the vital early founders of the translation theories by German functional school. Her main works include Possibility and Limitations in Translation Criticism (1971) and General Theory of Translation (1984) and Type, Kind, and Individuality of the Text Decision Making in Translation. Katharina Reiss’s early translation theory mainly focuses on the concept of text equivalence, which advocates the combination of language function, text type, translation strategy and text genre. The functional category is introduced into translation criticism for the first time. In the later period, although she advocates that the functional features of the translated text should be considered first, she does not completely get rid of the concept of equivalence.

The representative of the second stage is Hans Vermeer, who is a student of Katharina Reiss. His works include Essays on Translation Theory (1983), General Theory of Translation (1984) and Essays on Purpose and Translation Appointment (1989). His most significant contribution to the field of translation is the establishment of the Skopos theory, which breaks through the shackles of Katharina Reiss’s functional equivalence. He holds that translation is an act, and every action has a purpose. First of all, it is necessary to clarify the purpose of translation. He regards the Skopos principle as the first principle. That is to say, if the purpose of translation is different, the strategies and methods adopted in translated text are also different. In addition, he also puts forward the principle of coherence and the law of faithfulness. The former means that the translated text should be accepted and understood by the target audience. The latter refers to the coherence between the translated text and the source text.

The representative of the third stage is Jasta Holz Manttari, whose representative work is the Theory of Translation Action (1984). He puts forward the theory of translation action, which regards translation as a purpose-driven and result-oriented interaction between people, and makes a detailed analysis of the action in the process of translation and the role of the participants. It includes the initiator, the original author, the translator and the recipient of the translation. They are not involved in every process, but one person can play several different roles. The theory of translation action and the Skopos theory have a lot in common. Later, Vermeer also combined the two theories organically.

3.2 Translation principles of the Skopos theory
German functional school divides translation principles into two categories: one is a general principle (the Skopos principle and the loyalty principle), which is applicable to all translation processes, and the other is a special principle (the coherence principle and the faithfulness principle) which is applicable to special situations. The first type of translation principles is the two major principles that run all the way through the whole translation process, while the second kind of translation principles depends on special circumstances.

The Skopos principle: it is the first principle in the process of translation to realize the expected function of the translated text in the target language culture. According to the Skopos theory, the first principle followed in all translation activities is the Skopos principle. The purpose to be achieved by the act of translation determines the whole process of thetranslation action, that is to say, the result determines the methods. However, translation activities can have many purposes, such as the purpose of the survival of the translator(earning money), the communicative purpose of the translation (convenient for readers to read). The purpose will be achieved by using a special means of translation (For example, in order to illustrate the special features of the grammatical structure in a language, literal translation method is adopted according to its structure). Generally speaking, the purpose refers to the communicative purpose of the translated text, that is, the communicative function of the translated text to the target readers in the socio-cultural context of the target language. Therefore, the translator should define his or her specific purpose in a given translation context and decide to adopt literal translation, free translation or other translation methods based on this purpose.

The coherence rule and the fidelity rule: the translated text not only conforms to the principle of Skopos but also conforms to the principle of coherence and the law of fidelity in the process of translation. the translated text should conform to the standard of intra-lingual coherence, that is, the readability of the translation and the acceptability of the translation. The principle of fidelity means that intratextual coherence should be maintained between the source text and the target text, which is similar to the statement of faithfulness to the source text. Still, the purpose of the target text and the translator’s understanding of the original text determine the degree of faithfulness between the target text and the source text. The principle of coherence and the principle of faithfulness must be subordinated to the principle of purpose. If the target text is required to be coherent and smooth according to the purpose of translation, then the translator should try his best to make the target text coherent and smooth. At this time, the principle of coherence is in line with the purpose of translation. If the target text is notnecessarily coherent and smooth on the basis of the Skopos principle, then the coherence rule does not apply. By the same token, if the translated text is required to reproduce the features of the source text for the purpose of translation, then the principle of faithfulness is consistent with the principle of purpose, and the translator should try his best to reproduce the characteristics of the source text. If there is a certain degree of difference in function between the target text and the source text, then the principle of faithfulness is no longer appropriate. Therefore, the purpose principle is universally applicable, while the coherence principle and the faithfulness principle are special.

The principle of loyalty: the principle of loyalty is a supplementary principle of the Skopos theory. This principle is used to solve the cultural differences and the conflict among participants involved in the translation process. The translator is required to coordinate the relationship among the participants in the process of translation according to the principle of loyalty. when there are some conflicts among the participating parties, the translator should coordinate and strive to reach a consensus. In other words, the principle of loyalty is to take into account the interests of all participants and prevent the translator from rewriting at will. The above four translation principles constitute the basic principles of the Skopos theory. Among them, the Skopos principle and the loyalty principle are the two major principles in all translation processes. The coherence principle and the faithfulness principle depend on special circumstances. The principle of coherence, the principle of faithfulness and the principle of loyalty must be based on the principle of Skopos.

Translation Strategies in Strange Stories from a Chinese Studio under Skopos Theory Liao Zhai Zhi Yi written by Pu Songling is not simply to create a strange and legendary world that full of monster and ghost, but a kind of fight and resentment against the society at that time. It is conspicuous that Giles’s translation aims are different for the original one. Translating is a purposeful or functional activity as functional school had introduced. Sometimes the equivalence is not desired when the target text is intended to achieve a purpose different from the original one.1 When translating Liao Zhai Zhi Yi, in order to achieve his aims that largely different from the original one, as well as ensure the faithfulness of the target text, Giles used a variety of strategies. This part will discuss translation strategies in Strange Stories From a Chinese Studio with Skopos theory.

===Translation Strategies under Fidelity Rule===
According to Skopos theory, translation is intentional which means that there are existence of free will and a choice between at least two possible forms of behaviour.2 But such freedom is not unrestricted, and the target text must keep in touch with the original text. But the degree of fidelity is determined by the translation purposes. Giles respected the value of Liao Zhai Zhi Yi a lot. In order to spread Chinese culture, show the elegance of Chinese culture and keep the original style, Giles adopted various strategies to keep fidelity with the original text.

Giles intentionally adopted annotations to spread Chinese culture when translating, especially in term of the translations of culture-loaded words and allusions. As we all know, preface is very important to understand the ideas and motivations of a writer. Therefore, Giles made great efforts on translating the preface for a better and easier understanding of the original text. Foreignization and annotation are very useful to interpret the original meaning clearly.

Example 1 : from （《自序》）(p1)
Source text: 松落落秋萤之火，魑魅争光；逐逐野马之尘，魍魉见笑。
Target text: As for me, I cannot, with my poor autumn fire-fly’s light, match myself against the hobgoblins of the age. I am but the dust in the sunbeam, a fit laughing-stock for devils.
Annotation: Hai Kang, a celebrated musician and alchemist (A.D. 223-262), was sitting one night alone, playing upon his lute, when suddenly a man with a tiny face walked in, and began to stare hard at him, the stranger’s face enlarging all the time. “I’m not going to match myself against a devil!” cried the musician, after a few moments, and instantly blew out the light...(xiii)

As to the preservation of the original style of Pu Songling’s Liao Zhai Zhi Yi, the translation of this sentence is simple and powerful. Giles translated it literally, but the implied meaning can only be understood when the readers know the meaning of allusions. It is in fact a kind of self-deprecation of Pu Songling. However, it is hard for foreign reader to get the implicature. So Giles added much annotations to explain the allusion about “Hsi Kang” (嵇康)and “Liu Chuan” (刘损) who was laughed at by a devil for his poverty, then the readers can learn why the writer says himself “against hobgoblin” and “ laughing-stock for devils”. The readers can learn the origin of the saying, and also experience the underlying emotion by annotations.

Example 2: from 《自序》）(p1)
Source text: 知我者，其在青林黑塞间乎！
Target text: For where are they who know me? They are ‘in the bosky grove, and at the frontier pass’—wrapped in an impenetrable gloom!
Annotation1: Confucius said, “Alas! There is no one who know me (to be what I am).”
Annotation2:The great poet Tu Fu(A.D.712-770) dreamt that his greater predecessor, Li Tai-Po(A.D.705-762) appeared to him, “coming when the maple-grove was in darkness, and returning while the frontier-pass was still obscured;”—that is, at night, when no one could see him; the meaning being that he never came at all, and that those “who know me (Pu Sung-ling)” are equally non-existent.(xv)

It is a rhetorical question in original text. Pu Songling meant that no one could learned of him, and queried that whether the one who understood him was just a ghost in underworld. Giles tried to make target readers enjoy Liao Zhai Zhi Yi in the original meaning by literal translation. But Giles not only indicated the derivation of “青林黑塞”, also explains the meaning clearly by annotation. It enriches the contents of the translation, and enable readers learn more about Chinese culture and the charm of poetry on the basis of the understanding of translation. “知我乎” stems from Lunyu which is an ana about Confucius and his students. Giles just pointed the derivation out and did not introduce Confucius further more, because that Lunyu was transmitted to western world earlier and Confucius was not a complete stranger to the target readers.

Example 3: from 《自序》）(p1)
Source text: 集腋成裘，妄续幽冥之录；浮白载笔，仅成孤愤之书。
Target text: ...and over my cheerless table I piece together my tables, and vainly hoping to produce a sequel to the Infernal Regions. With a bumper I stimulate my pen, yet I only succeed thereby in ‘venting my excited feelings.’(xv)

“集腋成裘”is an idiom in China. Giles translated it in free translation strategies, but supplemented the literal meaning with the annotation. Youminglu《幽冥录》 is also a collection of stories about ghosts, devil and divinities writen by Liu Yiqing of Song dynasty. Considering the content of Youminglu, Giles just translated it into “Infernal Region” freely which was easier for readers to accept. But in the annotation, the writer of that book Liu Yiqing was explained as a “well-known writer flourished during the Sung Dynasty.” It enhances the literary value of the original text. “孤愤之书” refers to the 《孤愤》 written by Han Fei. Giles introduced Han Fei in annotation,but he did not talk about that book. However, there is no influence on the understanding of the text in that Giles used literal translations to express the basic meaning to show the real emotion of writer. Multiple translation strategies are used in this example. But thepurpose that to obtain more information of Chinese culture,and conform to the reception of target readers is stable.

Example 4: from Miss Quarta Hu(《胡四姐》)
Source text: 会值秋夜，银河高耿，明月在天
Target text: One autumn night when the Silver River was usually distinct and the moon shining brightly in the sky(Miss Quarta Hu)(p94-95)

Giles used foreignizing translation for the reason that “this name unquestionably a more poetical one than our own” expressed in footnote.(p94) Different from other Sinologists at that time, Giles confirmed that the Chinese culture was not lower than any others. He tried to express the purity and elegance of Chinese culture. For this reason, Giles translated “银河”into “Silver River” not Milky Way.

Example 5: from Examination for the Post of Guardian Angel (《考城隍》)
Source Text: 移时入府廨，宫室壮丽。上坐十余官，都不知何人，惟关壮缪可识。
Target text: They then entered the Prefect’s yamen, the apartments of which were beautifully decorated; and there they found some ten officials sitting at the upper end, all strangers to Mr. Sung, with the exception of one whom he recognized to be the God of War. (Examination for the Post of Guardian Angel) (p1)

“府廨”“关壮缪”are typical social cultural-loaded words. Giles translated “Fu Xie”which meant government office, as yamen. Yamen is a more universal appellation. Besides, Giles also added corresponding footnote as “The official residence of a mandarin above a certain rank” and fully expressed the social and cultural meaning. “Guan Zhuangmiu” refers to Guanyu in the source text. Guanyu is an outstanding general in the late Eastern Han Dynasty who is righteous, loyal and courageous.

===Translation Strategies under Coherence Rule===
Target readers are very important in the translation process. A translation is successful or not greatly based on the acceptance of readers. Thus, a translation must conform to readers’ expectations and communicative needs. In Skopos theory, coherence rule stipulated that the translation should be coherent with the receivers’ situation and acceptable by receivers.5 Giles uses rewriting, paraphrase, deletion and addition to attract readers and accommodate the target environment when translating.
Rewriting is a kind of translation strategies that the form, content and style are changed for special purposes and reception of target readers.

Example 6: from Miss Quarta Hu(《胡四姐》)
Source text:我视卿如红叶碧桃，虽竟夜视勿厌也。
Target text: My lovely rose, my beautiful peach. I could gaze at you all night long. (p95)
Example 7: from Miss Quarta Hu(《胡四姐》)
Source text:年方及笄，荷粉露垂，杏花烟润，嫣然含笑，媚丽欲绝。（《胡四姐》）(p67)
Target text: Who turned out to be a young damsel of about fifieen, with a face delicately powdered and resembling the lily, or like an apricot-flower seen through mist; and altogether as pretty a girl as he had ever seen. (Miss Quarta Hu) (p95)

“红叶”in also written into “红药”in some versions. It is a kind of flower named Chinese herbaceous peony which is widely used in Chinese classic literature. The flower blossom is just like cloud in red, and the posture is graceful and charming. So Chinese literatis usually use peony to show the beauty and mature charm of female. But in western countries, Chinese herbaceous does not have the same implicature. According to the target culture and readers, Giles translated it into “rose” which had the same connotation with peony, but got more acquaintances of target readers.
Another example is “荷” which is translated into “lily”. Those two kinds of totally different flowers have the same connotation in two cultural contexts. “荷” is lotus in English. Lotus is loved by Chinese literatis, because they think it is the symbol of noble-mind and purity. Pu Songling compared the girl to pink lotus in order to show her purity, shyness and loveliness. When translating, Giles used “lily” to express the same meaning. Such rewriting is guided by the context of target language and serve for target readers through choosing normative target words to express the original meaning.

Example8: from Miss A-Pao (《阿宝》)
Source text:生以是抡魁。明年，举进士，授词林。（《阿宝》）(p80)
Target text: Consequently, he came out at the head of the list; and the next year, after taking his Doctor’s degree, he was entered among the Han-lin Academicians.(Miss A-Pao; or Perseverance Rewarded) (p121)

“进士”is the appellation who pass the final imperial competitive examination. The system of competitive examinations of ancient China is hierarchical. And the top-class examination is presided over by Emperor. Only those who pass royal examinations(or final imperial examinations) can be called Jinshi. It is a little complex, so Giles just translated it as “Doctor’s degree” which meant the highest
degree in Britain, the same implicature to Jinshi. Paraphrase means to interpret the general meaning of the words when translating. It emphasizes the cultural clash between two languages

===Translation Strategies under the Skopos Rule===
Translation is a purposeful activity. So Skopos rule is the top-ranking rule as Vermeer explains in the three principles of Skopos theory. The Skopos rule means that the translation must meet with the requirements of all participants, such as the sponsors, target readers and translators. The translators should translate in a way that the communicative functions could be achieved.6 All actions during translation serve for the achievement of translation Skopos. The process should be fully considered during translation, containing the choice of original text, the translating strategies and the expectation of target readers. Different translation strategies are not contract with each other. According to different translation aims and target readers, the translators can adopt various strategies to get the intentional function.

Example 9: from The Painted Skin《画皮》
Source text:乃与寝合。使匿密室，过数日而人不知也。（《画皮》）(p38)
Target text: ...and so she remained there for some days without any one knowing anything about it.(The Painted Skin)(p48)
The underlined sentence was deleted when translation in that it showed the unfair relationship between Wang and the strange young lady. It does not conform to Giles’s expressions to most Chinese people and also is not benefit for the image construction of China and Chinese.

Example 10: from Joining the Immortals《成仙》）
Source text:舐创一窥。则妻与一厮仆同杯饮，状甚狎亵。（《成仙》）(p29)
Target text: He licked a hole in the paper window and peeped through, and saw his wife sitting drinking with a most disreputable-looking fellow. (Joining the Immortals)(p38)

Giles omitted the latter part which said Mr. Zhou’s wife and the fellow were just slutty in action. Such deletion works for Giles’s purpose to show exquisiteness of Liao Zhai Zhi Yi. Another example can be found in the translation of The Painted Wall.

Example 11: from The Painted Wall (《画壁》)
Source text:生视女，髻云高簇，鬟凤低垂，比垂髫时尤艳绝也。四顾无人，渐入猥亵，兰麝熏心，乐方未艾。（《画壁》）(p5)
Target text: Mr. Chu found his wife very much improved by the alteration in the style of her hair. The high top-knot and the coronet of
pendants were very becoming to her.(p6)

Giles did not translate the latter sentence just because these contents were not useful and meaning to get the function of the translation in his opinion.

Example 12: ( The painted Skin) (《画皮》）
Source text:乞人咯痰唾盈把，举向陈吻曰：“食之！”陈红涨于面，有难色；既思道士之嘱，遂强啖焉。觉入喉中，硬如团絮，格格而下，停结胸间。（《画皮》）(p40)
Target text: After this he produced a loathsome pill which he told her she must swallow, but here she broke down and was quite unable to do so. However, she did manage it at last...( The painted Skin)(p51)

The translation of this part is much different form the original one. Firstly, Giles rewrote the disgusting word. The meaning of “咯痰唾盈把” is expectorating in hand. Then the maniac demands Wang’s wife eating it. It was so filthy that Giles Changed it to “loathsome pill” which was more moderate. What’s more, the direct speech in the original text transfers to indirect speech by Giles which makes target readers further from the text and strengthen the narrativity of the stories. Giles also deleted the underlined sentence. Pu Songling wrote like that is to show the humiliation Wang’s wife had suffered. Such experience also certifies her love to her husband and stresses
the infidelity of Wang. Giles’s deletion and rewriting may decline the expressing strength, but it has conformed to the translation purpose of the translator and the readers’ expectations. It assures the elegance and concise of the target text.

===Conclusion===
Skopos theory emphasizes the initiatives of translation participants. Besides, the translation strategies under translation skopos are obviously shown in Giles’s Strange Stories from a Chinese Studio. Giles has manipulated a lot in the translation of Liao Zhai Zhi Yi for the achievement of translation aims and functions. Through the study, it is found that the translation is accepted by readers and skopos is just reached.
First, this thesis tries to explore the translation aims of Giles. Through the study of this thesis, Giles’s translation aims are systematic analyzed by the incorporation with his other works about Sinology. One purpose is that Giles tries to reconstruct the Chinese image with a very disparate attitude towards Chinese culture and China. Then the translation strategies are studied. Translation skopos have great effects on the selection of translation strategies. On the basis of Giles’s translation aims and function, various trategies are adopted. Both foreignizing translations and domesticating translations are used. Last, it comes to the achievement of translation functions. For the preservation of translation function, translators must think over the expectation of target readers. On this basis, Giles assure the target readers explicitly in the beginning of the translation. The translation was aimed at the English speakers, not the language learning students specially. For those target readers, they were curious about oriental countries and unfamiliar with China. So they were interested in the Chinese works, especially the novel about ghost and monsters. Liao Zhai Zhi Yi is a collection of short stories which not only can attract the interests of readers, but is full of morality, religious thought and folk of China. Those contents are just what Giles want to transmit and the target readers would like to learn.

===References===
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Berthold, Laufer (1926). Strange Stories from a Chinese Studio[J]. American Folk-lore, (39): 151.

Herbert A Giles (1909). Strange Stories from a Chinese Studio[M]. London：T.Werner Laurie Clifford’s Inn.

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Pu Songling蒲松龄. (2010)聊斋志异[Strange Stories from a Chinese Studio].北京：中华书局Beijing: Zhonghu Book Company.

Tan Zaixi谭载喜.(2004) 西方翻译简史[A Brief history of Western Translation].北京：商务印书馆Beijing: The Commercial Press.

Xu Man徐曼.(2012)《聊斋志异》翟理斯英译本研究[A Study on the English Translation of Strange Stories from a Chinese Studio by Giles]. 郑州轻工业学院学报Journal of Zhengzhou University of Light Industry ,(3):109-112.

Zhang Jie张捷.(2012) 操控理论视角下《聊斋志异》翟理斯英译本研究[A Study on the English Translation of Strange Stories from a Chinese Studio from the Perspective of Manipulation Theory].湖南大学Hunan University.

==英语笔译马艳焕 Ma Yanhuan 202170081591 CE==
The Translation and spread of Su Tong 's works Abroad

<center>'''The Translation and spread of Su Tong 's works Abroad'''</center>

<center> Ma Yanhuan 马艳焕 </center>

===Abstract===
Su Tong is one of the famous contemporary Chinese writers, whose works have been translated into a variety of languages and widely spread abroad. therefore, the writer Su Tong has also become one of the top three foreign translators of novels in China. Based on the present situation of the foreign translation of Su Tong's works, this paper will explore the reasons for the success or failure of its overseas dissemination, and put forward some countermeasures to provide a reference for the going out of Chinese literature.

===Key words===
Su Tong; Translation； Spread

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译聂薇 Nie Wei 202170081592 MW==

<center>'''Translation of Idioms in Howard Goldblatt's ''Life and Death are Wearing Me Out'''''</center>

<center>Nie Wei 聂薇</center>

===Abstract===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is full of vivid and interesting idioms, which make the language of this novel so unique and characteristic. Howard Goldblatt's translation of this novel has been a great success in the English-speaking world. In the translation of idioms in this novel, he mainly adopts the methods of foreignization and omission, and follows the translation principles of preserving the foreign culture and insisting on semantic correspondence in order to present the heterogeneity of the idioms, so that the Chinese culture contained in the idioms in ''Life and Death are Wearing Me Out'' is well presented to Western readers. His translation provides a more objective platform for Western readers to know the diverse cultures of the world. The study of Goldblatt's translation of this novel can help guide the English translation of Chinese literature, thus providing references for promoting Chinese culture abroad.
===Key words===
''Life and Death are Wearing Me Out''; Howard Goldblatt; translation of idioms; creative treason
===Introduction===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is not considered the best novel in China, but Goldblatt's English translation has received much attention in the English-speaking world, won many international awards, and is even considered one of the most important works for Mo Yan to win the Nobel Prize in Literature. One of the most distinctive features of this novel is its unique language style. Goldblatt’s exquisite translation enables Mo Yan's style to be reproduced, and the strong local flavor and magical realism to be manifested, all of which is an important factor for the success of the English translation of ''Life and Death are Wearing Me Out''. This paper discusses the translation methods and principles adopted by Goldblatt in his translation of the idioms in this book, and analyzes its influence on the dissemination of Chinese culture, so as to provide reference for future translations of Chinese classics. (Shi Chunrang 2019, 94)
===Literature Review===
I searched CNKI with keywords "''Life and Death are Wearing Me Out'' and translation" (searched until May 29, 2022) and found 355 related papers. These papers analyzed the translation methods, strategies and Goldblatt’s translation style of ''Life and Death are Wearing Me Out'' from different perspectives, such as relevance theory, Bourdieu’s theory of field, Reception Aesthetics Theory, eco-translatology, translation aesthetics, the post-colonialism perspective, rewriting theory, translation ethics, hermeneutics and translators' subjectivity.

Among them, there are five papers related to the study of proverbs ( idioms). Wang Yiting and Lin Mei point out that Goldblatt mostly uses literal translation to translate idioms in the linguistic dimension, chooses both literal and free translation in the cultural dimension, and uses rewriting in the communicative dimension. Liu Geng and Lu Weizhong, with the help of conceptual metaphor theory, point out that the English translation of the idioms in ''Life and Death are Wearing Me Out'' has certain translator's subjectivity, and the translator's metaphorical way of thinking affects the use of different translation strategies. Ye Pingting, based on the cultural translation view, uses the idioms in Goldblatt’s version as a corpus to explore how translators effectively convey cultural information. Chen Qiansa analyzes the use of idioms and their translation methods in this novel based on the Chinese-English parallel corpus. Shi Chunrang and Shi Yan analyze the role of idioms in ''Life and Death are Wearing Me Out'' in constructing the "image of the other" for Western readers, as well as in deconstructing the cultural psychology of western readers.

The study of idioms’ translations in Goldblatt's version includes both case studies, in which a single idiom is selected for discussion, and quantitative analyses supported by definite statistics. This paper provides an overall study of the methods and principles of translating idioms, and suggestions for improvements to the mistranslations in Life and Death are Wearing Me Out, so as to provide a reference for the English translation of Chinese literary works in the future.
===Methods and Theories===
This paper focuses on the study of Goldblatt’s translation based on Venuti's theory of domestication and foreignization and the concept of creative treason.

Lawrence Venuti firstly formulated and introduced the theory of domestication and foreignization in the book ''The Translator’s Invisibility''. According to Venuti, domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target readers, while foreignization refers to the type of translation in which a target text deliberately breaks target conventions by retaining something of the foreignness of the original.

The domestication method can express the language and culture of the source language with the language and culture familiar to the target language readers, and the translation is fluent and easy to read and accepted by the readers, but the "domestication method" tends to distort the facts of the original text, which is not conducive for the target readers to feel the "exoticism" of the foreign culture. On the other hand, the "foreignization method" can better maintain the style of the original text, convey the author's original intention, and let the target language readers truly feel the difference between the two cultures, but the disadvantage of it is that the translation may be obscure and difficult to understand, and may sometimes make the readers have cultural misunderstanding. (Zhu Zhouxain 2013,155)

Professor Xie Tianzhen published a book entitled ''Translation Studies'', in which he elaborated on the creative treason in literary translation in depth. In his book, he clearly pointed out that "the most fundamental characteristic of creative treason in literary translation is that it introduces the original work into a receptive environment that the original author did not originally anticipate, and changes the form originally given to the work by the original author."

Due to the specific differences in social, historical and cultural factors between the source language and the target language, the translator will certainly make appropriate and comprehensive "adjustments" to the specific differences in semantics between the two languages in different contexts during the whole process of translation. These "adjustments" are, on the surface, a "treason" against the original work, but it is not the translator's trampling on the original work at will, but the translator's attempt to make the translation convey the same meaning as the original work in the translated language environment. (Zhang Liyun 2019,141)

===1.Idioms in ''Life and Death are Wearing Me Out'' and their characteristics===
Idioms are simple and concise folk languages that are widespread and easy to understand. Most of them are short sentences that are transmitted orally by the laboring people, reflecting their experiences in production and life vividly. Idioms contain a great deal of background information and culture, and it is a form of language that has been developed over a long period of historical development and real life.

''Life and Death are Wearing Me Out'' is filled with lively and amusing idioms that bring uniqueness and vitality to the novel's language. This novel tells the story of joys and sorrows experienced by the landlord Ximen Nao’s family and the farmer Lan Jiefang’s family for more than half a century. The theme of the novel is closely related to the farmers and the land, which of course requires the use of a large number of idioms to narrate the story. (Shi Chunrang 2019,94)

Clearly, the idioms in this novel are diverse in form and peculiar in presentation. For example, when the donkey reincarnated from Ximen Nao bragged about being favored by the county chief, it said, "人们都知道，侍候好了县长的驴，就会让县长格外高兴。拍了我的驴屁，就等于拍了县长的马屁。" The translation is "Everyone knew that taking special care of the county chief's donkey made him very happy. Patting my rump was equivalent to patting the county chief's behind with flattery." Here cleverly, the common saying "拍马屁" in people's daily life is used as “拍驴屁”, which highlights the identity of the donkey, and also vividly and humorously depicts the complacency and arrogance of the donkey, while expressing its contempt for those who strive to curry favour with people in authority.

In addition, when the ghosts in the hell sneered at Xinmen Nao, they said, “猫改不了捕鼠，狗改不了吃屎”. The translation is “You can’t keep a cat from chasing mice or a dog from eating shit.” The language, though vulgar, is very common in people’s daily life and fits the overall style of the novel.

This kind of linguistic style is both traditional and innovative, both unbridled and unrestrained, and is highly effective for shaping the characters and plotting.
===2.Goldblatt’s translation methods of idioms in ''Life and Death are Wearing Me Out''===
(i) Foreignization

The method of foreignization is to deliberately make the translation violate the conventional linguistic models in target language and retain the exotic atmosphere of the original text, with the aim of "injecting the linguistic and cultural differences in the foreign text into the target language, sending the readers abroad" and providing them with an "unprecedented reading experience”. Goldblatt deliberately uses the method of foreignization to translate idioms in this novel.

Specifically, Goldblatt tries to convey the heterogeneity of idioms in the original text in the following ways.

First, he tries his best to show the target readers the meaning of Chinese idioms that is unique to China and not available in the Western culture. After all, idioms are developed in the production and life experiences of different peoples. Therefore, Goldblatt chooses literal translation whenever possible.

For example, “你是煮熟的螃蟹难横行了，你是瓮中之鳖难逃脱了” is translated into “You’re a cooked crab that can no longer sidle your way around，a turtle in a jar with no way out”. “瓮” is a unique Chinese utensil with rich Chinese cultural information. The image of "瓮" is missing in the English-speaking world. Therefore, he borrows the familiar apparatus "jar" from English to translate it, which is roughly similar to "瓮" in appearance. This translation uses an alternative image to convey the message of the original text, which reduces the connotative information of the original idiom but makes it easier for the target readers to understand the essential message of the idioms.

Second, for some idioms, Goldblatt translates them by literal translation with annotation. The literal translation is of course for presenting the original message of the idioms to the target readers, while the annotation is to help the readers better understand the essential message of the idioms, because some of them have complex metaphorical messages, so annotation is essential for understanding.

For example, “兔死狐悲，物伤其类” is translated into “When the rabbit dies，the fox grieves, for his turn will come.” This annotation “ for his turn will come” clearly illustrates the message of the original idiom and removes any confusion about why the fox grieves for the rabbit’s death. With annotation, the connotative meaning of the idiom becomes clearer.

Third, for some idioms that have exact equivalents in the target language, the translator deliberately translates them with explanatory literal translations instead of copying the idioms in the target culture. For example, “入乡随俗” is translated into “When you come to a new place，learn the local customs and follow them” rather than “When in Rome, do as the Romans do” in English. Obviously, the use of semantic equivalents of idioms in the target language cannot translate the information conveyed by the original context. An explanatory literal translation approach can help target readers better understand the plots of the novel and increase their interest in reading it. (Shi Chunrang 2019,95)

(ii) Domestication

Sometimes we may find that the Chinese idioms don’t have equivalents in the target language, so they can be translated through free translation, which means we can follow the principle of domestication by borrowing existing expressions in the target language, thus making the translation closer to the reading habits and cognition of the target readers. In Goldblatt's translation of idioms in ''Life and Death are Wearing Me Out'', about 30% of those idioms are translated through free translation. (Chen Qiansa, 2019,108)

For example, “洪泰岳你出口无信，食言而肥” is translated into “Hong Taiyue，your words meant nothing, you did not make good on your promise”. In this sentence, “食言而肥” and “出口无信” mean the same thing: not to keep one’s word. These two idioms came out of ''The Commentary of Zuo''. It is not possible for the translator to translate the allusions behind each idiom, which would result in a lengthy and unclear translation. So Goldblatt uses a phrase with similar meaning to express the idioms “食言而肥” and “出口无信”. He borrowed from the English idiom “not make good on your promise” and delivered an authentic translation cleverly.

Due to the differences between the English and Chinese languages and between Eastern and Western cultures, the “treason” of the original text in literary translation is inevitable. For example, in the novel ''Life and Death are Wearing Me Out'', there are many epithets such as "爷们" and "伙计", which are difficult to translate into English with full equivalence, and Goldblatt's creative "rewriting" of them also reflects his unique translation ideas. For example, according to different contexts, “伙计” is translated into “gentleman” “buddy” “old friend”; according to the specific meaning of the sentence, “掌柜的” is translated into “you are the head of the household” “my husband” “the old gentleman” “sir” and so on. (Zhang Qi 2019,329)

Although the domestication method changed the images or structure of the original sentence, Goldblatt's translation better conveys the original author's intentions and can be deemed as a kind of fidelity from a deeper level.

(iii) Omission

Omission means that the idiom is not translated from the original text. There are two kinds of idioms that Goldblatt did not translate. The first one is those idioms that contain distinctive local culture, which cannot adequately convey the content of the novel in the target language. For example, “我这哥，惯常闷着头不吭声，但没想到讲起大话来竟是‘博山的瓷盆——一套一套的’ ” is translated into “He was normally not much of a talker, so everyone was taken by surprise. To be honest, it turned me off.” The idiom “博山的瓷盆——一套一套的”(which means a set of porcelain pots from Boshan) has been omitted here because it contains an item known only to a small group of people, and the message it implies is so unique and unnecessary that the translator chose to omit it. (Shi Chunrang 2019,95)

In addition, Goldblatt chose to deliberately omit some idioms, such as “西游记”“小妖红孩儿”“封神演义”“哪吒”“天山童姥”. Because in his mind, "capturing the style, rhythm and imagery of the original work is the real task and challenge for the translator”. Omitting those idioms makes the storyline more compact and the language more straightforward and easily accepted by the target readers. (Zhang Qi 2019,329)

Second, some idioms that serve to add explanatory information and vividness to the original text are also often deleted by Goldblatt. For example, "出水才看两条腿" and "咱们骑驴看账本，走着瞧! " and other similar proverbs are omitted.

On the whole, however, the idioms in ''Life and Death are Wearing Me Out'' are very important for the novel’s general language style. Therefore, there are not many cases where the translators leave idioms untranslated.

(ⅳ) Mistranslation

In Xie Tianzhen’s article ''Mistranslation: Misunderstanding and Misinterpretation in Different Cultures'', he divides mistranslation into two types, namely intentional mistranslation and unintentional mistranslation. Intentional mistranslations are those in which the translator chooses to consciously misinterpret the meaning of the original text for some reason. Unintentional mistranslations can be divided into three types which are caused respectively by carelessness, poor linguistic skills and lack of knowledge of the cultural background of the original language. (Zhang Sen 2016,111)

Intentional mistranslation closely reflects the translator's creative treason and is also a major manifestation of the collision, distortion and deformation between cultures in literary and cultural exchanges. Therefore, this paper focuses on the current situation of intentional mistranslation in Goldblatt’s translation of ''Life and Death are Wearing Me Out'', and reveals how translators creatively fill the gaps between different cultures. (Zhang Liyun 2019,143)

For example, “……让老婆孩子吃糠咽菜的守财奴” is translated into “…made his wife and kids eat chaff and rotten vegetables”. The original text intended to use the idiom "吃糠咽菜" to depict the poor life of them, but in the translation it is translated into "eat chaff and rotten vegetables". In the original text, the word "菜" means "wild edible plants", because in the old days, Chinese people who could not afford to eat vegetables often used wild plants to fill the belly. But in the English version it is translated as "rotten vegetable". Why? Because with the improvement of people's livelihood, "wild edible plants" have become a delicious delicacy for people in both the East and the West. Therefore, in order to tell the target readers about the poor life of those people, he translated "糠咽菜" into "chaff and rotten vegetables", which makes it easier for the readers to accurately capture the meaning of the original text.

The translator plays an important role in this process, and the translator's personalized translations, mistranslations and omissions reflected in the translations are all manifestations of the translator's creative treason.
===3.Goldblatt’s principles for translating idioms===
(i) Preserving the culture of the original language

Generally speaking, idioms have deep semantic connotation and vividly reflect the material and spiritual culture with local characteristics. Therefore, when translating idioms, we should try to understand the deeper connotations of them and to express them clearly. By researching, communicating with the author and other methods, Goldblatt managed to understand the essential meaning of the idioms, their historical roots and the context in which they are used, so as to truly grasp their precise meaning. (Shi Chunrang 2019,97)

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopts the methods of foreignization and omission, so we can say that the principle he follows in translation is that of preserving the culture of the original language. He tries to highlight the heterogeneity of the original proverbs through literal translation, to reveal the uniqueness of Chinese culture, and to help Western readers understand the life experience of the Chinese people attached to the idioms through annotations.

Due to the cultural status of Europe and America, cultural differences and the marginal position of translated literature in the European and American literary world, European and American translators often choose to translate other countries' literary works by means of domestication, and the translation of ''The Story of the Stone'' by David Hawkes is an example of the use of domestication strategy. However, cultural hegemony and cultural colonization have led a group of translators with a sense of mission to choose a translation strategy that preserves the style of the original work, which is called foreignization.

The contradiction is obvious: the translator wants to preserve the taste of the original work, but the reader's difficulty in understanding the language and structure of the vernacular novel requires the translator to make concessions in the translation. Goldblatt's approach to translation reconciles this contradiction to a certain extent. He tries to strike a balance in the translated work so that it can be accepted by Western readers. (Tian Debei 2016,91)

(ii) Semantic correspondence

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt not only tries to reproduce the meaning of the idioms in the target language, but also strives to achieve an overall semantic correspondence between the proverbs and the context in which they are found. He helps to make the text more logical and readable by adding explanatory phrases, explicitly stating the implied meaning or adding connecting words. In achieving semantic correspondence, he tries to make the translation as close to the original text as possible, without adding or subtracting anything, and without creating ambiguity. In terms of choosing words, he tries to be as concise and appropriate as possible; in terms of sentence construction, he tries to achieve a sentence style that reflects some of the features of the original but is also in keeping with the conventions of the target language. (Shi Chunrang 2019,97)
===4.Implications of ''Life and Death are Wearing Me Out'' for the English Translation of Chinese Literature===
As mentioned above, guided by the principle of personalized translation, there is 'fidelity' in translating the idioms in ''Life and Death are Wearing Me Out'', as well as creative treason and omission of the original text. It can be seen that Goldblatt is not bound by the traditional dichotomy of literal translation and free translation. The language of his translation is authentic and fluent, reading like an original English novel but conveying exotic cultural imagery.

Goldblatt insists on translating for his readers, so he was selective in his translation strategies in order to make exotic Chinese literature accessible to western readers, thus allowing excellent literature to enter the field of foreign translated literature and achieving the effective dissemination of Chinese literature.

Compared with Western culture, Chinese culture is still in a disadvantaged position in the world cultural landscape. Therefore, if Chinese literature wants to “go global”, translators must take into account the special cultural background and general readers' acceptability.

Goldblatt’s choice and application of translation strategies carries with it the translator's subjectivity, and under the guidance of such translation principles, his translations meet both the literary standards of the Western world and the expectations of the Western readers for Chinese literature. (Zhang Qi 2019,330)

Whether Chinese literature has done a good job in “going global” is not only judged by the accuracy of their translations, but also by how well they are received by foreign readers. The difference between Chinese and Western cultures have resulted in readers’ different preferences for literary themes, so Goldblatt has paid great attention to the tastes of Western readers when selecting books he was going to work on, so that his translations can be better accepted by them. However, the mistranslation in his version has led to a deviation from the original Chinese works.

Compared with Chinese translators, Sinologists have a strong linguistic background, but their knowledge reserve of Chinese culture is still insufficient. So the best mode of translation is a kind of Chinese-foreign collaboration, in which the Chinese translators deal with the cultural challenges while the sinologists do the linguistic touch-ups, in order to ensure the integrity of Chinese culture in the West, and to achieve both fidelity to the original work and increased acceptance abroad, thus achieving success in the translation of Chinese culture. (Zhang Sen 2016,115)
===Conclusion===
In translating idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopted the strategies of literal translation (39.2%) and free translation(30.3%), supplemented by omissions, additions and borrowings, with a few mistranslations (about 10 cases). It is evident that he tends to retain the cultural image of the idioms in the source language, and tries not to add or delete; however, when those images in the source language don’t have equivalents in the target language, he will be bold enough to adopt free translation, so as to maintain the readability and fluency of the translated work. In the translation process, he stays true to the connotation of the text rather than the literal meaning, and stays true to the target readers rather than the readers of the source language. (Chen Qiansa 2019,110)

This helps us to reveal Goldblatt's faithful translation and reader-consciousness. In conclusion, in the process of translation, translators should preserve the style and image of the idioms in the original text as much as possible, so as to spread Chinese culture and enrich the English vocabulary; at the same time, they should take into account the readability of the translated work and adopt various translation approaches to deal with the Chinese idioms.

Goldblatt not only makes the message conveyed by the idioms and the proverb-rich language style of ''Life and Death are Wearing Me Out'' well presented to Western readers, but also makes them easily understood and accepted by Western readers. The translator does his best to spread Chinese culture and respect the culture clash between different cultures. His translation dares to face up to the cultural differences between China and English-speaking countries, and uses a unique translation method to strongly promote Chinese literature and culture to the Western world, which achieved good results, and also provides some useful references for us to do a good job in promoting Chinese culture to go abroad.

Therefore, we should not only consider the needs of Western readers at the expense of the dissemination of our own distinctive culture, instead, we should take the promotion of our own culture as our responsibility and take into account the reading needs of Western readers. The successful translation of idioms in Mo Yan’s novels is a good case in point. In the exchange between Chinese and foreign cultures, the translation of idioms in Mo Yan's novel adheres to the idea of faithful translation and mainly adopted foreignization, fully demonstrating the traditional Chinese culture with strong national flavor and distinctive regional characteristics, which is an important inspiration for the dissemination of Chinese culture today.
===References===
*Mo Yan 莫言. (2011). Life and Death are Wearing Me Out. tans. by Howard Goldblatt. New York: Arcade Publishing．
*Venuti, L. (1995). The translator’s Invisibility: A History of Translation. London and New York: Routledge．
*Xie Tianzhen 谢天振.(2012).创造性叛逆:争论、实质与意义[Creative Treason: Controversy, Substance and Meaning].''中国比较文学''Comparative Chinese Literature (2):33-40．
*Zhang Qi张琦.(2019).“创造性叛逆”:莫言《生死疲劳》英译特点及启示[Creative Treason: Characteristics and Insights of the English Translation of Mo Yan's “Life and Death are Wearing Me Out”].''上海理工大学学报''Journal of Shanghai University of Technology (04):327-330+337.
*Zhang Liyun, Wu Qingjuan张丽云,吴庆娟.(2019).创造性叛逆与葛浩文《生死疲劳》英译本的译介[Creative Treason and Goldblatt’s Translation of “Life and Death are Wearing Me Out”].''齐齐哈尔大学学报''Journal of Qiqihar University (10):141-143+172.
*Wang Yiting, Lin Mei王怡婷,林梅.(2014).翻译适应选择论视角下《生死疲劳》的习语翻译[The Translation of Idioms in "Life and Death are Wearing Me Out" from the Perspective of Translation Adaptation Selection Theory].''常州大学学报''Journal of Changzhou University (04):100-102+106.
*Shi Chunrang, Shi Yan石春让,石岩.(2019).葛浩文译《生死疲劳》中谚语的文化建构与解构[The Cultural Construction and Deconstruction of Idioms in Goldblatt's Translation of “Life and Death are Wearing Me Out”].''外国语文''Foreign Literature (01):94-99.
*Zhang Sen, Zhang Shijin张森,张世瑾.(2016).葛译《生死疲劳》中的误译现象与中国文化译介策略[Mistranslation in Goldblatt's Translation of Life and Death are Wearing Me Out and Strategies for Translating Chinese Culture].''河北大学学报''Journal of Hebei University (05):111-116.
*Liu Geng, Lu Weizhong刘庚,卢卫中.(2016).汉语熟语的转喻迁移及其英译策略——以《生死疲劳》的葛浩文英译为例[The Metonymic Migration of Chinese Idioms and Their English Translation Strategies - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''外语教学''Foreign Language Teaching (05):91-95.
*Chen Qiansa陈千飒.(2019).基于语料库的《生死疲劳》熟语英译研究[A Corpus-based Study on the English Translation of the Idioms in "Life and Death are Wearing Me Out”].''重庆交通大学学报''Journal of Chongqing Jiaotong University (01):105-111.
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*Tian Debei, Zhan Xuanwen田德蓓,詹宣文.(2016).入乡未能随俗:论葛浩文译《生死疲劳》的乡土气息[On the Local Flavor of Goldblatt's Translation of “Life and Death are Wearing Me Out”].''东北农业大学学报''Journal of Northeast Agricultural University (01):88-92.

==英语笔译孙丽君 Sun Lijun 202170081593 CE==

<center>'''An Analysis of English Translation of Luotuo Xiangzi from the Perspecctive of Rewriting Theory'''</center>

<center>Sun Lijun</center>

===Abstract===
Traditionally, translation is regarded as a kind of linguistic conversion, which means translating the source text from one language into another. And with further and deep study of translation, Bassnett and Lefevere went beyond the level of language, focusing on the mutual interaction between translation and culture, and the influences and restrictions of culture on translation. Therefore, the move from translation as text to translation as culture and politics is termed as the cultural turn. Rewriting Theory, proposed by Lefevere, is the representative fruit of the translation studies on culture, exerting profound influence on academia. Rewriting Theory shows that translation is regarded as rewriting, which is mainly constrained by the dominant poetics, ideology and patronage under certain backgrounds.
Luotuo Xiangzi, writtten by Lao She in the year of 1939, is one of the representative masterpieces of Chinese classics, gaining great popularity both at home and abroad since its first English version, translated by the American translator Evan King in 1945, came out. And this translated text obtained great success in America, which establishing Lao She’s reputation as a writer in the international literary circle. However, due to the inequivalence to the source text, Evan King’s translated work invited some critics from Chinese scholars even unsatisfied the original author Lao She himself. Thereafter, this short essay will briefly analyze the translation of Luotuo Xiangzi by Evan King from the perspective of Rewriting Theory, trying to find out the influences the dominant poetics, ideology and patronage exert on translation.

===Key words===
Luotuo Xiangzi; rewriting theory; translation

===Introduction===
As is known to all, translation is a kind of special and creative activity carried out in a certain context. And it is influenced by some certain activities of the society at one hand, while on the other hand, translation is also restricted by some factors of the works and the writers themselves. In a word, translation plays an essential and pivotal role in communicating and exchanging ideas in this global village. And with further cultural exchanges, some foreign masterworks have been introduced into China, broadening people’s horizon and enriching their daily life and spiritual life in China; also, some Chinese classics have been translated abroad and made foreign friends get a better understanding of Chinese culture. As one representative work of Chinese modern classics, Luotuo Xiangzi has been translated into several versions by some famous translators at home and abroad, including Evan King’s Rickshaw Boy, Jean M.James’ Rickshaw: The Novel Lo-t’o Hsiang Tzu, and Shi Xiaojing’s Camel Xiangzi, Howard Goldblatt’s Rickshaw Boy(Jin Jie, Wu Ping, 2016 17(04):83-86). And due to the four English versions translated aboard, Luotuo Xiangzi turned out to be a huge hit as soon as it was published. However, as the first translated version in English, though wildly welcomed among American readers, it invited some terrible criticism made by the Chinese literary circles for Evan King broke the rule of equivalence and he did a lot of rewritings. Throughout the history of translation, we can tell that being true to the original text is of paramount importance no matter from the “faithfulness, expressiveness and elegance” proposed by the famous Chinese scholar Yan Fu or the “dynamic equivalence” or “functional equivalence” initiated by Eugene A. Nida. However, those translation theories concentrate on the source-text-oriented methods and techniques, paying much attention to how to translate the original text faithfully into the target text, which represents a kind of static status and mainly focuses on the linguistic level. However, as the march of translation studies, some scholars have studied translation approach from the perspective of culture, attempting to put translation into a larger context. Thus translation studies was labeled with cultural turn from then on. And the polysystem theory and rewriting theory were representatives in this regard. Taking the dominant poetics, ideology and patronage into consideration, Lefevere’s rewriting theory then exerted profound influence in the later translation studies, providing a brand new viewing angle for individuals who engage in the translation studies. Given the Evan King's translated version, it is of terrific significance to explore the underlying reasons why Evan King did a lot of rewritings to Lao She's Luotuo Xiangzi on the framework of Lefevere's rewriting theory.

===Literature Review===
Luotuo Xiangzi enjoys an excellent reputation both at home and abroad. Since Evan King’s English version of this novel was published in America, Luotuo Xiangzi then was translated into French, Germany, Spanish and other foreign languages. And from the collected data from CNKI, we can tell that some scholars do with Evan King’s English version from different plains.

Liao Zhiqin(2007) starts with the analysis of the marks of metaphor in the Chinese literary works, then studies the metaphors in the two versions of Luotuo Xiangzi by Lao She based on the principle of communicative equivalence. And at the end, he illustrates that as translating metaphors from Chinese into English, especially in pursuit of equivalence between target text and source text, the versions translated by these two translators are characterized by equivalent translation, over translation and under translation. While Kong Lingyun(2008) makes a detailed analysis of Evan King’s English version Luotuo Xiangzi, elaborating that the translator did a lot of rewritings like adding more plots into the novel and changing the end of the story due to the cultural differences and the translator’s psychological differences. Pan Xuelai(2012) analyzes the English version of Luotuo Xiangzi by Evan King from the perspective of Verschueren’s Language Adaptation Theory, pointing out that Evan King’s choice of this original text adapts the needs of American society at that time. Su Tianying(2015) makes a comment on Evan King’s Richshaw Boy on the basis of the translation purpose of the translator and the acceptance of this translated text in America, arguing that she has reservations about Evan King’s mistranslations of Luotuo Xiangzi, which mostly acknowledged by academic circles. Yang Ningwei(2018) compares four English versions of Luotuo Xiangzi in terms of folk language such as idioms, dialects and allegorical sayings under the guidance of the theory of Translator Behavior Criticism. And from the comparison, Yang Ningwei finds that Evan King adopts the literal translation when translating idiomatic expressions and the translated version by Evan King enjoys the highest degrees of truth-seeking, which can be explained by the political, economic and social environment of that time.

All the reviews above list some previous translation studies related to Evan King’s Rickshaw Boy from different perspectives. However, most of them are at the micro level, and explores how to translate the original one faithfully into the target one. Thus there is a necessity to examine the English versions of Luotuo Xiangzi from a macro perspective to go beyond the level of languages.

===A Brief Introduction to The Rewriting Theory===
Andre Lefevere, a professor of translation studies and comparative literature of University of Texas at Austin, is known for his contributions to the translation theories around the world, proposing the Rewriting Theory after the cultural turn in the translation field, which is hotly discussed by scholars home and abroad. According to Lefevere, translation is transformation of texts on the surface, however, it is fundamentally a kind of cultural transmission, which is to import works in one cultural environment to another cultural environment. And in order to make literary works in the source culture to be accepted by the target culture, the translation must be made more in line with the rules of the target language culture system, which leads to the translators’ considering many factors such as the social and cultural backgrounds of the target language in the process of translating, and making certain adjustments to the works, thus that is rewriting. In Lefevere’s book named Rewriting and the Manipulation of Literary Fame, he proposed, “Translation is, of course, a rewriting of an original text. All rewritings, whatever their intentions, reflect a certain ideology and a poetics and as such manipulate literature to function in a given society in a given way. Rewriting is manipulation, undertaken in the service of power, and in its positive aspect can help in the evolution of a literature and a society.”(Lefevere, 2004:7) And from his perspective, translation is implemented by rewriting under the manipulation of three major elements: ideology, poetics and patronage. The rewriting theory proposed by Andre Lefevere aims to encourage people to study translation from a much larger plain like culture and society instead of from the linguistic scope.

First of all, Lefevere defines ideology as “the conceptual grid that consists of opinions and attitudes deemed acceptable in a certain society at a certain time and through which readers and translators approach texts”(Bassnett, Lefevere, 2001:48). In the collection of essays named Translation, History, Culture edited by Andre Lefevere, when speaking of the role of ideology in the shaping of a translation, he further points out that translations are not made in a vacuum. Translators function in a given culture at a given time. The way they understand themselves and their culture is one of the factors that may influence the way in which they translate(Lefevere, 2004:14). Thus, ideological factors often determine the choices and manifestations of translation. So in a transcultural context, the constraint of ideology on translation is extremely recognizable because the dominant ideology in target culture and the individual ideology of translators permeate the whole translating process and directly give shape to the translation(Wang Yufu, Zhu Kui, 2019(322):528). For different translators have different life experiences, they share different individual ideology. Also, readers may vary by age, social class and so on, so they do not share the same ideology. Therefore, it’s inevitable that translators unconsciously rewrite the source texts driven by their own cognition and consciously rewrite to ingratiate their translation with target readers or affect public ideology for certain purposes(Wang Yufu, Zhu Kui, 2019(322):528).

Second of all, when it mentions to poetics, Lefevere states in his Translation, Rewriting and Manipulation of Literary Fame that, “A poetics can be said to consist of two components: one is an inventory of literary devices, genres, motifs, prototypical characters and situations, and symbols; the other a concept of what the role of literature is, or should be, in the social system as a whole. The latter concept is influential in the selection of themes that must be relevant to the social system if the work of literature is to be noticed at all. In its formative phase a poetics reflects both the devices and the ‘functional view’ of the literary production dominant in a literary system when its poetics was first codified. Once a poetics is codified, it exerts a tremendous system-conforming influence in the further development of a literary system”(Lefevere, 2004:26). From what Lefevere regards poetics, translators should not only consider the cultural factors, but also pay attention to the changes of the theme, the story, and the characters’ thoughts and emotions when considering that poetics runs through the whole process of translation(Bao Dewang, Liu Lingyan, 2020:172).

Last of all, as for patronage, Lefevere regards it as “a certain power(person, institution) which can promote or hinder the reading, writing and rewriting of literature(Lefevere, 2004:15). And in Lefevere’s eyes, the patrons, who commission a translation, publish it, or see to it that it is distributed, are the links between the translator’s text and the audience the translator wants to reach. Moreover, patrons can encourage the publication of translations they consider acceptable and they can also quite effectively prevent the publication of translations they do not consider so(Lefevere, 2004: 19). And additionally speaking, publishing houses or institutions, social media, newspapers and magazines and the like can serve as the patronage, which can exert enormous impact on translators. If we say ideology is intangible and abstract, then patronage can be deemed as tangible and concrete in this regard. And like an invisible hand, patronage manipulates the whole rewriting process and has decisive influence on the translated works with three components: ideological component, economic component and status component(Wang Yufu, Zhu Kui, 2019(322):528).

In a nutshell, from Lefevere’s perspective, translation needs to be studied in connection with power and patronage, ideology and poetics, with emphasis on the various attempts to shore up or undermine an existing ideology or an existing poetics(Lefevere, 2004: 10).

===A Background Information of Lao She and Luotuo Xiangzi===
Originally named Shu Qingchun, Lao She was born in 1899 to a poor Manchu family in Beijing and “Lao She” is the pseudonym under which he wrote in later days. And Lao She is a modern Chinese novelist, writer, language master, and one of the representative and well-known scriptwriters of Beijing People’s Art. Hailed as the people’s artist, he spent his whole life in engaging in writing, producing great works including novels: Luotuo Xiangzi, Four Generations under One Roof, and plays:Teahouse and Longxu Ditch and the like. Also, due to his selfless devotion to the Chinese literature, Lao She was regarded as a well-deserved model worker in the Chinese literary and art circles. However, on August 24, 1966, Lao She was forced to drown himself in Taiping Lake located in Beijing due to the vicious attacks and persecution during the Cultural Revolution. And Lao She’s death is definitely a great loss to Chinese literary circles, which is very regrettable. With the depiction of ordinary people’s life as the core, Lao She is good at describing the life and fate of the urban poor ones, especially those citizens falling into the category of lower-middle class living in a backward situation who are immersed in the feudal patriarchal concept. The language of Lao She’s works is delicate and plain, which suits both the refined and popular tastes, and Lao She once said, “There is no master of language and art who is divorced from the masses, and also there is no such master who records the language of the people without polishing it.” In his works, Lao She successfully applied the vibrant spoken Beijing vocabularies, so that the language of these great works reveals the unique charm of Beijing, presenting a colorful picture of mellow life of Beijing people, the local scenery and customs. What’s more, his works have been translated into many different languages such as English, French, German, Japanese, Russian and so on, and have been published abroad, gaining the favor of a large number of foreign readers.

Luotuo Xiangzi is a representative work of Lao She, which was written in Qingdao, Shandong Province in the year of 1936. Since he started his creating career, Lao She has been taking teaching as his main job and writing as his avocation. When it came to the summer of 1936, he resigned his teaching job at Shandong University in order to devote himself to writing. According to his own words, Luotuo Xiangzi firstly opened the door for him to become a professional writer. However, the initials for writing this novel was actually accidental. It was a friend of him teaching in Shandong University who came to visit Lao She and when they both chatted casually about a rickshaw puller this friend had employed once in Beijing. The rickshaw puller bought his own rickshaw and then he sold this rickshaw again, and this coachman suffered from poverty eventually after three times of buying and selling his rickshaw. In the course of their casual talking, Lao She was sensitively aware that the story his friend experienced could be written into quite a novel. Then his friend went on to tell the story of another coachman, who had been caught by the army but watching for his chance, he succeeded to escape and brought back three camels on the sly. On the basis of the story his friend told him, Lao She regarded this rickshaw puller as the prototype of his soon-to-be-created novel, thus the ensuing influential and excellent Luotuo Xiangzi came out.

Xiangzi is the name of this novel's protagonist, As a industrious and tenacious young man, Xiangzi came to Peking from the countryside to beg for a living. He pulls rickshaw rented from a rickshaw shed at the very beginning, and all he wants to do is save as much money as possible by pulling rickshaw in order to buy himself a rickshaw which only belongs to him at time. Through his endless effort and hard-working, he finally buys a rickshaw of his own. But misfortunes never come singly that he is caught and pillaged by warlords when he is driving someone out of this city. Luckily, Xiangzi escapes and steals three camels. On his way to this city, he exchanges the three camels for money, and when he arrives in the city, he redoubles his efforts to continue pull rickshaws. However, he is cheated and looted by a detective again, losing all his hard-earning money. Life is going on, and later on he marries Tigress for the lie made by her that Tigress is pregnant with his kid. And good times don't last long, Tigress then dies in childbirth. For lacking money to perform the funeral rites, Xiangzi doesn’t have the least idea but to sell his own rickshaw for money. Having suffered those hardships, Xiangzi begins to doubt that his hard-working and uprightness is worth or not, thus engaging himself into drinking and gambling instead of pulling rickshaws to save money for a better life. But what makes his dreaming and longing for become a bubble is the suicide of his beloved one, Xiao Fuzi. Xiao Fuzi is the last glimmer hope for Xiangzi to strive for a better life and become an independent rickshaw puller, however, after Xiao Fuzi’s death, he becomes totally desperate and hopeless, changing from a vigorous young man struggling for a better life into a depressed and frustrated tragedy.

The whole life Xiangzi has experienced through is full of ups and downs, revealing the real and tough living conditions of the poor niche like him in this society. Meanwhile, from this novel, Laoshe also expresses his compassion for those ordinary people who can never get rid of their impoverished destiny.

===A Brief Introduction to Evan King’s Translated Version===
Evan King, whose original name was Robert S. Ward, was the first person to translate Lao She’s Luotuo Xiangzi into English one. And additionally, Evan King was the American ambassador to China once and he had lived in Beijing for many years, thus boasting a great knowledge of Chinese language, culture and local customs. In the year of 1945, without the author Lao She’s permission, Evan King translated this masterpiece, and named it as Rickshaw Boy in English. What’s more, Evan King revised the plot of this novel on his own, inviting Lao She’s extreme dissatisfaction about his doing so. But once being published, Evan King’s Rickshaw Boy was under the spotlight among American readers and became the bestseller in the American book market during that time. Also, his translated work was hailed as the Book-of-the-Month Club Selection for August by the famous reading club of America, Book-of-the-Month Club. In the late days, Evan King’s Rickshaw Boy became the chief source of translations in many other languages, including French, German, Spanish, Italian, Czech and so on(Su Tianying, 2015(12):53). Though feeling quite unsatisfied with Evan King’s some revisions in the translated version, Lao She himself did praised that the quality or style of Evan King’s Rickshaw Boy was very good. And this version was of great significance to Lao She, and it was Evan King’s version that put him on the world map, making his works truly go global. And in Evan King’s Rickshaw Boy, most of the content is faithful to the original text while some plots of this novel even some whole paragraphs are depleted. By comparing the source text with the translated one, it can be found that Evan King’s translation is basically literal translation, including proverbs and sayings, which are kept in the original style as much as possible. But the most strikingly is that Evan King changed the sad and tragic ending of the original novel into a happy one(Su Tianying, 2015(12):53).

===A Brief Analysis of Evan King’s Rickshaw Boy under the Rewriting Theory===
According to Andre Lefevere, translation is a rewriting, and rewriting is manipulated by three factors, that is ideology, poetics and patronage. Thus in the following lines, a brief analysis of Evan King’s Rickshaw Boy will be studied from these three aspects respectively.

1. The Plain of Ideology

Andre Lefevere points that, “Translation, fundamentally speaking, is to import the ideology of foreign culture to that of local culture.” And he thinks ideology in translation indicates two basic factors: one is the translators’ ideology, another is the ideology imposed on the translators(Lefevere, 2004:6). And ideology manipulates in many ways during the process of translating. For example, ideology affects the choice of original texts the translators want to translate, and meanwhile the translators’ own ideology directly manipulates the translating strategies the translators choose.

First of all, ideology in Evan King’s selection of Lao She’s Luotuo Xiangzi as the source text. There is a necessity to put his action in a larger social and historical background in order to analyze why Evan King picked Lao She’s Luotuo Xiangzi to translate. It is known that Evan King translated Luotuo Xiangzi in the year of 1945, and at that time, China and the United States were at critical juncture—the ending of the World War II. It is well known in history that the World War II, also known as the Global War against Fascism, broke out in 1936. And due to the sudden attack by the Japanese naval and air forces to the American military base in the Pacific, the Pearl Harbor, which caused the America’s joining in the anti-Fascist camp. During the this global war this time, China was in the same camp with the United States, thus the two countries helped each other in order to win this anti-Fascist war and enjoyed friendly relationship during war times even after the war. So the friendly relationship between China and America may make it possible for Evan King to translate Lao She’s Luotuo Xiangzi.

Then, ideology in Evan King’s choice of the translating strategies. With different life experience, the individual ideology of translators varies from person to person. Therefore, it’s inevitable that translators unconsciously rewrite the source texts driven by their own cognition and consciously rewrite to ingratiate their translation with target readers or affect public ideology for certain purposes. To be concrete, if the translator doesn’t agree with some views in original texts, he will try to avoid mention or even distort them (Wang Yufu, Zhu Kui, 2019(322):528). As an American, Evan King was born and grew up in American society and there is no doubt that he must be influenced by the social ideology of America. However, Evan King definitely has his own ideology, which demonstrates in his translated version. He depleted some paragraphs of the source text. For example, Lao She begins with the introduction of some schools of rickshaw pullers in the Luotuo Xiangzi, like “年轻力壮，腿脚灵利的，讲究赁漂亮的车，拉‘整天儿’，爱什么时候出车与收车都有自由……这一派哥儿们的希望大概有两个：或是拉包车；或是自己买上辆车，有了自己的车，再去拉包月或散座就没多大关系了，反正车是自己的。……比这一派岁数稍大的，或因身体的关系而跑得稍差点劲的，或因家庭的关系而不敢白耗一天的，大概就有多数的拉八成新的车……这派的车夫，也许拉‘整天’，也许拉‘半天’。”（Lao She, 1982:1）The reason why Lao She introduces some schools of rickshaw pullers at the inception is to prepare the ground for the possibility of Xiangzi’s becoming a rickshaw boy. However, Evan King depleted this paragraph. Additionally, except for depleting some plots, he also added two figures: a Tsinghua girl and One Pock Li, both of which didn’t exist in the original one. Boldly speaking, the most rewriting Evan King did is he changed the ending of the original one. In the original one, the ending is that Xiangzi is degenerated into an idle loafer, while in the English version, the ending is happy that Xiaofuzi, Xiangzi’s beloved one who committed suicide herself in the source one is still alive and they two lead a happy life together from the lines that “In the mild coolness of summer evening the burden in his arms stirred slightly, nestling closer to his body as he ran. She was alive. He was alive. They were free.”(Evan King, 1945:384) And from the whole translated version, it can be seen through that Evan King employed the literal translation, possibly trying to make the target readers understand what this novel conveys as much as possible. For example:

The original version: 祥子受了那么多的累，过河拆桥，老头子翻脸不认人，他们替祥子打不平。（Lao She, 1982:175）

The translated version: He had labored at so wearisome a task, and now that the river was crossed the old man was tearing down the bridge; he had no more use for Happy Boy, and was turning his face against him and would not recognize him. (Evan King, 1945:212)

In this sentence, the most prominent one is “过河拆桥”，which is a metaphor for kicking away the people who helped you when you achieved your goal in Chinese, and here, Evan King just literally translated it into “the river was crossed the old man was tearing down the bridge” from the surface meaning of this phrase. And there exists many literal translations like this in Evan King’s work, like “There was no sand in Fourth Master Liu’s eyes.”(Evan King, 1945:204) which the original is“刘老四的眼里揉不得沙子。”（Lao She, 1982:170）

2. The Plain of Poetics

Poetics is one of the three factors influencing translation activities. And poetics is not limited in literary research but extends to a broader field covering culture and customs, arts and aesthetics, etc. With society and culture as hidden manipulators of poetics, there is actually a recognizable interplay between poetics and ideology, and translators have to rewrite the original texts to keep their translated works in line with both the ideology and the dominant poetics in target culture, ensuring the smooth access of their translation to the target culture and society(Wang Yufu, Zhu Kui, 2019(322):528). It was the end of the World War II when Evan King translated Lao She’s Luotuoxiangzi, and at that time, the American society was much more open than before and also began to pay much more attention to the average labors’ rights and freedoms. Hailed as People’s Artist, Lao She is adept in revealing the darkness of the society by the means of writing, and Luotuo Xiangzi exactly proves that, catering the tastes of some American writers to liberate human beings at that period, thus Evan King chose this one to translate. Moreover, in order to keep pace with the bud of the sex liberation after the war times, Evan King accentuated the sex in the original text, which are very implicit. For example:

The original version:她越来越显出他所不明白的那点什么，越来越有一点什么热辣辣的力量传递过来，渐渐的她变成一个抽象的什么东西。他不知为什么觉得非常痛快，大胆；极勇敢的要马上抓到一种新的经验与快乐。（Lao She, 1982:69）

The translated version: He had not known how much the glare of the light had bothered him until she turned it out, nor how tightly he had rolled and knotted the stomach band at the top of his trousers until she had untied it for him. It seemed natural, too, that in the darkness she should have no need of silk or crippling crepe; he could be freer still.(Evan King, 1945:76-77)

In this paragraph, Lao She used very abstract and very implicit words to describe Xiangzi’s first time to make love with Tigress from the deep meaning of these words. However, Evan King, for the sake of cater for the bud of sex liberation in the America, rewrote this based on his own understanding by using some concrete and notional verbs, like “untied it for him” “should have no need of silk or crippling crepe” to describe the sexual scenes in a specific manner.

3.The Plain of Patronage

Patronage, as mentioned above, can be a person or an institution and social media, newspapers and publishing houses can be patronage. What patronage does in translation is to provide translators with political asylum, economic sufficiency and social status, allowing their translation to be acceptable in the target culture (Wang Yufu, Zhu Kui, 2019(322):528). And according to Levefere, the patron is the link between the translator’s text and the audience the translator want to reach(Levefere, 2004:7). Reynal & Hitchcock, an American publishing company in New York, firstly published Evan King’s Rickshaw Boy. Here, this publishing press can be regarded as the patron, providing support for the Rickshaw Boy to win social status and gain popularity among readers. Besides, the Book-of-the-Club, New York Times and other press also played an important role in disseminating Rickshaw Boy in America. Without these press, Rickshaw Boy couldn’t be known and popularized among American readers and American literary circle, which made Lao She famous in foreign countries later on. But part of reason for Evan King’s success is that he rewrote the ending and some plots of the original one to meet the expectations of the press and the receptors, for after the end of world War II, the American people looked forward to a better life in the future, and Xiangzi, a hard-working, brave and kind tough guy, was exactly what American readers liked to see(Jin Jie, Wu Ping, 2016 17(04):83-86). Thus the happy ending was consistent with their appetite.

===Conclusion===
Luotuo Xiangzi, as one classic Chinese novel, reveals the darkness of the society and the life of the poor, which deserves reading. And by analyzing Evan King’s version from the three plains of ideology, poetics and patronage within the framework of Lefevere’s rewriting theory, a brief conclusion can be reached that Evan King did many rewritings considering the receptors’ expectations and tastes and the social needs, inspiring us that translation studies is not limited in the word-for-word level, instead it can be diversified and can be put into a broader social aspect, which has very important practical significance.

===References===
*老舍_百度百科 (baidu.com)
*Bao Dewang, Liu Lingyan. (2020). On the Translation of Cultural Images Based on Rewriting Theory: Taking The Iconography of the Decorated Writing-Paper of the Ten Bamboo Studio as an Example. 辽宁省翻译学会、东北亚语言文学与翻译国际学术论坛组委会.第九届东北亚语言文学与翻译国际研讨会论文集.辽宁省翻译学会、东北亚语言文学与翻译国际学术论坛组委会:辽宁省翻译学会,172-180.
*Bassnett Susan, Lefevre Andre 苏珊·巴内斯特，安德烈·勒非弗尔 . (2001). 文化构建：文学翻译论集 [Constructing Cultures—Essays on Literary Translation]. “上海外语教育出版社”[Shanghai Foreign Language Education Press].
*Evan King 伊万·金. (1945). Rickshaw Boy. Reynal & Hitchcock.
*Lao She 老舍. (1982) 骆驼祥子 [Luotuo Xiangzi]. “人民文学出版社” [People's Literature Publishing House].
*Lefevere Andre 安德烈·勒非弗尔. (2004). 翻译、重写和文学名声的的操纵 [Translation, Rewriting and the Manipulation of Literary Fame]. “上海外语教育出版社”[Shanghai: Shanghai Foreign Language Education Press].
*Lefevere Andre 安德烈·勒非弗尔. (2004). 翻译、历史与文化论集 [Translation/History/Culture A Sourcebook]. “上海外语教育出版社”[Shanghai Foreign Language Education Press].
*Jin Jie, Wu Ping, 金洁,吴平. (2016)《骆驼祥子》英译本在英美国家的读者接受与传播分析[Analysis of the Reader's Acceptance and Dissemination of "Camel Xiangzi" in English and American Countries]. “燕山大学学报(哲学社会科学版)”[Journal of Yanshan University(Philosophy and Social Sciences Edition)]. (04):83-86.
*Su Tianying, 苏天颖. (2015). Evan King英译《骆驼祥子》中的“误译”分析[Analysis of "Mistranslation" in Evan King's English Translation of Rickshaw Boy]. “语文学刊(外语教育教学)”[Journal of Language and Literature]. (12):53-55.

==英语笔译仝雨梦 Tong Yumeng 202170081594 MW==

<center>'''A Comparison of The Analects Translated by James Legge and Ku Hungming'''</center>

<center>Tong Yumeng</center>

===Abstract===
Confucius is a great thinker and educator in ancient China, the founder of the Confucian school, and one of the world's most famous cultural figures. As the only book recording the sayings and discourse between Confucius and his disciples, The Analects is a classic of Confucianism as well as of Chinese civilization. Up to now, there have been nearly forty English translations of The Analects, which indicates the importance of this work in China and western countries. This paper mainly focuses on two English translations of The Analects published in 1861 and in 1898 respectively. One is translated by James Legge, a Scottish protestant missionary of London Missionary Society. The other is the translation of Ku Hung-Ming, an extreme cultural conservative and a strong advocate of Confucianism at the turn of the 19th and 20th centuries. By comparing the two English translations, the paper tries hard to trace back their translating processes, find out the criteria used in interpreting the original text, and summarize the strategies adopted to resolve cultural conflicts in translation. Besides adopting the traditional translation theories, this paper conducts its investigation from the perspective of functionalist "skopos theory" and theories of Lefevere. At last, the paper also mentions the influence of the two English versions of The Analects and the images of Confucius they have helped construct.

===Key words===
Confucius, Legge, The Analects, English Translation

===Introduction===
Classics represent a concentration of philosophical ideas, religious sentiments, ethics, and codes of conduct of a nation. Most nations with a long history in the world have their classical works: Greek mythology and the Christian Bible are the common treasures of Western peoples; those who follow Islam have the Koran; the Chinese consider the major works of Confucianism and Taoism as their classics. The inheritance of a nation's classics and the development of its culture cannot be achieved without translation. For China, for a long time, the Confucian classics were passed on within Chinese civilization in the same language, or what we call intra-lingual translation. After the great geographical discoveries, China and Europe began to come into contact with each other, thus leading to a large-scale exchange between the two civilizations with the inter-lingual translation of their classics at its core. (Jin Xueqin 2009, 2-3)
''The Analects'', as one of the most significant Chinese classics, was first translated into English by Joshua Marshman in 1809. In the two hundred years since then, there has been a steady stream of Chinese and foreign translators who have translated the work. This paper will focus on James Legge and Ku Hung-Ming the two representative translators.
James Legge is a British Protestant missionary in the 19th century. For his missionary work in China, he endeavored to study classical Chinese literature and began to translate nine of the most important classics of Confucianism including ''the Analects'' into English in the 1860s, collectively known as ''the Chinese Classics''. On the one hand, his ''the Chinese Classics'' introduced Europeans to Eastern civilization and Chinese culture, which is still regarded as a model for English translations of the Confucian works. On the other hand, his translation has also been criticized by many scholars, who argue that he has not accurately conveyed the content of the Confucian works, failed to reproduce the style of the original text, and even misinterpreted the ideas of Confucius. (Jin Xueqin 2009, 12) Chinese scholar Ku Hung-Ming, fluent in nine languages and well-versed in both Western and Chinese culture, is one of Legge’s critics as well. Out of dissatisfaction with the translation of the foreign missionary, Ku published his English translation of ''the Analects'' in Shanghai in 1898, becoming the first Chinese to translate a Confucian text to Western writing. The two translators come from different nations and they translated ''the Analects'' for their respective purposes, which means that the translation strategies and skills they adopted and the final results are naturally not the same. Therefore, the paper chooses their translations as the object, aiming to detect specific discrepancies between them.

===Literature Review===
In China, the research on the English translation of ''the Analects'' started in the 1990s, focusing on the translation of key Confucian words, the translation of analogies and metaphors, the relative strategies and skills translators adopted, the methods of translating Chinese classics into English, translators' misunderstandings, the relationship between translations' style and translators' incentive, etc. Some theories are mentioned in those researches, including polysystem theory, translation norms, skopos theory, functional equivalence, hermeneutics, cultural translation theory, and the theory of semantic and communicative translation.
Through searching on the retrieval system of CNKI, 602 results related to the English translation of ''the Analects'' can be found. Among them, there are 50 about Legge's translation, including 28 academic journals, 6 dissertations, and 2 themed conferences. And 57 studies are about Ku Hung-Ming's translation including 35 journals, 15 dissertations, and one academic conference. Some outstanding findings are as follows:
Wang Hui (2001) studied the English translation of key concept words in ''the Analects''. Wang Yong (2006) analyzed 43 papers on the English translation of ''the Analects'' in the past 20 years and made relatively objective appraisals. Wang Dongbo (2008) made a comparative study on the English translations of ''the Analects'' of Legge and Ku Hung-Ming. Zhou Xiaoling (2011) carried out a study on Legge’s style in translating Chinese classics from the perspective of corpora. Meng Jian, Qu Tao, and Xia Yang reflected the English translation of ''the Analects'' by Ku Hung-Ming based on cultural adaptability.
The previous studies mainly focused on translations from the language level such as translation styles, strategies, and measures used to deal with obscure Confucian words. This paper, in addition to those routine views, also pays close attention to translators' incentives and patrons to detect the external factors affecting translators' behavior.

===Methods and Theories===
The paper adopts Vermeer’s skopos theory and Lefevere's translation theory to analyze Legge and Ku's translation processes, features, methods, and their respective influence.
Skopos is the Greek word for “aim” or “purpose” and was introduced into translation theory in the 1970s by Hans J. Vermeer (1930–2010) as a technical term for translation and the action of translating. The basic underlying rules of the theory are as follows: (1) A translational action is determined by its skopos. (2) It is an offer of information in a target culture and TL concerning an offer of information in a source culture and SL. (3) A TT does not initiate an offer of information in a reversible way. (4) A TT must be internally coherent. (5) A TT must be coherent with the ST. (6) The five rules above stand in hierarchical order, with the skopos rule predominating. (Jeremy Munday 2016, 126)
Professor André Lefevere focuses particularly on the examination of “very concrete factors” that systemically govern the reception, acceptance, or rejection of literary texts. He regarded translation as the most recognizable type of rewriting. And rewriting is controlled by two main factors, which are: (1) professionals within the literary system, who partly determine the dominant poetics; and (2) patronage outside the literary system, which partly determines the ideology. (Jeremy Munday 2016, 200)

===Motives for Translating ''the Analects''===
The translation is always a purposeful and conscious act. In the specific reality of the situation, the translation activity that the translator engaged in is subject to many factors. Translation means a transformation between different language codes, as well as an exchange and dialogue between different cultures, and as such, it is necessarily manipulated by poetics, ideologies, and patronage. (Qin Fangfang 2017, 1269) The dominant ideology of the target society may influence the translator’s choice of source material at the time when the cultural exchange by translation is taking place, as was evident in the massive translation of Soviet and Russian literature in China in the 1950s and the relative restriction of literature from Western countries. (Jin Xueqin 2009, 59)
Christianity has been introduced to China once again since the late Ming and early Qing dynasties, initiating a larger-scale exchange between Chinese and Western cultures. Whether Jesuit missionaries in the sixteenth and seventeenth centuries or Protestant missionaries in the eighteenth and nineteenth centuries, their fundamental mission was to naturalize this country and spread doctrine, hoping to transform Chinese Confucianism with Christian culture. Soon after they arrived in China, the missionaries recognized the importance of understanding and adapting to Chinese culture and reconciling Christianity and Confucianism. Given the importance of Confucianism in Chinese culture and ideology, they made the translation and study of Confucian classics an important part of their religious endeavors. ''The Analects'', as a major text of Confucian thought, naturally became one of the most translated and commented upon texts by Western missionaries. (Yang Ping 2008, 42) Essentially, the missionaries translated the Analects to find evidence that Christianity was the truth and superior to Confucianism and to prove that the two had something in common, thus replacing the latter with the former and Confucius with Jesus. Just like Matteo Ricci said, "I have translated a few texts ambiguously and brought them to my use." Father Goulet, when he published his translation of texts about Confucius, also stressed: “The purpose of the translation is not to bring Chinese wisdom to European scholars, but to use it as a tool to convert the Chinese to Christianity.” (Ma Zuyi, Ren Rongzhen 1997, 35)
Similarly, following the tradition of missionaries such as Matteo Ricci, Legge set his strategy before heading overseas on his missionary journeys. He believed that by learning the language of the pagans and understanding their culture, he would eventually "conquer" them and convert them to Christianity. Before him, the English Baptist Joshua Marshman and the London Society missionary David Collie had translated Confucian texts, Li was dissatisfied with the quantity and quality of his predecessors’ translations and set out to translate the Chinese classics himself.
Legge as a missionary spent dozens of years translating the Chinese Classics to spread Christianity to the East, Ku Hung-Ming, on the contrary, was determined to make the Western world appreciate the profundity of Chinese culture. On the surface, Ku was motivated to translate Confucian classics by his strong dissatisfaction with the works of the missionaries. As early as 1883, he condemned the missionaries and Sinologists in the article “Chinese Scholarship” for their lack of Chinese language knowledge and arbitrary misinterpretation of Chinese culture. After the publishment of the Chinese Classics, Ku criticized Legge for failing to understand the philosophical thoughts and literary language of Confucian classics and thought that his translation was blunt and full of mistakes. In the preface to the English translation of the Analects published in 1898, he pointed out: “It has been 40 years since Dr. Legge published the first volume of his Chinese Classics. Now anyone, even if he does not know Chinese, as long as patiently read his translation, cannot help but feel how unsatisfactory it is.” (Ku 1998, vii) In fact, in addition to his values, Ku's translation behavior is inseparable from the grand background of the times. On the one hand, he wanted to show the truth and value of Chinese civilization to the West through the translation of Confucian classics, to gain Westerners’ understanding and respect for the Chinese nation and its traditional civilization. On the other hand, he was also a deliberate rebellion against the Reform Movement that envied modern western civilization in China. (Huang Xingtao 2001, 47)

===Features of the Two Translations of ''the Analects''===
(1) Features of Legge’s Translation
The Analects translated by Legge is the typical scholarly translation, which consists of three parts: the original text, the translation, and the commentary. Of these, the commentary is very long, taking up almost a third or more of the translation. This is a remarkable feature that sets his translation apart from other translations. Each of the 20 books of ''the Analects'' begins with an explanation of the meaning of the title and a hint of the general idea. Each chapter and sentence in the main text is accompanied by a commentary. It has been suggested that the commentary can be divided into three main sections: a summary of the general meaning of the chapter, an explanation of difficult words and concepts, and comparison and commentary by the translator. Just take “BOOK II. WEI CHING” of ''the Analects'' as the first example. The translator wrote at the beginning of his commentary: "This second book contains twenty-four chapters, and is named 为政, “The practice of government”. That is the object to which learning, treated in the last book, should lead, and here we have the qualities which constitute, and the character of the men who administer, good government." (Legge 2016, 36) Then let's take the commentary of "BOOK I. HEO URH" as the second example. The translator began by summarizing the main idea of the chapter: "The whole work and achievement of the learner, first perfecting his knowledge, then attracting his knowledge, then attracting by his fame like-minded individuals, and finally complete in himself." Then he explained the meaning of some keywords: "子, at the commencement, indicated Confucius. 子, ‘a son’, is also the common designation of males, - especially of virtuous men. We find it, in conversations, used in the same way as our 'Sir'. When it follows the surname, it is equivalent to our 'Mr.' or maybe render 'the philosopher', 'the scholar', 'the officer', etc." As we can see, Legge also compared the Chinese words with the English equivalent. He also gave his comments on some concepts that are difficult to translate accurately: “君子, I translate here - ‘a man of complete virtue’. Literally, it is – ‘a princely man’. See on 子, above. It is a technical term in Chinese moral writers, for which there is no exact correspondency in English, and which cannot be render always in the same way.” (Legge 2016, 6) Some argued that the lengthy sentences of his translation, accompanied by extensive commentaries, have greatly altered the original simplicity of the Analects and reduced the readability of the translation. Others suggested that many of the ideas and interpretations he presented in his commentaries are not objective and are even biased. What is undeniable, however, is that these commentaries made his translation not only of high scholarly value at the time but also irreplaceable to this day.
Legge’s translation of ''the Analects'' is also the representation of faithful translation. Since his purpose of translation is to provide teaching material for later missionaries studying Chinese culture, he considered it of paramount importance to convey the meaning of the text. In his translations, he sought to convey the meaning of the Confucian work as precisely as possible, keeping to the original lines and sentences. To this end, he used the method of literal translation, sometimes even translated word-for-word. Take chapter one of “BOOK IV. LE JIN” as an example:
ST 1: 子曰，里仁为美，择不处仁，焉得知?
TT 1: The Master said, “It is virtuous manners which constitute the excellence of a neighborhood. If a man in selecting a residence, do not fix on one where such prevail, how can he be wise?”
By comparing the original and its translation, we can see that the Chinese characters and the English words correspond to each other almost one by one. The translator has translated every word to accurately convey the meaning of the original to the reader, and the sentences appear to be very long. For example, the second half of the sentence could have been translated more concisely: “How can a man be wise if he does not choose a prevailing residence?”
Take chapter 21 of “BOOK VI. YUNG YAY” as the other example:
ST 2: 子曰，知者乐水，仁者乐山。知者动，仁者静。知者乐，仁者寿。
TT 2: The Master said, “The wise find pleasure in water; The virtuous find pleasure in hills. The wise are active; the virtuous are tranquil. The wise are joyful; the virtuous are long-lived.
By way of comparison, it is easy to see that the translator has followed strictly the structure of the Chinese sentences. The word choice and word order of the translation are almost identical to the original.
(2) Features of Ku Hung-Ming’s Translation
First, Ku’s translation, in today’s theoretical terms, used ‘domestication’ as the main method. As mentioned earlier, Ku criticized Legge’s translation for his rigid language and lack of literary quality. He, therefore, tried to translate as much as possible using vocabulary familiar to English readers and using authentic sentence structures from modern English, leaving as little trace of translation as possible. The result of adopting this method is that Ku’s translation is fluent and highly readable as if it were an excellent literary work. For example, Ku omitted almost all the names of places and people other than Confucius, Yan Hui, and Zi Lu (Confucius’s two outstanding disciples) from his translation. As for the names of places mentioned in the book, he generally translated them as “a certain State” or “a foreign State”, except for Confucius’ homeland, the state of Lu, which was specifically translated as “the native State of Confucius”. For the other disciples of Confucius in the book, Ku omitted their original names and translated them as “a disciple”. He believed that this approach helps the reader to focus on the ideas intended to be conveyed in ''the Analects'', rather than on trivial details.
Moreover, Ku preferred using comparisons and analogies. For example, he translated “《诗》” (''the Book of Songs'') as “the Book of Ballads, Songs and Psalms”. Because Ballad is a common genre of poetry in English literature, while Psalms comes from the Bible, both the two concepts are very dear to Western readers. Ku also wrote in the notes “Now called the Canon of Poetry, in the Bible of China”, calling Confucian classics as the Chinese Bible to help foreign readers understand the place of Confucianism in China. In addition, he compared Yan Hui to “the St. John of the Confucian gospel”, Kuan Chung (“管仲” in Chinese) to “the Bismarck of ancient China” and Zi Lu to “the St. Peter of the Confucian gospel” and quoted Goethe, Carlyle, Ovid, and other famous Westerners to explain ''the Analects''.
Third, Ku’s translation reads cordial and natural, with particular attention paid to the context and the tone of the speaker, reproducing the conversational style of the original text. He is especially good at achieving coherence by adding appropriate words to make the translation lively and interesting to read. Take chapter 6 of “BOOK V. KUNG-YAY CHANG” as an example:
ST: 子曰：“道不行，乘桴浮于海。从我者其由与？”子路闻之喜。子曰：“由也，好勇过我，无所取材。”
TT： Confucius on one occasion remarked, "There is no order and justice now in the government in China. I will betake me to a ship and sail over the sea to seek for it in other countries. If I take anybody with me, I will take Yu," referring to a disciple. The disciple referred to, when he heard of what Confucius said, was glad, and offered to go. “My friend,” said Confucius then to him, “You have certainly more courage than I have; only you do not exercise judgment when using it.”
In the translation, Ku placed part of the dialogue before the speaker, which is very common in English, making it authentic and natural. In addition, he added “my friend”, a verbal phrase that made the dialogue rather lively.

===Translation of Core Confucian Concepts===
In the book ''Translation, Rewriting and the Manipulation of Literary Fame'', Lefevere wrote: “Two factors basically determine the image of a work of literature as projected by a translation. These two factors are, in order of importance, the translator’s ideology (whether he/she willingly embraces it, or whether it is imposed on him/her as a constraint by some form of patronage) and the poetics dominant in the receiving literature at the time the translation is made. The ideology dictates the basic strategy the translator is going to use and therefore also dictates solutions to problems concerned with both the “universe of discourse” expressed in the original and the language the original itself is expressed in.” (Lefevere 1993,41) Based on this theory, this chapter focuses on how translators with different cultural backgrounds and ideologies translate core Confucian concepts.
(1) “仁”
“仁” is the most frequently occurring concept in ''the Analect''s, appearing 109 times. Confucius does not define this concept, but in most cases, it is used to refer to perfect virtue. Legge acknowledged in the notes that he was unable to find an English equivalent for this concept and therefore could not give it a uniform name in his translation. He translated it in most instances loosely as “virtue”, “true virtue” or “perfect virtue”. The meaning of the word is not the same in different contexts, for example, it may be close to “wisdom”, “courage”, “loyalty”, “filial piety” and so on. Legge was aware of this, but he did not distinguish between them according to the context.
In contrast, Ku mostly translated “仁” as “a moral life”, “moral character” and “being normal”, and “仁者” as “men of moral character”. In his opinion, “仁” is a general term for the moral life of the Chinese people, which is quite distinct from Western values, and represents the Confucian ideal way of life. In reality, it does convey a broad sense like “仁”, but it fails to convey the sense in which “仁” covers all virtues. In this respect, Ku misinterpreted the meaning of the word or sacrificed its original meaning for the sake of fluency in English expression.
(2) “礼”
“礼” is second only to “仁” in importance in all key concepts of ''the Analects''. It has several main meanings: First, a ceremony or ritual associated with ancient sacrifice, witchcraft, etc. The second is a code of etiquette that emphasizes the hierarchical relationship. Third, is a code of proper behavior among common people. It is the third concept that is mostly used in the Analects. Legge translated it as “the rules/rites/principles of propriety”, “ceremonies”, “regulations” or “what is proper”. This method is appropriate for translating the abstract meaning of “礼”, but fails to unify names when dealing with specific meanings of it. For example, when “礼” referred to “ceremonies”, Legge sometimes translated it inconsistently as “rules” and sometimes as “ceremonies”.
In contrast, Ku translated the word according to different contexts and collocations. When dealing with the sentence “孰谓邹人之子知礼乎？”, he translated “礼” as “correct forms”. When coping with the sentence “管氏而知礼，孰不知礼？”, he translated “礼” as “a man of taste”. And he translated “礼" as "judgment and good taste" in the face of the sentence "恭近于礼，远耻辱也。” This choice of words based on the actual situation can convey the meaning of the original text more accurately than Legge.
But it should also not be overlooked that too many translations of the same term undermined the coherence and unity of the original, making it difficult for the reader to distinguish between these translations.

(3) “道”
“道” appears 87 times in ''the Analects'', second only to “仁” and “君子” in terms of frequency. It has two main meanings in this book: firstly, “the way”; secondly, “the right method or way”. Although its basic meaning is clear, it is not easy to translate the word because of the different contexts. Legge used a variety of approaches to translate the word, including “all practical courses”, “way”, “principles of truth and right”, “the proper way”, “doctrine” and so on. This method of contextual translation is most appropriate, but the multitude of names can make it difficult for the reader to perceive that they come from the same concept.
Ku dealt with the word ingeniously, translating it as “wisdom”. This may seem absurd, but Ku found it quite reasonable. He argued that the word “君子” should be translated as “a wise man”, and the word “道” should be translated as “wisdom” because “a wise man possesses wisdom”. Of course, he had chosen other words to translate the concept according to the actual context as well, but those words are not nearly as numerous as those in the translation of Legge.

===Influence of the Two Translations of ''the Analects''===
According to the rough statistics of Professor Lauren Pfister of Hong Kong Baptist University, the Confucian classics translated by Legge have been reprinted more than ten times in the West and Hong Kong since they were first published in 1861. This at least shows that the translation of Legge is still valued by the academic circles up to now. The most direct influence of Legge's translation is that it provides a reference for later experts and scholars, and of course, it also provides teaching materials for ordinary Western readers to understand Chinese culture. Today, in the West, the most commonly used names of the three Confucian classics 《论语》《大学》《中庸》 are still “''The Analects of Confucius''”, “''The Great Learning''” and “''The Doctrine of the Mean''”, all of which follow the translation names used by Legge in ''the Chinese Classics''. Although he has been criticized for more than a hundred years, up to now, no sinologist in the English-speaking world has completed his large and high-quality translation project. The translation of Legge not only conveys the meaning of the original text as truthfully as possible but also has extremely detailed notes, which spread the traditional Chinese notes and commentaries to the western world. After that, most of the translators of ''the Analects'' inherited this form of attaching detailed notes to the translation. (Jin Xueqin 2009, 213-214)
As a Chinese, Ku Hung-Ming translated ''the Analects'' into English for the first time, which broke the monopoly of Westerners on the translation of Confucian classics for a long time and had an important impact on the cause of later China. Since then, more and more Chinese scholars have joined the western translation of Confucian classics and produced a large number of excellent translation works. To eliminate the westerners’ strangeness to ''the Analects'', Ku specially chose the translation strategy of domestication. At the same time, he quoted a large number of western writers, philosophers, thinkers, and other celebrities to strive for Western readers to identify with Chinese traditional culture, and to have an equal dialogue with China. This classic has aroused widespread concern in the West, and some peace-advocating scholars in Europe and the United States have also begun to reflect on the disadvantages of western civilization. Therefore, the translation of ''the Analects'' by Ku has changed the western people’s misunderstanding of Chinese civilization to a certain extent and promoted the relatively objective and fair exchange between Chinese and Western cultures. (Chen Xiao 2018, 8-10)

===Conclusion===
As a Chinese classic with high literary and artistic value, ''the Analects'' has two main characteristics. First, its language is very concise. Second, it contains complex and profound significance. For the translator, there are bound to be many difficulties in translating such work. To serve his missionary cause, the English missionary James Legge adopted the strategy of faithful translation and the method of a literal translation. He was not only loyal to the meaning of each word, sentence, and chapter but also copied the sentence patterns of the original text and conveyed the true meaning of Confucian classics as far as possible. To a certain extent, his translation is very successful. But it is undeniable that he sometimes adhered too rigidly to the syntactic structure of the original text and misinterpreted the actual meaning of the original.
Ku Hung-Ming, who is proficient in both Chinese and English, has gone to the other extreme. Due to the use of highly domesticated translation strategies, his translation reads beautifully and fluently, and the traces of translation are almost difficult to detect. However, while pursuing translation in the way that English literati speak, he also obliterated the particularity of Confucian classics, so it is difficult to say that his translation is faithful. Moreover, to make it easy for foreigners to read, simplifying or omitting unique Chinese culture-loaded words in translation is in itself a kind of cultural lack of self-confidence. In short, both the two translators have their advantages and disadvantages, and we need to look at them in an objective and dialectic way.
The classic works embody the spirit of a nation. However, the classics are not static, and the translation of the classics will continue, and so will the study of the translation. In the process of study, we should see that classical translators combine their traditional specific perspective with the classical traditional flow perspective in the process of translation to realize their value demands. This inspires us to make use of many favorable factors as far as possible to carry forward the excellent Chinese culture contained in the classics when translating and spreading the classics. (Qin Fangfang 2017, 1274)

===References===
*André Lefevere (1993). Translation, Rewriting and the Manipulation of Literary Fame. London and New York: Routledge.
*James Legge (2016). Confucian Analects. 沈阳: 辽宁人民出版社. Shenyang: Liaoning People’s Publishing House.
*Jeremy Munday. (2016). Introducing Translation Studies: Theories and Applications. London and New York: Routledge.
*Jin Xueqin 金学勤. (2009). 《论语》英译之跨文化阐释——以理雅各、辜鸿铭为例 [A Cross-cultural Interpretation of Translating Confucian Analects—With Special Reference to James Legge and Ku Hung-ming]. 成都: 四川大学出版社Chengdu: Sichuan University Press.
*Qin Fangfang 秦芳芳. (2017). 中西英译本对比研究——以理雅各、辜鸿铭为中心 [A Comparison Between the Englishments of The Analects of Confucius Respectively Written by James Legge and Ku Hung-Ming]. 海外华文教育 Overseas Chinese Education (9) 1269, 1274.
*Yang Ping 杨平. (2008). 评西方传教士《论语》翻译的基督教化倾向[On the Christianization tendency of the translation of the Analects of Confucius by Western missionaries]. 人文杂志 The Journal of Humanities (02) 42.
*Ma Zuyi, Ren Rongzhen 马祖毅, 任荣珍. (1997). 汉籍外译史[History of World’s Translations of Chinese Writings]. 武汉: 湖北教育出版社 Wuhan: Hubei Education Press.
*Ku Hung-ming, Huang Xingtao 辜鸿铭, 黄兴涛. (1996). 辜鸿铭文集[The Collected Works of Ku Hung-Ming]. 海口: 海南出版社. Haikou: Hainan Publishing House.
*Huang Xingtao 黄兴涛. (2001). 闲话辜鸿铭: 一个文化怪人的心灵世界[On Ku Hung-Ming]. 桂林: 广西师范大学出版社. Guilin: Guangxi Normal University Press.
*Chen Xiao 陈潇.(2018). 论辜鸿铭《论语》英译本的出版与影响[On the Publication and Influence of Ku Hung-ming’s English Translation of the Analects of Confucius]. 曲阜师范大学. Qufu Normal University.

==英语笔译童略雅 Tong Lueya 202170081595 CE==

<center>'''A Brief Analysis of Reading Strategies of Chinese Classics in a Digitalization Era'''</center>

<center>Tong lueya</center>

===Abstract===
With the rapid development of the society and the in - depth application of science and technology, people’s traditional production and living habits have been gradually changed. And their reading habits, reading time, reading preferences and reading content have also shown new characteristics. Especially with the mature application of science and technology such as Internet, intelligent handheld device, cloud computing, big data and so on in various fields, the reading mode of readers has gradually changed from systematic reading to fragmented reading. Classic works are the crystallization of human civilization. Reading classic works is of great significance to individual growth and social development. It cannot be overemphasized to promote classic reading. This paper analyzes the status of classic reading in a digitalization era, and then attempts to put forward some suggestions in classics reading. In this way, it hoped that people could realize the significance of reading classics and then form good habits to reading them.

===Key words===
Classics reading; strategies; digitalization

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译庹树梅 Tuo Shumei 202170081596 MW==

<center>'''The Cantonization of the Dream of Red Mansions'''</center>

<center>庹树梅</center>

===Abstract===
As a treasure of Chinese literature and an important source of cultural confidence for the Chinese nation, Dream of the Red Chamber has been disseminated in the English-speaking world for two hundred years. Under the multiple views of traditional historiography, neo-Hanology, neo-history and neo-Songology, Dream of the Red Chamber has been transformed from a "historical text" to a "classic text" and has undergone an evolutionary path from an academic research classic to a literary classic and then to a cultural classic. The first chapter of this paper discusses what classicization is. The second chapter discusses why Dream of the Red Chamber has become a classic work and analyzes its intrinsic literary value. The third chapter discusses the impact of the classicization of Dream of the Red Chamber on the influence of Chinese culture in the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译王思琪 Wang Siqi 202170081597 CE==
A Study on C-E Translation of The Book of Songs from the Perspective of Xu Yuanchong’s Theory of Three Beauties

==英语笔译王亚娟 Wang Yajuan 202170081598 MW==

<center>'''On the Overseas Transmission Paths of Journey to the West'''</center>

<center>Wang Yajuan</center>

===Abstract===
The continuous development of Internet technology has not only changed the way of reading classics, but also the path of classical communication. According to American scholar Harold Lasswell's 5W communication model, medium is the basic component of the communication process. And in the present time of continuous media convergence, the multidimensional transmission paths of classical works are formed. It is necessary to study the development of communication paths. As one of the Four Great Works of China, Journey to the West has been disseminated overseas for hundreds of years. It has not only been translated into many languages such as English, French, German, Italian, and Russian, but also a large number of film and television dramas, stage plays, animation, video games and other works of that adaptation have been derived.
This paper takes the overseas transmission path of Journey to the West as the research object, first discusses the reasons why it was spread from the perspective of its value, and then clarifies the transmission path of Journey to the West in overseas by analyzing relevant books and papers, and finds that the print publication path mainly relies on paper media to publish translated works; with the evolving of transmission paths with help of new media, the multidimensional transmission path has emerged. And then talks about opportunities for the innovation of classics transmission paths brought by the times. Then studies effects of changing of transmission paths on the classic communication and its prospect, hoping that analysis of the transmission paths of Journey to the West, can provide reference for the continuous dissemination of other classic works.

===Key words===
Journey to the west; transmission paths; classic dissemination; medium; 5W

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)如所用句子是引用他人的文章，请在引用部分后标明出处，如是借鉴他人观点，则请标注为(c.f: Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译肖冬晴 Xiao Dongqing 202170081599 CE==

<center>'''On C-E Translation of Lexical Gaps in Teahouse from the Perspective of Reception Aesthetics Theory'''</center>

<center>Xiao Dongqing</center>

===Abstract===
Representing as a masterpiece of Lao She, ''Teahouse'' works as a monument in the history of Chinese drama. From the perspective of reception aesthetics theory, this paper studies the translation of lexical gaps in ''Teahouse'' translated by Ying Ruocheng. It briefly introduces the content of reception aesthetics and its main concepts, expounds the basic conception of lexical gaps and classifies them into four types. In this thesis, the author mainly focuses on the translation strategies adopted by the translator to deal with the lexical gaps in ''Teahouse''. It is found that in the translation of lexical gaps the translation strategy of domestication dominates while foreignization works as a supplement, a tactic which caters to its reader’s expectation horizon.

===Key words===
Reception aesthetics theory; ''Teahouse''; lexical gaps

===Introduction===
''Teahouse'' is a work of monument in the history of Chinese drama and a sensational one in the world. The key to investigating its reception overseas lies in the studies on its translated versions. Currently, there are two impactful translations in the literary community: the one translated by Chinese scholar Ying Ruocheng and the one translated by the prestigious American sinologist Howard Goldblatt. Over the years, researches and studies on ''Teahouse'' have never ceased. For instance, Lu Jun and Ma Chunfen (2009) studied from the perspective of cultural translation theory the translation of names and idioms in the two translated versions mentioned above, Yu Yanqing (2016) investigated the metaphors in the source text and elaborated on their translation in the two different versions as she deciphered some of the special connotations in them, while Jin Yan (2022) focused on some of the mistranslation phenomena in the English and Korean translated books based on cultural amnesia and memory reconstruction.

In cross-cultural communication, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.
Researches on the theory of vacancy and lexical gaps were initiated in the west when the distinguished American linguist Hockett put forward the idea of “random holes in patterns” (Hockett, 1954:106-123) in the comparison of the linguistic models between two languages. In the 1970s, the discussion over cultural vacancy attracted more scholars, among whom the American cultural anthropologist Hall took the lead. He used the term of “gap” (Hall, 1959:32) to describe the kind of absence in the study of the colour words of the aborigines when he noticed a lack of necessary colour words in the culture of those natives. In the 1980s, vacancy theory was officially put forward by Russian psycholinguists Jurij Sorokin and Irina Markovina as they conducted their research on the discourse and the characteristics of its national culture, dividing vacancies from the perspectives of linguistics, culture and discourse (Xu Gaoyu & Zhao Qiuye, 2008).

Reception aesthetics theory was first proposed in the 1960s in Germany. Unlike previous theories, it shifted its focus from the author and the original work to the role that the audience play in the process of cultural reception. The traditional translation view holds that translation is to convey the "meaning" of the original text into the target language. Reception aesthetics believes that the meaning of the text is uncertain, and it needs to be made concrete in reading by readers (including translators here). The most direct philosophical basis of reception aesthetics is philosophical hermeneutics. In China, many scholars have also worked a lot on this topic. For example, Qu Suwan (2019) studied on the translation of dialect words under the guidance of the reception aesthetics theory while Yu Shan (2015) conducted a comparative analysis of the translation strategies of culture-loaded terms in the two mentioned English versions.

From all the above, it’s clear that efforts have been made in the search of Chinese culture and Chinese classic translation based on aesthetics theory. Inspired by all the predecessors, this thesis is going to adopt the reception aesthetics theory to investigate the translation of lexical gaps in the English version translated by Ying Ruocheng. It will cover the basic outline of the theory itself, classify the lexical gaps in the work as it gives an overview of all the lexical gaps in the book and finally discuss the translation strategies used in Ying’s processing of the lexical gaps.

===Reception Aesthetics Theory===
Reception aesthetics is a theory of literary criticism raised by the German literature theoretician and aesthetician Hans Robert Jauss in the 1960s, in which the focus of literary studies is shifted from the author and text to the reader. It emphasizes reader's participation and acceptance during the text understanding, by shifting the central position of studies from the author and work to the reader. It claims that only the works that have been comprehended and delivered by readers possess artistic value and meaning.

'''2.1 The Role of Readers'''

“Literature and art only obtain a history that has the character of a process when the succession of works is mediated not only through the producing subject but also through the consuming subject, through the interaction of author and public” (Jauss 1989:43). Here the "consuming subject" refers to readers. Reader-centred status is underlined and more attention should be paid to reader's active role, subjective reception ability and creativity in literary works.

Reception aesthetics believes that the reader is an active or determinant factor in the process of text interpretation. In the process of translation, translator, as a reader, can only enter the world of text based on the vision developed by his pre-understanding and abilities. In the process of realization, the translator's pre-understanding plays an important role. The translator's pre-understanding and ability determine his understanding of the text world. It can be seen that in order to promote the meaning of the text, translators must pay attention to their own pre-understanding and the horizon of expectations of the reader. The translator must deeply understand the similarities and differences between the two languages in terms of language, history, and culture. They should use their subjective initiative and appropriately adjust their translation strategy to fill the gap in text understanding. After entering the text world, translators begin to analyse, judge and summarize until they are integrated with the text horizon. Iser believes that literary texts have a structural "blank". The so-called "blank" is the unwritten or unclear part of the text. Only in the specific process of reading and the reader's participation, these “blank” can be filled or explained.

To sum up, three points should be paid attention to in the process of translation. First of all, the interpretation of the original text is open. Secondly, the translator as a reader has a subjective position during the translation process. Thirdly, target readers' responses should be taken into consideration. Reception Aesthetics enables the translation work to centre on readers instead of texts. Therefore, the translator believes that the excerpts of this book can achieve its translation goal under the direction of reception aesthetics theory.

'''2.2 Blank'''

Reception aesthetic theory advocates the openness of the text, which undoubtedly helps to define the text in the process of translation. The text of literary works is a complex system full of blanks and uncertainties, which resonates well with the concept of “vacancy” or “gaps” this thesis is going to talk about. And according to Iser, the meaning of the works is not included in the text itself, but is obtained during reading.

Due to the uncertainty of the meaning of the text, there is no definite answer to the understanding of literary texts, so there is a saying that "a thousand readers have 1000 Hamlets". As far as translation is concerned, the uncertainty and openness of the text are the important reasons that lead to interpretative interpretation. It provides a broad space for translators to give full play to their imagination in the translation process, so that translators can interpret the text from different perspectives, thereby forming different translations.

'''2.3 Horizon of Expectation'''

Horizon of expectation is another important concept of reception aesthetics theory, which includes three kinds of meaning. Firstly, based on the readers experience, the horizon of expectations can be formed before reading. Secondly, even a literary work appeared in a new form, it cannot be regarded as absolutely new in the information vacuum. It reminds readers of the past reading memories and brings readers to a special feeling, and then calls for the expectations. At last, the horizon of expectations is changed accordingly.

There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text. As the source text is Chinese drama aimed for a larger audience abroad, more attention should be paid to its audience.

===An Overview of Lexical Gaps in ''Teahouse''===
''Teahouse'', a three-act play, is one of Lao She's most successful plays which represent the highest artistic achievement of Chinese drama writing. At that time, a teahouse is not only a place for the customers to kill time, but an epitome of Chinese society. The dialogue between characters has the unique national characteristics. It summarizes the sharp antagonism and conflict of various social strata and forces in China, and reveals the historical fate of semi-feudal and semi-colonial China.

'''3.1 The Definition of Lexical Gaps'''

As was mentioned in the first chapter, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field. Lexical gaps, therefore, are in essence the embodiment of cultural vacancies at the vocabulary level.

'''3.2 The Classification of Lexical Gaps'''

Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps. Here we will have a detailed discussion on them respectively.

Material lexical gaps refer to those words reflecting certain ways of life of a certain society, including things as daily material, tools of production and transportation, household appliances, products, food and so forth. For example, in ''Teahouse'', “盖碗茶” is unique to Chinese culture. Before the invention of this teacup, people could easily be burned or hurt when trying to drink from the tea bowl which was made of porcelain, and it could transmit heat quickly. To prevent getting hurt while drinking tea, ancient Chinese invented something similar to a wooden plate to support the tea bowl, which was becoming more and more delicate and eventually developed into the shapes and size that we see today. Obviously, “盖碗” is very culturally specific. The unique material life will produce the unique material culture. Here is a list of material lexical gaps appeared in ''Teahouse'':

盖碗茶 lidded cups of tea

绫罗绸缎 brocades

小叶茶 a cup of very best tea

马褂 jacket

满汉全席 imperial-style banquets

杂和面儿疙瘩汤 a bowl of dough drop soup with maize flour

五供儿 incense burner

纸钱 paper money

Social lexical gaps are the reflection of customs, ways of life, social life, historical background and behaviour of a nation or a country, including address and folk adage. The address can be a direct reflection of the personality of character. In ''Teahouse'', “唐铁嘴” is a fortune teller and a regular at the teahouse. His way of life was to persuade people to believe what he said, and to some extent he had to lie to make a living. “铁嘴” is literally a personal mouth made of iron, which is also a metaphor for the eloquent and plausibility of Mr. Tang. The list below provides an overview of social lexical gaps in the translated work:

相面/算命 fortune-telling

善扑营 Imperial Wrestler

说媒拉纤 go-betweens and pimps

庞太监 Eunuch Pang

唐铁嘴 Tang the Oracle

说评书的 story-teller

数来宝 improvised doggerel recitation

蹓鸟 strolling about with caged birds

北衙门 Northern Yamen

手相 palm-reading

“爷” master

旗人 bannerman

请安 bow

三教九流 people from all walks of life

Religious lexical gaps are those expressions relate to religion, for Chinese especially those words relate to Buddhism and Taoism. In ''Teahouse'', there are many lexical gap words related to the religious beliefs, for example, “念佛” means expressing sincere thanks to Buddha for all the good luck in your life. In Buddhism, “佛” refers to Buddha, an immoral person who is regarded by the Buddhists that can offer blessings to the human being. The following is a list displaying further religious lexical gaps in the work:

造化 a lucky fate

天师 Heavenly Teacher

“醉八仙” intoxicated eight immortals

财神龛 shrine of the god of wealth

念经 chanting Buddhist scriptures

八卦仙衣 special robes

Linguistic culture-loaded words and phrases reflect the characteristics of the phonetic, grammatical and formal systems of a certain language including pun and idioms. For example, in ''Teahouse'', the suffering Chinese drinkers who frequent Yutai always use “好死不如赖活着”(meaning “it is better to live in this world than to die under terrible circumstances”) to comfort themselves or others to show them the bright side and to endure seemingly persistent bad conditions. It is an idiom well reflects the wisdom and unremitting hope of the Chinese people in the act play, even when it was during the darkest times. Here are more examples of linguistic lexical gaps translated in the book:

化干戈为玉帛 restore peace

拿刀动杖 spoil for a fight

八仙过海，各显其能 try one’s best

“好死不如赖活着” a dog’s life’s better than no life

改良,改良,越改越凉!冰凉！ Reform indeed! Soon you’ll have nothing more left to reform!

“包圆儿” “it's all yours.”

According to calculation, there are altogether 34 lexical gaps in various in ''Teahouse'', of which the 14 social lexical gaps take the lead, accounting for about 41%, followed by 8 material lexical gaps which take up about 23%. There are only 6 religious and linguistic gaps, each of the two categories covering about 18% of all.

===The Translation Strategies of Lexical Gaps===
In 1995, American translator Lawrence Venuti discussed hand in hand invisibility in his work ''The Translator’s Invisibility'': domestication and foreignization. He (2008:15) bemoans the phenomenon of domestication since it involves ‘an ethnocentric reduction of the foreign text to receiving cultural values.’ Venuti allies it with Schleiermacher’s description of translation that ‘leaves the reader in peace, as much as possible, and moves the author toward him.’ Foreignization, on the other hand, ‘entails choosing a foreign text and developing a translation method along linnes which are excluded by dominant cultural values in the target language.’(ibid;242) From then on, domestication and foreignization were borrowed into the field of translation as two translation strategies.

According to calculation, of all the 34 lexical gaps in Teahouse, only three were translated using foreignization strategy, accounting for about 9%; the rest 31 lexical gaps taking up around 91% were translated under the guidance of domestication. Taking a closer look, there are 7 material lexical gaps out of 8, 13 social lexical gaps out of 14 and 5 religious lexical gaps out of 6 translated using domestication. All of linguistic lexical gaps were translated under the guidance of domestication strategy.
Given the translation by Ying Ruocheng was published and put into the market in the opening stage of the reform and opening-up in 1979, the sweeping domestication strategy applied in the translation is understandable.

'''4.1 Domestication'''

In the translation of lexical gaps, the translator adopted domestication strategy the most of times, which was especially true when it comes to the translation of linguistic lexical gaps. For example:

(1) ST：那总比没有强啊！好死不如赖活着，叫我自己去谋生，非死不可！

TT：Still that’s better than nothing! A dog’s life’s better than no life. If I were to earn my own living, I’d surely starve.

In this example, when dealing with the idiom“好死不如赖活着”，the translator didn't take it at face value reproducing it into“it is better to live in this world than to die under terrible circumstances”. Instead, he translated it based on his own pre-understanding as he took the readers’ expectation horizon into consideration. In selecting the similar expression“to live a dog’s life”from the target language, the translator managed to achieve fusion of horizons.

The phenomenon of homophones in Chinese linguistics is partly determined by the four tones in the language, each one containing a large collection of words capable of creating “puns” in daily use. For instance, the following marks a quotation taken from ''Teahouse'':

（2） ST：改良，改良，越改越凉！冰凉！

TT：Reform indeed! Soon you’ll have nothing more left to reform!

In the excerpt above, the Chinese characters“良”and“凉”are homophones with completely opposite connotations. Concerning this example, there was no equivalents in the target language able to convey exactly the same meaning. As a result, the translator dealt with the idiom liberally and represented the irony in the sentence thereby.

Unlike foreignization, domestication is more audience-friendly when it comes to understanding. However, this thesis believes that if the translator adopted the strategy of “overwhelming domestication” and used some expressions in the target language which failed to be the equivalent of the original, the meaning of the source text would be distorted, making it even harder for the translator to secure the readers’ horizon of expectation.

The following is an example taken from the translation of a material lexical gap “五供儿”:

（3）ST：娘娘，我得到一堂景泰蓝的五供儿，东西老，地道，也便宜，坛上用顶体面，您看看吧？

TT：Your Imperial Majesty, I managed to get hold of a set of cloisonne incense burners, five pieces in all. Antiques! The real thing! Dirt cheap too! Just right for the altar of our secret society. Why not have a peep of them?

Known as a set of vessels carrying the sacrifice during worship rituals in ancient China, “五供儿” first got its name from the amount of pieces of wares. In Teahouse, although the translation of “incense burner” kept some of its sacrificial usage, the actual meaning of the phrase was lost. After some research, therefore, the author believes it is more accurate if the translation would be changed into “sacrificial vessel”.

'''4.2 Foreignization'''

When it comes to the translation of “vacancy” or “gaps” in cross cultural communication, foreignization could help to narrow a bit through retaining the exotic feelings and traces of the original. However, little of lexical gaps in ''Teahouse'' were translated under the guidance of this strategy, which is partly due to the fact that most of the lexical gaps in the work were members of “absolute vacancy” which were unable to find their corresponding or even similar equivalents in the target language society. For instance, the material lexical gap“杂和面儿疙瘩汤”was translated literally into“a bowl of dough soup with maize flour”, an expression showing the ingredients of the snack. Meanwhile, the social lexical gap “北衙门” was translated into “Northern Yamen”, which combined both literal translation and transliteration conducive to meeting the innovative expectation of the audience of Beijing in modern China.

===Conclusion===
Drama is a unique literature genre with dual identities, both on the page and on the stage. The dual characteristics of dramatic text make drama translation distinct from other forms of literary translation. Reception aesthetics theory has practical guidance for the translation of drama works. Through the analysis of the translation strategies of various lexical gaps in ''Teahouse'', it has been found that at the early stage of reform and opening up when the Chinese literature was eager to go abroad and be well-received by the audience overseas, the translator had to adopt the strategy of domestication most of the time so as to cater to their horizon of expectation, even when it came to the translation of lexical gaps which may find no natural equivalents in the target language. Therefore, it could be concluded that translation literature is closely linked with politics, a notion echoing with the background witnessing the birth of reception theory.

The contents and key notions of reception aesthetics theory are discussed in this paper, which is helpful to have a more comprehension understanding of this theory. Then there is the definition and classification of lexical gaps in ''Teahouse''. As the treasure in the history of Chinese modern drama, the study of ''Teahouse'' is arousing more and more attention and academic interest both in China and abroad. Translation strategies --- foreignization and domestication in translation are highlighted in this paper, which has been elaborated by examples. In translation practice, only when the conceptual meaning and cultural meaning of lexical gaps are taken into account can the translator convey the meaning of words accurately and meet the readers’ horizon of expectation.

However, limitations are inevitable in this thesis due to the pressing time. Due to the writer’s limited knowledge and capacity, the analysis of the lexical gaps of ''Teahouse'' can never be all-inclusive. Yet it’s worth noting that researches on the Chinese drama ''Teahouse'' and the reception aesthetic theory should never come to a halt now that the background has changed from the way it used to be more than 40 years ago.

===References===
*Hall, Edward (1959). The Silent Language[M]. Garden City: Doubleday.

*Hockett, Charles (1954). Chinese Versus English: An Exploration of the Whorfian Theses[A]. Harry Hoijer(ed.). Language in Culture[C]. Chicago: University of Chicago Press.

*Jauss, Hans (1989). ''Question and Answer''[M]. University of Minnesota Press.

*Venuti, Lawrence (2008). ''The Translator’s Invisibility: A History of Translation''[M], London and New York: Routledge.

*Gao Fengxia 高凤霞. (2010). 跨文化交际中的文化空缺现象探讨[A Study of Cultural Vacancy in Intercultural Communication]. 社科纵横Social Sciences Review (03): 112-115.

*Lu Jun, Ma Chunfen 陆军, 马春芬. (2009). 从文化翻译观的角度看老舍《茶馆》两个英译本中文化信息的处理[Cultural information processing in Lao She's Two English versions of ''Teahouse'' from the perspective of Cultural Translation Theory]. 安徽文学Anhui Literature(10): 293-294.

*Jin Yan 金艳. (2022). 老舍《茶馆》翻译的文化记忆再现研究[A Study of Cultural Memory Representation in the Translation of Lao She's ''Teahouse'' ].中国朝鲜语文Korean Language in China(02): 83-89.

*Qu Suwan 渠苏婉. (2019). 接受美学视域下《茶馆》两译本中方言词汇的翻译[Study on the Translation of Dialect Words in ''Teahouse'' from the Respective of Reception Aesthetics]. 齐齐哈尔师范高等专科学校学报Journal of Qiqihar Junior Teachers' College (05):62-64.

*Xu Gaoyu, Zhao Qiuye 许高渝, 赵秋野. (2008). 俄罗斯心理语言学和外语教学[Russian Psycholinguistics and Foreign Language Teaching]. Beijing: Peking Univesity Press北京大学出版社.

*Yu Shan 于杉. (2015). 接受美学视角下《茶馆》两译本中文化负载词的比较研究[A Comparative Study of Culture-loaded Terms in Two English Versions of ''Teahouse'' from the Perspective of Reception Aesthetics].吉林大学Jilin University.

*Yu Yanqing 于艳青. (2016). 老舍作品《茶馆》的隐喻研究和文化解读——以霍华和英若诚英译版本为例[A Study of Metaphor Translation of Lao She’s ''Teahouse'' and Its Cultural Interpretation——A Case Study of Howard and Ying Ruocheng’s Versions]. 济宁学院学报Journal of Jining University(06):93-97.

===Terms and expressions===
Reception aesthetics theory 接受美学

Blank 空白

Horizon of expectation 期待视野

Fusion of horizons 视域融合

''The Translator’s Invisibility'' 《译者的隐身》

Material lexical gaps 物质类词汇空缺

Social lexical gaps 社会类词汇空缺

Religious lexical gaps 宗教类词汇空缺

Linguistic lexical gaps 语言类词汇空缺

===Questions===
1. How does the two reception activities work in the process of translation?

2. What is the definition of lexical gaps?

3. How many categories did the thesis divide the lexical gaps into?

===Answers===
1. There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text.

2. Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.

3. Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps.

==英语笔译肖佳莉 Xiao Jiali 202170081600 MW==

<center>'''The Canonization of Tao Te Ching'''</center>

<center>Xiao Jiali</center>

===Abstract===
Tao Te Ching can be divided into two parts.The first part of the moral Sutra is called the Taoist chapter, and the second part is called the moral chapter.The philosophical works written by Lao-tzu in Luoyang during the Spring and Autumn period.Taoism focuses on the view of the universe and nature.The moral focuses on social outlook and outlook on life. What does this mean?
First of all, we should know that all the schools of pre-Qin in China are concerned about the sociology of human relations, and almost no one cares about the problems of nature, which is in sharp contrast to ancient Greek philosophy. With the exception of Socrates, all the ancient Greek philosophers were concerned about the view of nature and the universe. Thales, the first philosopher in ancient Greece, left famous allusions, which were summed up by later generations into four words, called "looking up at the starry sky". However, it is strange that all the hundred schools in the pre-Qin period in China are all concerned with the sociology of human relations.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
*Wang Jianhua (2021). The Reception of Liu Cixin's ''Three Body Problem'' in Europe. Oxford: Oxford University Press, 450 pp.

==英语笔译谢晓莹 Xie Xiaoying 202170081601 CE==
<center>'''On the English Translation of The Analects in the Contemporary Era'''</center>

<center>谢晓莹</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译熊嘉玲 Xiong Jialing 202170081602 CE==
On the C-E Translation of The Book of Songs
<center>'''On the C-E Translation of The Book of Songs'''</center>

<center>Xiong Jialing</center>

===Abstract===
The traditional culture of the Chinese nation is a cultural treasure house with long history. In this treasure house, the variety of classical literature, especially the elegant, beautiful and profound ancient poetry, is undoubtedly the most dazzling pearl. As the source of Chinese literature and the prototype of classical poetry, The Book of Songs is one of the oldest collections of poetry in the world, dating from about the same time as Homer's Epics (about 8th to 6th centuries BC). The Book of Songs "embodies the Confucian thought of cultivating one's moral character, putting one's family affairs in order, and governing the country with rites and music" (Wang Rongpei, Ren Xiuhua,1995: Preface 1). As one of the Confucian classics and the oldest textbook in China, The Book of Songs plays a very important role in Chinese culture, so its English translation is bound to build a bridge for westerners to understand and appreciate traditional Chinese culture.
===Key words===
The Book of Songs; poetry; traditional Chinese culture
===Introduction===
The Book of Songs, the earliest collection of poems from the beginning of ancient Chinese poetry, has collected 311 poems from the early Western Zhou Dynasty to the middle of spring and Autumn Period (11th to 6th century BC), among them 6 for sheng poems, namely the title only, no content, known as sheng six poems. Some scholars argue that the poems actually date“from 1713 BC (hymn 304 'Rise of the House of Shang') to 505 BC(song 133 'Comradeship')"”(Xu,1994:17). The authors of The Book of Songs are unknown, and it is said to have been collected by Yin Jifu and compiled by Confucius. In the pre-Qin period, The Book of Songs was called Shi, or Three Hundred Poems. In the Western Han Dynasty, the Book of Songs was regarded as a Confucian classic.

Whether Confucius was in charge of the compilation of The Book of Songs is difficult to be verified, but it is true that this anthology was highly admired by him and has an indispensable position in Confucian classics. In The Analects of Confucius, he says that a man ignorant of the“three hundred poems”was “like one who stands with his face towards a wall，limited in his views, and unable to advance”(Legge,1960a:prolegomena 7). In his opinion, reading the songs can "enable us to incite other men to desirable courses, help us to observe accurately their inmost feelings and to express our won discontents, to do our duty both to parent and prince, and finally to widen our acquaintance with the names of birds, beasts, plants and trees”(Waley，1960:335). Thus, it was applied as one of the major textbooks by Confucius and his followers for moral educations.

To some degree, classical Chinese poetry is the most expressive and the most charming literary form in Chinese literature. The charm of ancient Chinese language comes from classical poetry, which mainly refers to Shi of the Tang Dynasty (618-907 AD), Ci of the Song Dynasty (960-1279 AD), and Qu of the Yuan Dynasty(1206-1368 AD). All these three forms had their origins in The Book of Songs. There appeared many prominent poets who have won immortal fame, such as Li Bai, Du Fu, and Bai Juyi, and the poems written by them have become the most precious literary relics in Chinese history.(Yan, 2006)

Besides its educational and literary function ,The Book of Songs is also like a window through which we can appreciate the splendor of Chinese civilization over 2,500 years ago. Those poems reflect various aspects of Chinese life at that time. Some depict emotion and feeling of people of different classes of the society, and some describe events and issues of state. Different kinds of buildings, food, musical instruments, metals, clothing, etc. are frequently reported by those poems. It is an invaluable resource for those who long to get a deep understanding of the ancient Chinese civilization.

In terms of content, In The Great Preface of the Poetry of Mao, there is the following statement: "Thus it is that in the [Book of] Poems there are six classes:-- first, the Fung; second, descriptive pieces; third, metaphorical pieces; fourth, allusive pieces; fifth, the Ya; and sixth, the Sung.(故诗有六义焉，一曰风，二曰赋，三曰比四曰兴，五曰雅，六曰颂。)(Legge,1960a:prolegomena 34)And in the same page, he adds,"... the names Fung, Ya, and Sung are those of the three Parts into which the She-king is divided，intended to indicate a difference in the subject-matter of the pieces composing them; while Foo, Pe, and Hing are the names applied to those pieces,intended to denote the form or style of their composition. They may, all of them, be found equally in all the Parts. (ibid.)

This is a common opinion held by most scholars. In other words, Feng, Ya and Song refer to the three sections of The Book of Songs; while Fu,Bi and Xing are the artistic features used by the poets in composing those poems.(Yan, 2006)

===The History of English Translation of The Book of Songs===
Though Chinese poetry has a tradition of about 3,000 years, the time when Chinese poetry was introduced into the english-speaking world, dating back to the late 16th century. The book written by G. Putenham, published at 1589, was the first to introduce Chinese poetry and translated two poems.(Huang,1997:50).

Since the 17th century, Christian missionaries in China have become the earliest messengers of cultural exchanges between the East and the West. These missionaries, in order to make the west understand and learn more from China, but also to promote Christianity, began to translate Confucian classics. As a Confucian classic and the source of Chinese literature, the Book of Songs is highly paid attention to.

In 1626, the Belgian Nicolas Trigault translated the Five Classics, including the Book of Songs, into Latin. It is the earliest known Western translation of the Book of Songs. A Frenchman, J. H. Mariede Bremare, came to China in 1698 and translated eight poems from the Book of Songs. The translation was collected by French missionary and Sinologist Du Haldle and published in Paris in 1735 in The General Annals of China. It was translated into English by R. Brokes in 1736 and E. Cave in 1738 respectively. In 1829, J. F. Davis, a British Sinologist, took the Book of Songs and the folk songs of the Qin to The Six Dynasties as examples to discuss the Chinese poetry pattern in his monograph Interpretation of Chinese Poetry, creating the first translation of source text of the Book of Songs into English.

In the 19th century, with the expansion of Britain, France and other capitalist countries to China's power, The European "sinology fever" further heated up. People's understanding of the Book of Songs gradually got rid of the shackles of early church scholarship and began to explore the value of this ancient poetry collection from the perspective of culture and literature. At this time, the translation of the Book of Songs flourished, with complete translations available in all major European languages.

In 1871, British Sinologist James Leggle (1814-1897) published his The She-King in London. It was The first complete English translation of The Book of Songs, and it was a milestone in The history of The English translation of The Book of Songs. With a solid foundation in Chinese and the help of Wang Tao, a Chinese scholar from Jiangsu province, He was able to translate the poem faithfully. Leggle's translation not only provides the text for English readers to read the Book of Songs, but also shows the rich connotation of the Book of Songs. It has a great influence in Europe and has become the English classic of Sinology. Many later translations have drawn on it.

The Shi King by William Jennings, a Briton, was published in 1891. He was inclined to rhyme translation, and The translated poems adopted The form of ballads with interlaced rhymes, which had a quaint flavor of traditional English poetry. In 1891, Alan (C. F.R. Allen published his English translation of The Book of Songs (The Shih-ching) in London. He also adopted rhyming translation, but in order to harmonize rhyming, he often adopted some flexible methods, such as replacing biological proper names with general reference. His translation makes many changes to the original, with additions and deletions, bordering on rewriting.

In the late 19th century, a certain number of selected translations of The Book of Songs were published. A typical translation is by Herbert A. Gilles (1845-1935). Gilles Is a famous British Sinologist and former British Consul in China. He is familiar with Chinese language and fond of Chinese literature. He has long devoted himself to the translation and research of Chinese literature.

In the first half of the 20th century, the English translation of The Book of Songs flourished and appeared in large number of full and selected translations. These translations were more and more faithful, elegant and expressive. One of the most representative works is the translatitons of Arthur Walley, 1889-1966) and Bernhard Karlgren (1889-1978).

Walley is a famous British Sinologist. He began to study and translate the Book of Songs in 1937 and published it in London. Walley focus on the literariness of the Book of Songs. Therefore, fifteen political plaintive poems with little literary interest were deleted in translation. The rest of the works were broken the original Feng, Ya and Song to the arrangement of the order, according to the theme rearranged, divided into courtship, marriage, warriors and wars, farming, feasting, singing and dancing. This is convenient for readers to understand the ideological and artistic nature of the original poem from the literary perspective.

As a world-renowned Swedish Sinologist and linguist, Karlgren came to China to study Chinese for six years and has a profound knowledge of ancient Chinese books. He believed that the book of Songs was produced in a long time, and the text was complicated. Only by mastering the traditional Chinese exegesis and phonology methods, supplemented by the scientific methods of modern linguistics, and really understanding the text, can the book of Songs be translated better. For this reason, he spent a lot of time on the interpretation of the book of Songs, and annotated the book with a rigorous and scientific attitude. In 1946, he published Commentaries on the Book of Songs in Stockholm. It represents the highest level of research on the Book of Songs in The Sinology circles of Europe at that time, and is still the classic of English annotations on the Book of Songs until today.

In the second half of the 20th century, international poetics research centers moved from Europe to the United States. The study of the Book of Poetry in The United States can develop comprehensively and deeply from a higher starting point due to its advantages in capital, talents and materials, as well as the input of Chinese American scholars and the application of new theories and methods. Many scholars of the Book of Songs, such as J. R.Hightower and W. McNaughton, have been translating the book into English simultaneously.

Ezra Pound (1885-1972), a famous American poet and translator, was the representative figure in translating the Book of Songs into English in this period. In 1908, he went to England and became the leader of modern poets in London. He loved ancient Chinese culture all his life. As early as 1915, when Pound could not speak Chinese, he translated 19 ancient Chinese poems, including the Book of Songs, on the basis of the will of American orientalist Ernest Fenollosa (1853-1908). The publication of Cathay was not faithful to the original in translation and was largely a re-creation of the author. This book has become the representative work of Imagist poetry in Britain and America, and has far-reaching influence. (Bao Yanxin, Meng Wei, 2002)

Compared with the various translations of the Book of Songs in Europe and America, there are not many local translators and translations in China. There are two complete English versions of The Book of Songs translated by native Chinese scholars: one by Prof. Xu Yuanzhong, and the other by Prof. Wang Rongpei and Prof. RenXiuhua. The former was published in 1994 by the Chinese Literature Press, and the latter in 1995 by the Liaoning Education Publishing House.(Yan, 2006)

===An Introduction to Four English Translations of The Book of Songs===
The four translation versions analyzed in this paper are ：Firstly, The She King: Or The Book of Ancient Poetry by James Legge; Secondly, Shih-ching: The Classic Anthology Defined by Confucius by Ezra Pound; Thirdly, The Book of Poetry by wang Rongpei; And a 1993 translation of Xu Yuanchong's Book of Poetry.

The She King: Or The Book of Ancient Poetry by James Legge were published in 1871, 1876 and 1879 respectively. The 1871 edition is a complete translation of blank verse, and its style features are mainly reflected in three aspects. First, the introduction is detailed and lengthy. The 182-page introduction includes five chapters, seven sections and seven appendages, which respectively introduce the compilation, contents, annotations, rhyme and rhythm of the Book of Songs. Secondly, the text part has corresponding translation and critical notes. On each page of the text, the Chinese original text is listed first, in the form of vertical song style sections, with the Corresponding English original text in the middle and the comments at the end. In addition, the translator's treatment of "preface" adopts the form of appendix and explanation, or occasionally add personal understanding. In addition, the translator also compiled three indexes after the main text, namely, the English subject index, the English proper noun index and the Chinese phrase index, which provided great retrieval convenience for overseas researchers of the Book of Songs. The 1876 version is different from the 1871 version in style and many other aspects. The 1876 translation is a complete version of the rhyme system, showing a strong English poetic style. Although there is an introduction to this edition, it has been simplified. The translated contents of the main text are still arranged in the traditional order of the Book of Songs, but the answers to the questions are generally shortened. The original text and lengthy notes of the Book of Songs are missing, and there are only two parts left in the index: the English subject index and the English proper nouns index. The 1879 edition is an selected translation of the prose style, and its influence is relatively small.(Liu, 2016）

James Legge spent more than fifty years, built a bridge between Chinese and western, his life is from the missionary to the Sinologist's life, his life activity, began to preach Christianity to the east, but is prominent in the dissemination of Chinese culture to the western has more than one hundred years, his translations is still considered the standard translation of Chinese classics, He ended the amateur study of Chinese literature by western scholars and embarked on the road of specialization.
Pound's English translation of The Book of Songs came into being with the second World War. The outbreak of the Second World War made the poet Pound realize the collapse of the western moral system, so he eagerly hoped to introduce Chinese Confucianism to the West through translation, and rebuild the western moral system.

His translation of The Book of Songs not only reproduces the image of Chinese poetry collected in Cathay , but also shows his strong appreciation for the sound effects and phonological masks of ancient Chinese poetry. Pound's English translation of Chinese classical poetry not only introduces Chinese culture well, but also properly applies the essence of Chinese poetics to the development of Modern English poetry, and at the same time shows his creative translation method. This creative English translation has formed a translation trend in the United States for a period of time.(Wang, 2005)

Pound's translation has two main characteristics: one is to make use of the past to compare to the present to spread Confucianism, and absorb the essence of Confucianism to rebuild the value system of the West. The other is to promote the development of imagist poetics. Pound's translation follows the principles of imagist poetics and adopts a highly imagistic translation method to make the translation full of poetics, thus becoming the first choice in the study of poetic image.

In 1995, the Liaoning Education Publishing House published The Book of Poetry (Chinese-English bilingual version) by Prof. Wang & Prof. Ren. It is a thick book of 1657 pages, divided into four parts: prefaces, verses, appendices and references. There are two simple prefaces of 10 pages, one written by X.Y.Z. in Chinese, and the other by the authors in both Chinese and English. The poems are written according to the original sequence in both Chinese and English,and after each poem, there is a very brief annotation concerning the contents of it. The unique point of Wang's version is that under each Chinese character, there is the Chinese Pinyin to show the pronunciation of the character. In the Appendices, there are three kinds of indexes of first lines: English-Chinese, Chinese-English and in order of Pinyin.This makes it very easy for the reader to locate the poem.Wang's English version is a plain and natural one, close to the simple style of the original songs.(Yan, 2006)

The English translation of The Book of Songs by Wang Rongpei and Ren Xiuhua is the second complete English translation of the Book of Songs by A Chinese author after Xu Yuanchong. Wang and Ren were among the first scholars to emerge from new China. Wang Rongpei graduated from Shanghai International Studies University in the early 1960s. He studied postgraduate courses under ge Chuan, a famous scholar of the older generation in China. He is a well-known contemporary translator with extensive knowledge and abundant writings. On the basis of summing up the gains and losses of previous translators, their translation of the book of Songs and the culture of The Times, combined with their own unique aesthetic observation, makes the translated poems present a fresh, natural and smooth style. The flexible and ingenious art of translation reveals the translator's unique artistic ingenuity in the reconstruction of images, the transmission of beauty and the elucidating of meaning and interest. After that, this translation does have new pursuit and improvement in artistic aspect.(Bao Yanxin, Meng Wei, 2002)

Wang Rongpei's translation of The Book of Songs is deeply influenced by the theory of traditional Chinese artistic realm. He attaches importance to the "verve" of ancient Chinese poetry and tries to reconstruct the unique form characteristics of the Book of Songs in his translation, which reflects the cultural consciousness of the Chinese translators to explore the translation theory of Chinese classic books based on the standpoint of Chinese culture.

"The Three Beauties Theory” is the ontology of Xu Yuanchong's translation theory, which is also the highest standard of poetry translation proposed by Xu Yuanchong. The "three beauties" refer to "beauty in sense", "beauty in sound" and "beauty in form" respectively. "beauty in sense" mainly means that the translated poem should be as touching as the original poem, and the translated poem should be consistent with the original poem in spirit or substance. "beauty in sound" means that poetry should be well-tuned, rhymed, smooth and easy to listen to; "beauty in form" mainly refers to the "antithesis" or "general orderliness" of poem lines (Xu, 1984).

Xu yuanchong graduated from Southwest Associated University in his early years, and later went to Paris University to study. After returning to China in 1950, he taught English and French in foreign language schools in Beijing, Zhangjiakou in Hebei province and Luoyang in Henan Province. In 1983, he was transferred to Peking University. In the past 20 years, he has published more than 40 translated works, starting from "The Book of Songs" and "Ci of Chu", to the modern huang Xing, MAO Zedong and other people's poetry selected into English verse and French verse published. The translation of Chinese and foreign literary masterpieces and the promotion of Chinese culture are his persistent goals.(Bao Yanxin, Meng Wei, 2002)

Xu Yuanchong's translation of the poems strictly follows the theory of "three beauties", striving to achieve beauty in sound, meaning and form, which not only effectively conveys the meaning and rhythm of the original poem, but also preserves the rhythm and rhetoric of the poem, reproducing the beauty of the original poem, making it catchy and memorable to read. Xu Yuanchong's translation practice illustrates the translatability of poetry, with beauty in sense, sound and form being the criteria for poetry translation and the goal to be pursued. The sense is the soul of the poem, the essence of the poem. Sound and form are also essential to poetry, so in translating poetry, it is important not only to pursue the beauty of sound and form, but also to attach importance to the subjectivity and creativity of the translator.(Wang, 2011)

In his translations, Mr Xu partially adopts domesticating translation. As the source language and the target language are of different times and cultural backgrounds, the translator must also translate the original poetry from the reader's perspective, so that the reader can grasp the understanding of the original text, while at the same time being faithful to it. The translation of the Poems by James Legge mostly adopts the literal translation method, faithfully preserving the original cultural imagery and adding detailed notes and commentaries, without considering the domesticating translation method and the rhythmic beauty of the original poem, which makes it difficult for readers who do not understand their own culture to understand the contextual beauty of the original poem. Both translations are of great academic value to the study of The Book of Songs.

Xu Yuanchong's translation of The Book of Songs aims to promote the excellence of traditional Chinese culture and to develop literary translation into translated literature in the target language. Xu Yuanchong was very concerned with the 'Western transmission' of The Book of Songs, and since the Western reader was an important force in the spread of culture, he adopted a translation strategy based on domesticating translation. Xu Yuanchong's profound knowledge of Chinese and English and his poetic sensibility enabled him to regenerate the cultural ideas and artistic values of The Book of Songs in a foreign soil.

===The Significance of Translating the Book of Songs into English===
The Book of Songs is the earliest collection of Chinese poetry, which contains more than 300 classical Chinese poems in the five hundred years since the western Zhou Dynasty. It is famous at home and abroad for its unique beauty of rhythm and occupies an important position in traditional Chinese culture. In order to promote more effective, diversified and multi-perspective dissemination of China's excellent traditional classics, it is necessary to increase the multi-perspective research on the translation of classic books, which is an important part of Chinese culture going abroad. Therefore, the in-depth study of the Book of Songs and its English translation is of great significance and value. The theoretical value of The Book of Songs is also reflected in the fact that its 305 poems contain abundant images of animals and plants. According to the statistics of Mr. Hu Miao, a famous agronomist, there are 141 mentions of animals, a total of 492 times, involving 133 species; 144 articles mentioned plants, 505 times in total, involving 152 species. In addition, the classification of names is very fine (Chen, 2017 (3) : 61). Some medicines recorded in The Book of Songs are still commonly used in traditional Chinese medicine today, which is undoubtedly a model reflecting the value of traditional Chinese medicine. Li Shizhen, a famous ancient doctor, widely quoted The Book of Songs in Compendium of Materia Medica, and the Book of Songs became the best evidence for Li Shizhen to explain the medicinal names of plants and animals (Zhou, 2010 (12) : 3369). The medicinal names in The Book of Songs are also of great literary value, which reflects another unique phenomenon in traditional Chinese culture, that is, the ancient literati's "combination of Confucianism and medicine". Since ancient times, the ancient scholars of our country have "not for good to save the country, but for good doctors to save the people"（不为良相救国，便为良医救民）, so there is no lack of traditional Chinese medicine content in the literary creation of the ancient literati "patriots". According to the statistics of scholars, there are 41 kinds of medicine names quoted in the Book of Songs, thus it can be seen that the Book of Songs is not only the source of Chinese poetry, but also the cultural source of integration with traditional Chinese medicine culture.(Qu, 2018)

The so-called historical culture refers to the culture formed by the specific social development process and the accumulation of social heritage. Different nations and countries have different historical backgrounds and different historical cultures accumulated in their long history of development. Poetry is one of its important forms of expression. It can be said that poetry is the treasure of history and culture. It has a strong national culture personality, contains rich historical and cultural information, and can best reflect the characteristics of different history and culture. However, due to the unique wording and profound cultural connotations of Chinese classical literature works, there are many obstacles in the process of foreign language translation, such as language, rhetoric, cultural concepts, etc. In order to translate these poems properly and reasonably, we must understand the rich historical and cultural connotations hidden behind them and master appropriate translation methods.(Huang, 2008)

As treasures in the history of Chinese national literature, Chinese classical literary classics have been translated into various languages by Chinese and foreign translators and spread to all over the world with their unique linguistic art and cultural accumulation, and are highly respected by literature lovers in different countries. Among the excellent Chinese classics, there are many chapters explaining the excellent cultural genes such as "fraternity" and " harmony". The Book of Songs is the classic of Chinese culture, which contains rich national spirit and culture. These precious cultural wealth is a powerful magic weapon to enhance China's comprehensive national strength and improve China's coping ability. Translating traditional Chinese classics is a good opportunity to spread Chinese stories and propagandize Chinese ideas. We should pay attention to the translation of The Book of Songs, tell Chinese stories well, and let the world hear the voice of Chinese culture.

The English translation of The Book of Songs has come a long way. In the future, while continuing the previous studies, we should conform to the needs of the development of The Times, explore the value of The Times from different aspects of the Book of Songs, and promote the diversified interpretation of the Book of Songs into English.

Poetry, as a kind of literary form expressing human emotions and thoughts, can have deep cultural roots in the specific object of expression, and is a highly condensed language artistic expression that embodies the essence of a specific culture. Cross-cultural translation of Chinese poetry is of great guiding significance.(Huang, 2008)

===Conclusion===
This paper gives a general description of The Book of Songs, from the overall introduction of the Book of Songs, the historical development of the English translation of the Book of Songs, the characteristics of the four English translations of the Book of Songs, to the significance of the English translation of the Book of Songs. We can better understand the history of the Book of Songs and its translation into English, as well as its important role in promoting the spread and development of Chinese culture. The poems written by ancient people are full of the historical and cultural connotation and local customs of that era. As precious cultural heritage, they are worth our careful reading, savoring and appreciation.
===References===
*Legge, James(1960a). The Chinese Classics,Volume 4. Hong Kong: Hong Kong University Press,prolegomena 7
*Waley, Arthur(1960). The Book of Songs. New York: Grove Press,Inc, 335pp.
*Xu, Yuanzhong(1994). An Unexpurgated Translation of Book of Songs. Beijing: Chinese Literature Press, 17pp.
*Bao Yanxin, Meng Wei包延新, 孟伟(2002). 《诗经》英译概述[Overview of English Translation of The Book of Songs]. 晋东南师范专科学校学报Journal of Southeast Shanxi Normal College(06): 36-38.
*Chen jia, zhang ling陈佳, 张凌(2017).《诗经》动植物英译生态翻译探微[On the Ecological Translation of The Book of Songs into English]. 河南机电高等专科学校学报Journal of Henan Mechanical and Electrical College3(25): 61-65.
*Huang Mingfen黄鸣奋(1997)．英语世界中国先秦至南北朝诗歌之传播[The Spread of Poetry from Pre-Qin to Northern and Southern Dynasties in The English-speaking World].贵州社会科学Guizhou Social Sciences(2): 50pp
*Huang Xianwen黄贤文(2008). 跨文化对中国诗歌英译的指导意义[The Guiding Significance of Cross-cultural Translation of Chinese Poetry]. 福建商业高等专科学校学报Journal of Fujian Commercial College(01): 116-119.
*Liu Yongliang刘永亮（2016）. 理雅各《诗经》翻译出版对中国典籍走出去之启示[The enlightenment of The translation and publication of James Leggett's Book of Songs on the going abroad of Chinese classics]. 中国出版China Publishing Journal(13): 63-65.
*Qu Qianqian曲倩倩(2018). 《诗经》的文学价值及其英译[The Literary Value of The Book of Songs and Its English Translation]. 青年文学家Youth Literator(29): 96pp.
*Wang Guiming王贵明(2005). 论庞德的翻译观及其中国古典诗歌的创意英译[Pound's View on Translation and His Creative Translation of Chinese Classical Poetry]. 中国翻译Chinese Translators Journal(06): 20-26.
===Terms and expressions===
Homer's Epics 荷马史诗

sheng poems 笙诗

Five Classics 五经

The General Annals of China 《中国通志》

sinology fever 汉学热

Cathay 《神州集》

Compendium of Materia Medica 《本草纲目》

===Questions===
1. When did the British Sinologist James Leggle (1814-1897) publish his The She-King?

2. What are the main characteristics of Pound's translation?

3. What theory did Xu Yuanchong's translation of the poems strictly follows?

===Answers===
1. In 1871, British Sinologist James Leggle (1814-1897) published his The She-King in London.

2. One is to make use of the past to compare to the present to spread Confucianism, and absorb the essence of Confucianism to rebuild the value system of the West.The other is to promote the development of imagist poetics. Pound's translation follows the principles of imagist poetics and adopts a highly imagistic translation method to make the translation full of poetics, thus becoming the first choice in the study of poetic image.

3. Xu Yuanchong's translation of the poems strictly follows the theory of "three beauties", striving to achieve beauty in sound, meaning and form, which not only effectively conveys the meaning and rhythm of the original poem, but also preserves the rhythm and rhetoric of the poem, reproducing the beauty of the original poem, making it catchy and memorable to read.

==英语笔译杨心怡 Yang Xinyi 202170081604 MW==

The Source of China Children's Literature and the Dilemma of Its Translation

==英语笔译杨紫微 Yang Ziwei 202170081605 CE==

<center>'''The English Translation of the Names in A Dream of Red Mansions from the Perspectives of Domestication and Alienation'''</center>

<center>Yang Ziwei</center>

===Abstract===
"A Dream of Red Mansions" is a great work of high ideological and artistic quality. There are many characters in the book, including more than 300 people with names. Some of the names of these characters are allusions to classics, and some borrow homophonic techniques, and these names also suggest backgrounds, identities, characters and fates of the characters. Cao Xueqin is unique in naming characters. However, due to the cultural background differences in the translation process, it is often difficult for translators to accurately translate the true meaning hidden behind names. Based on this, this paper intends to analyze the characteristics of people's names in A Dream of Red Mansions and explore the translation art of people's names in its English version. In addition, this paper compares Hawkes and Yang Xianyi's translation methods and rules in name translation from the perspective of domestication and alienation, so as to increase its fluency and readability and promote the spread of Chinese culture.

===Key words===
A Dream of Red Mansions;Domestication and Alienation;Name translation.

===Introduction===
A Dream of Red Mansions is one of the four great classical novels in ancient China. Written in the late feudal society, it systematically summarizes the cultural system of Chinese feudal society, deeply criticizes all aspects of the feudal society, and reaches the peak of ancient Chinese literary creation in terms of language and artistic aspects. On the one hand, the English version of A Dream of Red Mansions has provided western readers with an opportunity to understand Chinese culture, and on the other hand, it has made remarkable contributions to the cultural exchanges between China and the West. There are many characters in A Dream of Red Mansions. Cao Xueqin, the author, gives the characters distinctive characteristics with his ingenious naming techniques. Some of them quote ancient poems and some use homophony. The identity, character and even the whole life and destiny can be seen from the names. It is indispensable to understand the deep meaning of characters' names for grasping the connotation of literary works and letting English language readers understand the feudal culture of China.
In the 1980s, there appeared a complete English translation of A Dream of Red Mansions, the two most famous English translations nowadays which from Yang Xianyi and Hawkes. When translating the names of people in books, Yang xianyi and his wife mainly use transliteration of names, while Hawkes adopts the strategy of transliteration of main characters and free translation of secondary characters. Based on this, this paper analyzes hawkes and Yang Xianyi's translation of names from the perspective of domestication and alienation in order to explore the gain and loss of their translation of names.

===Literature Review===
To promote intercultural interaction, introducing Chinese culture to the world is important and urgent. Due to differences in cultures and languages in different countries, the most feasible and efficient way is to translate Chinese books for foreign readers. Chinese Classic literature is an insignificant part of Chinese culture, which plays an important role in this cultural communication, so translation of literary works is in desperate need.
Among all the literary works, A Dream of Red Mansions, as the Four Greatest Classic Novels, draws more and more attention from translators because of its artistic language, significant cultural values concerning aspects such as culinary, clothing, building, economy, politics, morality and so on. According to the view in Translation Strategies of Chinese Names in A Dream of Red Mansions, it is a rare book that deepens one’s understanding of the meanings of being human. Thus the translation of it is indisputably the greatest work among all the classic Chinese novels.
Acknowledged as a pinnacle of Chinese novel, A Dream of Red Mansions is a mixture of realism and romance, psychological motivation and fate, daily life and supernatural occurrences and the more than 400 names of characters in this novel represent the artistry of Chinese naming. Cao Xueqin deliberately located connotations and special functions in these names through their sounds and forms, giving them evocative and associative meanings and communicative functions.
As the symbol of human life, a name reflects elements of culture. As carriers of the writer’s values, ideas, artistry and creativity, names in literature which are associated with theirs scenarios, play active parts in the development of the story. In other words, naming is a kind of writing device to describe characters and present the theme. As a matter of fact, writers can give characters names which characterize them with associative cultural allusions. Because of its uniqueness, a personal name is a sign which distinguishes one person from the others. In addition, names especially those of literary figures possess special connotations concerning identity,status, personality physical features, fate and the theme. But it also brings great difficulties for translators to do translation.
To solve this problem, I choose name translation of this novel as my research target and compare translation strategies of Yang Xianyi and David Hawkes in the process of translating names in A Dream of Red Mansions.

===Methods and Theories===
This paper uses a text comparison analysis method, from the perspective of domestication and alienation, compares and contrasts the two English translation versions of Hawks and Yang Xianyi to analyze their translation methods and effect in name's translation of A Dream of Red Mansions. And this paper also compares the advantages and disadvantages of the two versions to explore how to output a high quality of the translation of Chinese classics as well as promote foreigners' understanding of Chinese classics. This thesis applies the theories of domestication and alienation in translation.

===Subtitle 1===
1. Significance and Characteristics of Personal Names

As an important form of cultural carrier, name has a long history of development and rich cultural connotation. The etymology of people's names is very extensive, and there are many allusions involved in it. The cultural capacity is huge and changeable, so the study of name's culture and translation of it is of great theoretical significance and practical value.

Literature, in essence, is also "human studies". The creation of literary works has always been centered on the description of "characters", which reflects the social reality through the characterization of characters. In general, in order to describe the characters' personalities more deeply, and to hint at their experiences, fates and endings, the author always chooses the names of the characters carefully. To some extent, text or narrative analysis usually follows a basic principle, that is, choosing names is an important technique in shaping characters' images, and each name has the function of showing characters' personality, vitality and fate.

As for siginificance of names in the work, Cao Xueqin's characters in A Dream of Red Mansions can be divided into three categories: the first category is the name indicates the development of the story. These symbolic names are usually named with homonym, that is, the sound of name reveals the connotation meaning of it which is the combination of sound and meaning. Such as “甄士隐” in the work, its homophonic meaning is "true things hidden"; “贾雨村”, that is "false language exists ", means to compile a story with false language. The second type is the name of the character indicates the fate and outcome of characters. Such names often indicate the author's laments for the tragic fate of the characters in the stories. For example, the names of “元春”，“迎春”，“探春”and“惜春”in Jia Family adopt the artistic technique of hidden pun, and the homonym of them when they are read together is “原应叹息”(Yuanyingtanxi) which means one should sigh(Qin Qiyue,2016). The third one is the personality and image implied by the name of the character. Cao Xueqin also used characters' names to introduce the characters' images and personalities suggestivingly. At the same time, through the names of these characters, readers can feel the author's basic attitude towards these characters, such as “贾敬” in the work, its homonym is "false dignity", suggesting that the character does not care about the world's psychological state; There is also “贾赦”, homophonic for "lustfulness", suggesting its lustful personality characteristics. It can be seen that names have irreplaceable functions and values in A Dream of Red Mansions.

In the aspects of characteristics, there are also three types of names: the first one is using homophonic names. For example, the homonym of “贾雨村” is "False language exists"; “甄士隐” is "truth hidden", which means that the truth of the matter is hidden; “英莲”means "should pity" which expresses that this character is worthy of sympathy and the homonym of the maid “娇杏”（侥幸） is "lucky". The second type is named after an anecdote. A typical example is the origin of Jia Baoyu. When he was born, there was a psychic treasure jade in his mouth which also engraved words: Never forget; Long expectancy(莫失莫忘，仙寿恒昌)(Duan Ruifang,2016). The Jia family therefore regarded him as a gifted child who could honor his family. The third is named after jade and jewelry. The name is not only an appellation symbol, but also reflects the identity, background, status, personality, vision and hobbies of the characters. Several large families in A Dream of Red Mansions naturally hope to have a prosperous family and a bright fortune, so many characters are named after gold and jade. Such as Baoyu, Baochai, Jia Zhen, Jia Zhu, Pearl, Amber and so on.

===Subtitle 2===
2.Translation Theories

The terms of domestication and alienation or foreignization were put forward by Lawrence Venuti, a famous American translation theorist, in his book The Invisibility of the Translator in 1995. As two translation strategies, domestication and alienation are opposites but complement each other. Absolute domestication and absolute foreignization do not exist. Historically, foreignization and domestication can be regarded as the conceptual extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation. The core problem of literal translation and free translation refers to how to deal with form and meaning at the linguistic level, while foreignization and domestication break through the limitations of linguistic factors and expand their horizons to linguistic, cultural and aesthetic factors. According to Venuti, the law of domestication is "to bring the original author into the target language culture", while the law of alienation is "to accept the linguistic and cultural differences of a foreign text and bring the reader into a foreign situation. It can be seen that literal translation and free translation are mainly value orientations limited to the language level, while foreignization and domestication are value orientations based on the cultural context. The differences between them are obvious and cannot be confused.

2.1 Domestication

Domestication is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to(Yang Yujie, Liao Ying,2014). It requires the translator to be close to the target language reader. The translator must speak like the native author. In order for the original author to speak directly to the reader, the translation must become authentic in the native language. Domestication translation helps readers to better understand the translation and enhance the readability and appreciation of the translation.

2.2 Alienation

Alienation means "the translator as little as possible to disturb the author, and let the reader close to the author"(Yang Yujie, Liao Ying,2014). Translation is to accommodate the language characteristics of foreign cultures and absorb foreign expressions which require the translator to be closer to the author and adopt expressions corresponding to the source language used by the author to convey the content of the original text, that is, to turn the source language into a destination. The purpose of using alienation is to consider the differences of national culture, preserve and reflect the characteristics of foreign ethnic and language style as well as the exoticism for target readers.

Since translation requires us to faithfully reproduce the original author's thoughts and style, which are highly exotic, so it is inevitable to adopt alienation; At the same time, the translation must take into account the readers' understanding and the fluency of the original text, so the adoption of domestication is necessary. It is not desirable or realistic to choose one strategy to the exclusion of another. Each of them has its own advantages and disadvantages, so the final translation cannot be achieved by focusing on one and losing the other.

In translation, we are always faced with the choice of foreignization and domestication, so that we have to find a "fusion point" of translation(Wang Wenting,Xuan Zhifeng ,2016). This "fusion point" sometimes closer to the author, sometimes to the reader. In other words, foreignization does not hinder the smoothness and understandability of the translation, and domestication does not lose the flavor of the original text. At the same time, we should stick to the strategy of domestication of the language form, and carry out foreignization of its cultural factors. In this way, translation works can combine the advantages of the two strategies and avoid the disadvantages. Therefore, domestication and foreignization should have a complementary dialectical unity relationship in the actual translation process.

===Subtitle 3===
3.Contrastive Analysis of Name Translation from the perspective of Domestication and Alienation

3.1 Name System in A Dream of Red Mansions

There are more than 400 names in the book. Every name has its own connotative meaning and special function. The use of semantic puns can be found everywhere in A Dream of Red Mansions from the naming of the rich to the servants. In this paper, I divide it into four types to analyze its translation in a clear way.

3.1.1 Names of People of High Social Status

The author used different Chinese character components or radicals to distinguish seniority in the family when naming nobles. For example, from the word "代" of names "贾代善" and "贾代化", we can know that they belong to the same generation, the same with "贾赦" and "贾政" according to Chinese character component "反", "贾琏" and "贾珍" with radical "王", "贾蓉" and "贾菌" with"草"(Chen Ying,2016). However, the author did not adopt this rule when naming Jia Baoyu（贾宝玉）, mainly to highlight the particularity of him and his special status in Jia family. In addition, the naming of four noble women in Jia family also has a unique charm. The four daughters are 贾元春,贾迎春,贾探春 and 贾惜春, their name of the first word is just four words homophonic “原应叹息” which means "should sigh". After entering the palace, Yuanchun was appointed as an imperial concubine. She sighed and wept when in matrimony. although enjoy all the glory and wealth in palace but she always difficult to flat the pain of her mind because of departure with family members; Although Yingchun was coward, she had a pure and kind heart. Unfortunately, she was betrothed to Sun Shaozu and had been abused quite often after married and died miserably. Tanchun was both talented and beautiful. However, as the family decayed, she had married far away and cut off contact with her relatives. It was really pitiful. Xichun's mother died early and her father did not take good care of her, and she was brought up by Grandmother Jia. Later on, the decline of four big families and the tragic fate of her three sisters made her decide to be a nun. From all of these, we can see that the author intends to use homophonic technique to express his deep sympathy wit their unfortunate fate with “原应叹息” or "should sigh"(Chen Ying,2016).

In addition, formerly known as "Zhen Yinglian" or "Xiang Ling", she was the daughter of Zhen Shiyin originally, who was abducted by a human trafficker. She thought her fate would turn around when she met Feng Yuan, but Xue Pan snatched her away and she was beaten and cursed by a bad woman Xia Jingui. The author named her "Yinglian" whose homophonic meaning was "should pity" to express his deep sympathy and regret.The woman with real power of the family is named “王熙凤”.“王”is a homophone to “亡” which means “to die and vanish”,“熙” means “brightness and property”and “凤”refers to “phoenix” which is the symbol of“nobility, dignity, power and wealth” Therefore, the whole name suggests that “prosperity, dignity and power will be gone”. "林黛玉" has a sense of weakness, bitterness and sensitiveness, because the family name“林”originated from a tragic story. In Shang Dynasty, the chancellor named Bigan was killed with his heart being gouging out and his wife escaped into a cave covered with forest and luckily, she gave birth to a son and survived. Since then, her son was bestowed with the family name“林”by the next brilliant king -Wu king of Zhou Dynasty. As a consequence,“林”,as a family name suggests eventful fate and life. “黛” means “black” which gives a sense of “bitterness and misery”and “玉”means "jade" which is fragile and easy to break. Another one in the novel is called“薛宝钗”.“薛”is the homophone of “削” which means “getting rid of or discarding”;“宝钗”is actually“宝钗楼”which is the place where prostitutes live it is a living hell to virtuous girls. Accordingly. the name owner is doomed to be abandoned and live in misery.

3.1.2 Names of Maids

There are many servants in the rich and powerful Jia family and their names have different functions in the story. I have chosen some of them to analyze and explain their functions.

In ancient China, the status of servants was so low that they could not be named by themselves, but their masters gave them the name(Duan Ruifang,2016). Therefore, the name of a servant largely represents the interests and cultural accomplishment of his or her master. Some of the maids' names indicate the status of their masters. For example,“琥珀” and “珍珠” are both Grandmother Jia's personal servant girls, since amber and pearl are precious jewelries, their names reflect that Grandma Jia occupies the highest status in Jia family. And as the daughter-in-law of Grandmother Jia, Lady King had her maid named “金钏” and “银钏”, which was not arrogated but prosperous.

Some of the maids' names show the personality and interests of their masters, such as those of Baoyu: “袭人”，“晴雯”，“锄药”，“焙茗”. The author named the servant girls around Baoyu with plants in their names, which reflected Baoyu's wildness and unwillingness to be bound by feudal etiquette and customs. The servant girls around the four girls in Jia family are “司棋”，“侍书”，“抱琴”，“入画”, which reflect the interests of the four girls as well as their personal expertises. Other servants' names reflect the expectations of the master. For example, Wang Xifeng's servants named as “平儿”,“封儿”,“兴儿”and“隆儿”.As Jia's financial housekeeper, Wang Xifeng was in charge of Jia's financial expenses, she was careful in budgeting and valuing money very much, so she was eager to be prosperous,and names of her servants mapped her aspiration.

In addition, there are also some servants' names reflecting the character of their masters. For example, Li Wan's two servant girls “素云” and “碧月”. Though li Wan became a widow when she was young, she craved neither money nor power and devoted herself to taking care of her mother-in-law and father-in-law and her son. Her heart was as pure and white as the maids' names around her.

3.1.3 Names of Performers

In Jia Family, there are entertainers named“宝官”，“棋官”“玉官”，“藕官”，“葵官”，“艾官”,“豆官”，“药官”，“茄官”，“蕊官”，“文官”，“芳官”and“龄官”(Cao Xue, Yin Xiaotang,2020).These names can be divided into three types:
(1)Names related to jewelry: “玉官”，“宝官”and“棋官”. These names show the nobility and high dignity of their masters;
(2)Names connected with flowers and plants: “藕官”,“葵官”、“艾官”，“豆官”,“药官”,“茄官”and “蕊官”.This indicates temperament and personality of the actresses who are tender and delicate;
(3)Names associated with personality: “文官”,“芳官”and“龄官”. And the last one indicates personal talents and charms of the actresses.

3.1.4 Names of Monks,Immortals and Nuns

Names of nuns include “静虚”,“智能”and“妙玉”which implicate meaning of tranquility, wisdom, capability and so on. These are all desirable virtues to people who believe in Buddhism. Names of immortals are“茫茫大士”,“渺渺真人”,“空空道人”,“警幻仙子”,“神瑛侍者”and“绛珠仙子”. As long as these immortals show up, there will be a turn of development of the story. All these names of immortals have a sense of mystery and extraordinariness(Cao Xue, Yin Xiaotang,2020).

3.2 Constractive Analysis of Translation Strategies of Yangxianyi and David Hawkes

3.2.1 Transliteration

Transliteration is to translate the source language through pinyin according to the pronunciation of Chinese, reserving only the pronunciation of the source language but not the content, meaning and writing form of the original text.

At present, transliteration is the most commonly used method in the translation of Chinese names. Yang Xianyi's version and Hawkes' version mostly use this method in the translation of main characters’ names, but there are subtle differences in the details. Yang's translations often use the phonetic transliteration of Wei's(韦氏音标音译). For example: 甄士隐, Chen Shih-yin；贾雨村，Chia Yu-tsun；贾宝玉， Chia Pao-Yu；林黛玉，Lin Tai-Yu；贾政，Chia Cheng；贾雨村，Chia Yu tsun；薛宝钗，Hsueh Pao chai；元春，Yuan-chun；迎春，Ying chun；惜春，His chun；探春，Tan chun；金钏，Chin Chuan；袭人，His jen；宝官，Pao Kuan. This translation is more in line with the common pronunciation habits of English and more acceptable to foreign readers. Hawkes mostly uses Chinese pinyin, for example: “甄士隐” is translated as Zhen Shiyin, “贾雨村” as Jia Yucun, “贾宝玉” as Jia Baoyu and “林黛玉” as Lin Dai-yu. This translation method retains the original taste of the original work to a large extent, making it easier for foreign readers to understand the most authentic Chinese culture.

From the perspective of domestication, Yang's translation retains the naming rules of the original text for the convenience of Chinese readers. From the perspective of alienation, Hawkes chose the easiest translation method, and such transliteration of names can be regarded as the introduction of a unique name culture for the West. On the other hand, although the translation is simple and straightforward, it only preserves the pronunciation and writing form of the source language, but loses the profound connotation of the original text.

3.2.2 Free Translation

Free translation is to translate according to the general meaning of the source language. It is neither word for word nor limited to the form of the source language, but more focused on connotation expression(Duan Ruifang,2016). Hawkes usually uses free translation when translating many metaphorical and homophonic names. Free translation is embodied in the following three ways:
(1)Literal translation of the original language. It largely preserves the literal and imaginary meanings behind it, such as the two maids of Grandmother Jia, “珍珠”and “琥珀”, which are translated as "Pearl" and "Amber" respectively. It highlights the Grandmother Jia’s prominent status in family.
(2) The original name is explained and extended according to the meaning of the target language. This is a way to enhance the readability of the translated text and make the foreign language readers easily accept the strange and obscure traditional Chinese culture. For example,“晴雯” is translated as "Skybright", which means "clear sky". The clear sky after rain fits the image of Qingwen as lively, cheerful and intelligent, which can enhance readers' impression of her.
(3) Adjust the original name and reconstruct the image. For example, the name of Daiyu's servant girl is “紫鹃”, which originally means "cuckoo". This kind of bird often expresses the meaning of "sorrow" in Chinese classical literature, which can easily remind people of the tragic fate of its owner. However, in English, cuckoo can not express this meaning. Therefore, Hawkes changed it into "Nightingale". And “袭人” was translated into Aroma, but it did not show the kindness and thoughtfulness of Aroma in her name.

As for Yang Xianyi, in order to keep the characters' names connected with the original story, he adopts free translation in the names of deified figures, such as monks. For example, “空空道人”was transalated as “The Reverend Void”, “渺渺真人” as “Boundless Space” and “茫茫大士”as “Buddhist of Infinite Space”. In Chinese feudal society, married women were addressed with their husband's surname, such as “贾氏”，“尤氏”and“封氏”. Yang's translation did not directly transliterate them but translated “尤氏” into "Madam Yu", indicating her position of the household steward. “贾氏”was translated as "Mrs.Jia," implying that she was the mistress of the family. .“贾母” was translated as “Lady Dowagers” and “刘姥姥”was Granny Liu(Chen Ying,2016).

3.2.3 Annotation

Due to the huge differences between Chinese and Western cultural backgrounds, it is difficult for target language readers to accurately comprehend the special meanings behind names as the source language readers do. Based on this situation, Yang Xianyi used pinyin in the translation, but in order to truly translate the original work, it is necessary to interpret or remark the cultural connotation implied by the name in the original work. This is because a few words can not fully explain the inner meaning, adding annotations is a crucial tool. There are two main reasons for the use of annotation method. First, annotation is not limited by the number of times and sentence length, so it can better fill the deficiency of free translation and literal translation. The other is that annotation will not interfere with the integrity and structure of the original text. According to these characteristics of annotation method, it can be concluded that all character names can be properly and accurately translated through annotation.
Hawkes’s and Yang's versions have adopted appropriate annotations to facilitate readers' understanding.
For example, Yang translated “甄士隐” as Zhen Shiyin. Homophone for "true facts concealed." while Hawkes translated it into Zhen Shi-yin(the Zhen-another word-play (who are a sort of mirror-reflection of the Jia family). Annotations are used in both translations to further explain the inherent meaning contained in character names. However, too simple annotations cannot effectively achieve the purpose, and too detailed translation will load redundant cultural information into the target language, causing reading barriers for readers and making it difficult for them to reproduce in the target language. Therefore, learn how to use annotation properly is hard but significant.

===Subtitle 4===
4.Influence of Name Translation in A Dream of Red Mansion

The translation purpose of Yang's translation is given by the Foreign Languages Press, so when facing translation problems, he chose the strategy of transliteration and try his best to be faithful to the original text(Chen Ying,2016). It is precisely because this translation mostly retains the original information of A Dream of Red Mansions and respects its cultural characteristics to a certain extent. With the development of China's soft power, Yang's translation has attracted more and more Western readers who are trying to understand with the help of Yang's translation the original ideas and cultural essence conveyed in the book. Similarly, Hawkes' translation should not be underestimated, especially for western countries. First of all, as a foreigner, he was able to complete the huge task of translating A Dream of Red Mansions. In addition, he gave full play to his initiative in translating characters' names. Getting to know hundreds of characters is a big problem for Western readers, who can't understand the deep meaning of the names. Hawkes used different translation strategies to give them English names and tried to help readers get a clear picture of the characters. It can be said that Hawkes's translation can make it easier for foreigners to understand Chinese culture, thus it plays an important role in the process of Chinese culture going to the world.

All in all, A Dream of Red Mansions represents the profoundness of Chinese classical culture. With the rapid rise of China's economy and the increasing curiosity of western countries about Chinese culture, it is a good opportunity for China to show its long history and culture to the world. We should strive to improve the translation of "A Dream of Red Mansions", and use a variety of methods to reduce readers' reading barriers and promote the spread of Chinese classical culture.

===Conclusion===
Hawkes uses transliteration of the main characters and free translation of the minor characters which better let English readers understand the connotation of the name, but also to reveal and predict the fate of the character. But on the whole, there are still some shortcomings in the translation(Wang Wenting,Xuan Zhifeng,2016). This kind of translation can help spread the original works to the West, make the target language readers better understand Chinese culture, and correct the mistakes in other English translations. However, because of direct transliteration, it is difficult for the target readers who do not know the Pinyin of Chinese characters to understand original text. If the annotation method is used to assist the translation and the annotations are added after transliteration, the target readers can understand the exact meaning of the original text. For girl servants names' translation, Hawkes mainly adopts the free translation strategy to translate the name according to the character's personality and fate, but this kind of translation is too generalized, which hinders the cultural communication between source language and target language, resulting in the reader can't fully understand the original meaning and losing the elegant charm of the original language.

Although the transliteration strategy adopted by Yang Xianyi failed to translate the pun, it also conveyed the original information to the maximum extent. His free translation based on his understanding of Chinese culture, which not only respects the literary context of the original work, but also smooth the understanding of English readers, and effectively reproduces its literary meaning.

By analyzing the English translation of names of Yang Xianyi and David Hawkes, we know that there is not fixed rules or uniform patterns in the translation of names. Whether transliteration, free translation, transliteration listed, or some special translation approaches, they require the translator, according to the specific style, the rhetoric and content of works, to convey the original meaning.

===References===
*Qin Qiyue秦启越(2016).《红楼梦》人名翻译艺术再探讨[On the Translation of Names in A Dream of Red Mansions].Chinese National Expo，200-201.

*Duan Ruifang 段瑞芳(2016).《红楼梦》英译本中的人名翻译艺术[The Art of Name Translation in the English Version of A Dream of Red Mansions].Overseas English(15):101-102.

*Lin Yao林瑶(2020).从功能翻译理论对比分析《红楼梦》的杨译本和霍译本的人名翻译[A Comparative Analysis of the Translation of Names in Yang's and Hawkes's versions of A Dream of Red Mansions from the Perspective of Functional Translation Theory].中外文学[The Chinese and Foreign Literature],4-5.

*Wang Wenting,Xuan Zhifeng 王文婷,轩治峰(2016).从异化和归化角度浅析《红楼梦》英译本的人名翻译——以霍克斯版为例[On the translation of people's names in the English version of A Dream of Red Mansions from the Perspective of foreignization and domestication -- a case study of Hawkes' version].唐山文学[Tangshan Literature],133-134.

*Yang Yujie, Liao Ying 杨玉洁,廖颖(2014).从归化与异化角度对比研究《红楼梦》人名翻译[A Comparative Study on the Translation of People's Names in A Dream of Red Mansions from the Perspective of Domestication and Alienation].Cultural Highlands,283.

*Li Shide李仕德(2015).功能翻译理论下《红楼梦》的人名翻译[Translation of people's names in A Dream of Red Mansions under the Theory of Functional Translation].语文建设[Chinese Construction],62-63.

*Chen Ying陈颖(2016).杨宪益《红楼梦》译本双关人名的翻译探讨[On the Translation of Pun Names in Yang Xianyi's Translation of A Dream of Red Mansions].陕西学前师范学院学报[Journal of Shaanxi Xueqian Normal University],(3):73-76.

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==英语笔译张国浩 Zhang Guohao 202170081606 MW==

<center>'''A Brief Analysis of Strategies of Promoting the Translation of Chinese Classics "Going Abroad"
'''</center>

<center>Zhang Guohao</center>

===Abstract===

Chinese culture is broad and profound, which has a long history about 5000 years. Classics culture is one of the most representative characteristics of Chinese culture. In the course of China’s five thousand years of civilization, a large number of ancient classics have been formed by the inheritance of Chinese culture and the creation of its spiritual connotation. These Chinese cultural classics contain a lot of wisdom, which is of great significance to solve the problems faced by human society today. With the increasingly close ties between countries in the world, cultural exchanges have become more frequent. Promoting the culture of Chinese excellent classics to go abroad is an important means to enhance the soft power of national culture. However, the translation of Chinese classics is still facing many difficulties at present. Chinese cultural classics are voluminous and rich in connotation. In the process of foreign translation and communication, it is necessary to improve the training mechanism of professional translators, build a market-oriented external publishing mechanism, and build a high-quality system of foreign translation of Chinese cultural classics.

===Key words===

Chinese cultural classics; Foreign translation strategies; Communication of Chinese culture

===Introduction===

China is one of the four ancient civilizations in the world and the only one among the four ancient civilizations whose traditional culture has been continued without interruption. The long history of Chinese culture is mainly due to the passing down of a large number of cultural classics. In the new era, China’s comprehensive national power and international influence have increased significantly, and there is a greater demand for spreading Chinese culture to the outside world and for the world to understand Chinese culture. Under this background, the translation of Chinese cultural classics has become inevitable. Under the circumstance of fierce cultural competition in today’s world, it is an important problem to be solved urgently that how to spread excellent Chinese classic culture to foreign countries and obtain important results. Culture is open and can only be inherited and developed in mutual exchanges. As the carrier of Chinese culture, the translation and dissemination of Chinese cultural classics are closely related to the improvement of China's international status and international influence. While the comprehensive national strength and international influence are greatly improving, China should further strengthen its cultural self-confidence, and strengthen the protection, inheritance and promotion of Chinese culture in the construction of socialist culture with Chinese characteristics, so as to maintain the Chinese style in the forest of nations in the world and highlight the Chinese style. To make China's voice heard requires not only telling the story of contemporary China, but also letting the people of the world know China from the depths of their soul and spiritual essence. In this context, Chinese cultural classics have become the basis for inheriting and carrying forward Chinese culture, and the dissemination of Chinese culture through traditional cultural classics has also become an important way to promote Chinese culture to the world. This paper will discuss the connotation of the culture of classics, the current situation and difficulties of the foreign translation of Chinese cultural classics and the significance of the foreign translation of Chinese cultural classics. Finally the author puts forward feasible strategies and schemes to promote the foreign translation of Chinese cultural classics, so as to provide reference and guidance for the translation of Chinese cultural classics in the future.

===1. The Defination of Chinese Cultural Classics===

According to Li Zhengshuan, cultural classics refer to ancient books or documents that record natural, humanistic and philosophical ideas as well as important laws and regulations (Li, 2012: 42). Generally speaking, classics mainly refer to the carving copies, hand-copied books, manuscripts and books of rubbings etc. of the previous dynasties before 1911. The concept of Chinese cultural classics have two meanings. Firstly, it refers to the important ancient documents and books-classical works in various fields of social sciences and humanities and natural science in China. Secondly, it refers to ancient Chinese codes and systems. As far as the value of cultural classics is concerned, it refers to the literature and classical books that have withstood the test and selection of time and played an important role in promoting the progress of national civilization and even the world civilization. In terms of its subject, the cultural classics include classics of ancient Chinese philosophy, religion, literature, military science, history, science and technology, law and so on. No matter in which era, cultural classics have always been studied, enriched, annotated, interpreted and used by scholars of all dynasties. They are the spiritual wealth shared by all mankind. As the prototype symbol of national culture, they have the function of continuous regeneration and inheritance.

===2. The Significance of Translation of Chinese Classics===

Firstly, the translation of Chinese classics has always been an important part of cultural exchanges between China and the west, and it is also an important way for the dissemination of Chinese history and culture. Chinese classics not only have important ideological value, but also contain rich cultural information, which makes them more difficult to understand and translate. Therefore, the accurate and complete transmission of the cultural information in the classics is of great practical significance for carrying forward Chinese culture and carrying out cultural exchanges between China and the West. However, due to historical reasons and the particularity of Chinese characters, the excellent culture accumulated in the process of Chinese civilization for thousands of years is rarely introduced to the world, so that the world lacks a comprehensive and in-depth understanding of China’s long and splendid history and culture. Therefore, the translation of Chinese classics is particularly important in the context of economic globalization.

Secondly, we have entered an era of globalization nowadays. If any nation or country wants to remain invincible among the world’s nations, it must learn from others. While learning from other nations, we should also know how to introduce the excellent translation of Chinese classics abroad, so that the world can better understand China. Only in this way can we enhance our competitiveness on the international stage, which is also the need of our reform and opening-up policy. As Chinese people, we have the responsibility and obligation to spread the excellent culture of Chinese nation to all parts of the world. Culture is not only the embodiment of national cohesion, but also the cultural soft power has become an important factor in the competition of comprehensive national strength. As the core content of traditional culture, the translation of Chinese classics is one of the important contents of cultural output.

Thirdly, from the perspective of modern history, the Chinese culture compared with the culture of other nations is in a “weak culture” state. In this case, most foreign translators will inevitably reflect the features of their own class when translating and introducing Chinese cultural classics for the benefit of the rulers they serve. Therefore, it is necessary for Chinese translators to provide the world with more comprehensive, systematic, complete and original versions of Chinese classics.

===3. The Foreign Translation Process of Chinese Cultural Classics===

The translation of Chinese culture classics began in the Ming and Qing dynasties, and the translators were mostly Western missionaries and sinologists at that time. For example, the Italian priest Matteo Ricci translated ''The Four Books'' into Latin around 1594. The French priest Joseph de Prémare translated ''Sacrifice'' into French around 1735 and the British sinologist James Legge translated ''The Four Books and The Five Classics'' into English between 1861 and 1886. These foreign translators completed these translations with the assistance of Chinese assistants. Until the early 20th century, Chinese scholars began to undertake the translation of Chinese cultural classics independently.

Since the founding of the People’s Republic of China, Western sinologists and Chinese scholars have continued to work in foreign translation Chinese cultural classics. Among them, the representative foreign translation project was the English version of Chinese Literature, founded by Ye Yongjian in 1951, which was the only official foreign translation that translated and introduced Chinese contemporary literature at that time. Since initiating reform and opening up, the first milestone in the foreign translation of Chinese culture classics was the Library of Chinese Classics project launched by the Chinese government in 1995. it was the first major national publishing project in China's history to systematically and comprehensively introduce foreign versions of Chinese cultural classics to the world. The Library of Chinese Classics project selected 100 most representative classical works in the fields of culture, history, philosophy, economy, military affairs, science and technology from the pre Qin period to modern times and expert would collate and sort out the topics and versions in detail, and translate them from Writings in Classical Chinese to vernacular, and then from vernacular to English. Chinese leaders have given great support and high praise to this translation project, and have repeatedly presented this series of translated works as an official gift to foreign dignitaries on important occasions. In addition to English translation, the second phrase the Library of Chinese Classics project started in December in 2007 has published Chinese-French, Chinese-Spanish, Chinese-Arabic, Chinese-Russian, Chinese-German, Chinese-Japanese, Chinese-Korean versions in an effort to achieve multilingual publication of Chinese culture classics.

In addition, over the past ten years, there have been many foreign translation projects of Chinese cultural classics which were vigorously promoted by Chinese government. The above-mentioned translation projects at the national level have enhanced the cultural confidence of the Chinese people and improved the soft power of Chinese culture. This is due not only to the importance of national support for traditional culture and translation, but also to the hard work of translators and publishers.

===4. The Current Status of Foreign Translation of Chinese Cultural Classics===

Under the background of economic globalization, the translation of Chinese cultural classics has made great progress with the great attention of the Chinese government and the joint efforts of many Chinese scholars and translators in recent years. In 1995, China began to launch the “Library of Chinese Classics” project, which was the first major publishing project in China to comprehensively and systematically introduce Chinese traditional cultural classics to the world. “Library of Chinese Classics” projects not only accurately translates China’s historical and cultural classics to the world, but also shows the world great Chinese culture. But even so, the current translation of Chinese classics is still facing many difficulties.

The first problem refers that there is a shortage of professional translation talents, and the coverage of translation talent education is also narrow. In the new era, China will unswervingly open wider to the outside world and strengthen its cultural self-confidence. Obviously, China is required to make efforts to promote Chinese culture to the world. The translation of Chinese cultural classics is one of the basic ways to promote the spread of Chinese culture to the world. The external translation and dissemination of cultural classics can not be separated from high-quality translation versions whose key lies in the cultivation of translation talents. At present, China lacks professional translation talents, and the coverage of translated language is narrow. Although China regards English as the basic content of national education and has basically established a higher education system covering the world’s major applied languages, the translation of Chinese cultural classics is a highly specialized translation work, which requires translators to be familiar with Chinese culture and have a deep understanding of the history and culture of the target-language countries This kind of integrated talents is relatively scarce, and it is difficult to cultivate a large number of such talents in a short period of time under the existing translation talent education mechanism.

In addition, the selection of translation materials of Chinese cultural classics is concentrated and single. The word “classics” in Cihai means “important national documents”. Professor Wang Hongyin clearly put forward the concept of “Chinese cultural classics” and limited its scope from three aspects. Then professor Zhao Changjiang also explained its definition in detail. In summary, we can draw the conclusion that Chinese classics involve the three disciplines of literature, history and philosophy, Confucianism, three religions of Confucianism, Buddhism and Taoism, as well as Chinese military classics, scientific and technological classics and so on. Among the vast Chinese classics, the ones that are truly translated into foreign languages are mostly concentrated in philosophical works such as “ The Four Books and The Five Classics” and ancient literary classics such as “Dream of the Red Chamber”. However, the foreign translation of prose and drama is very rare. The foreign translation of cultural classics of other nationalities in China is rarely involved, while the translation of scientific and technological classics is almost ignored. Therefore, it is very necessary to expand the scope of selection for classics translation in order to spread Chinese excellent culture through classics.

Facing the strong competition of Western culture, the market-oriented communication mechanism is not perfect. The translation and dissemination of Chinese cultural classics should rely on the market-oriented publishing mechanism, while the cultivation of foreign audiences’ reading demands mainly depends on the improvement of China’s international influence, especially the improvement of China’s international status in the process of economic globalization. At present, in the face of the strong position of the West in the international discourse system, the translation and dissemination of Chinese cultural classics in the market publishing face the strong competition of Western culture. At the same time, the market demand for the publication and distribution of Chinese cultural classics also lacks effective integration, and it will be difficult to obtain lasting impetus to promote the dissemination of Chinese culture by relying too much on national financial investment or incorporating the translation and dissemination of Chinese cultural classics into the cultural exchange mechanism under the national financial burden. The imperfect market mechanism for the translation and dissemination of Chinese cultural classics, the lack of scientific evaluation of the international publishing market demand and targeted marketing mechanism are important problems in promoting the translation and dissemination of Chinese cultural classics.

On the other hand, the quality of translation is uneven, and the adaptability of local culture in target-language countries needs to be improved. The development of the foreign translation market of Chinese cultural classics not only needs to cultivate the reading needs of foreign audiences and incorporate them into the construction of the publishing market, but also needs to establish the awareness of quality and build a quality system. Nowadays, although some high-quality versions have been formed in the foreign language translation of cultural classics in China, the quality of some translation works is not satisfactory. It is difficult to accurately transform the classics into the local culture of target-language countries. Especially for some minority-language countries and ethnic groups, it is difficult for China to engage in high-quality foreign language translation and form an optional quality system due to the lack of professional translators. At the same time, when translating Chinese cultural classics into foreign languages, China needs to improve the localization of text content. Whether the translated works of Chinese cultural classics can be compatible with the history and culture of target-language countries will have an important impact on the dissemination ability of Chinese cultural classics.

At the same time, the translation of Chinese cultural classics is still unevenly distributed. At present, the translation of Chinese cultural classics mainly focuses on the cultural classics of the Han nationality, while the foreign translation of cultural classics of other nationalities are in the dilemma of “small quantity”. Due to their uniqueness, the foreign translation and dissemination of them are relatively more complex. According to statistics, there are less than 20 foreign translations of cultural classics of other nationalities in China since the late Qing Dynasty, and only a few ethnic cultural classics such as Tibetan, Mongolian, Zhuang and Kirgiz have been translated into English. Compared with the 1000 volumes of ethnic minority ancient books or Han cultural classics in the Catalogue of National Rare Books in China, there is a fact that there is a small amount of foreign translation in other ethnic cultural classics. And due to the factors of Chinese local translators, the languages of translation and introduction are relatively single. The translated cultural classics of other nationalities in China are mainly focused on literary subjects, while other fields such as medicine, agriculture, science and technology are often ignored. Therefore, the number of foreign translation of them is even less.

===5. Measures to Promote Foreign Translation of Chinese Classics===

Targeted measures are needed to solve the above problems. Firstly, foreign readers’ reading demands should be guided and cultivated and a market-oriented foreign publishing mechanism should be built. At present, China’s comprehensive national strength has improved significantly and it occupies an important position in the global trade system. The exchanges and interactions between China and other countries in the world are becoming increasingly frequent, and the demand for countries in the world to understand Chinese culture is increasing. China should further guide and cultivate people’s cognitive needs of Chinese culture, and promote the construction of market-oriented foreign publishing mechanism with high-quality translation versions of Chinese cultural classics. China should encourage domestic publishing enterprises with strong strength to go out. On the basis of scientific evaluation of other countries’ demand for Chinese cultural classics reading, effective marketing strategies should be determined. Meanwhile, China also need to establish sound sales channels, and form a positive interaction mechanism between the cultivation of foreign Chinese classics reading market and the overseas publishing industry for spreading Chinese culture.

Secondly, China should build a system of excellent translation of Chinese classics to improve the local adaptability of the translated versions. As the carrier of Chinese culture, the humanistic spirit of Chinese classics should go to the world with the development of our country. China should actively promote the construction of an excellent translation system of Chinese classics. While providing guarantee in terms of talents, funds and policies, the government should also establish a standard system for the translation of excellent classics, and form several alternative high-quality versions for different countries and nationalities. In the construction of the excellent system of translation of Chinese classics, China should strengthen the exchange between the translated versions and the local culture of the targeted-language countries and select different classics according to the historical culture and religious customs of different countries and nations, so as to avoid the conflict between the contents of classics and the historical culture and religious customs of relevant countries.

Thirdly, the government should improve the training mechanism of professional translation talents and increase the number of foreign language for education. China should actively promote the construction of professional translation talent system, and construct the corresponding talent training mechanism based on the principle of specialization in the translation of Chinese classics. For example, China should set up the translation major of Chinese classics in the current translation major and integrate it with the study of various languages. In the process of learning foreign languages, China can take the translation of Chinese classics as the basic teaching content. At the same time, China should also cooperate with the implementation of the Belt and Road Initiative to carry out targeted translation education of Chinese classics.

The the Belt and Road Initiative is the direct driving force for the foreign translation of Chinese cultural classics. Since the advent of the new century, the Chinese government has paid more attention to cultural exchanges with other countries in the world. The proposal of the “the Belt and Road” Initiative in 2014 further demonstrates the determination of Chinese culture to go global. The translation of Chinese classics is the most direct means for Chinese culture to go global. As a corridor for cultural exchanges, the the Belt and Road Initiative provides a new opportunity for the translation of Chinese cultural classics and will directly promote the development of Chinese cultural classics translation. The Library of Chinese Classics project is the most prominent project in the national assistance to the foreign translation of Chinese cultural classics, even though these translation versions are not sold well abroad. However, these works condense China’s long history and splendid culture, and enhance the foreign dissemination of Chinese classics. In addition, works of the Library of Chinese Classics project are not only sold in bookstores, but also presented to foreign leaders as official gifts, which is of great benefit to the dissemination of Chinese culture. Buddhism and Buddhist classics were introduced to China through the ancient Silk Road. Nowadays, Chinese Confucianism and Confucian classics will spread to the world through the Belt and Road Initiative. First of all, in the process of the Belt and Road Initiative construction, the builders sent by China to countries and regions will spread Confucianism and Chinese culture in daily exchanges with local people. In addition, China actively promotes Confucius Institutes in the process of the Belt and Road Initiative construction, which directly promotes the external dissemination of Confucianism and classics. Finally, the construction of the Belt and Road Initiative can also increase the public’s recognition and understanding of Chinese cultural classics and promote the development of the English translation of these cultural classics.

===Conclusion===

Chinese classics are the crystallization of the wisdom of the Chinese nation and still have important guiding value for the problems confronted by human today. With the continuous enhancement of China’s comprehensive national strength, the translation of Chinese classics is imperative. In the process of translating classics, we should improve the training mechanism of professional translation talents, build a market-oriented external publishing mechanism, and build a system of excellent translation of Chinese cultural classics, so as to promote the better dissemination of Chinese culture abroad and enhance China’s cultural soft power.

===References===
*Li Wenge 李文革.(2000). 中国文化典籍的文化意蕴及翻译问题 [The Cultural Implication and Translation of Chinese Cultural Classics]. ''外语研究'' Foreign Languages Research (1)42-44.
*Liu Xingfeng 刘性峰.(2005). 典籍英译的意义 [The Significance of Translation From Chinese Classics into English]. ''皖西学院学报'' Journal of West Anhui University (2)105-107.
*Qiu Kean 裘克安.(1991). 更好地组织中国文化代表作的英译和出版 [Better Organization for the English Translation and Publication of Chinese Cultural Masterpieces]. ''中国翻译'' Chinese Translators Journal (2)4-5.
*Wang Hong 王宏. (2012). 中国典籍英译：成绩、问题与对策 [English Translation of Chinese Classics : Achievements, Problems and Countermeasures]. ''外语教学理论与实践'' Foreign Language Learning Theory and Practice (3)9-14.
*Wang Rongpei 汪榕培.(1997). ''比较与翻译'' [Comparison and Translation]. Shanghai: Shanghai Foreign Language Education Press 上海外语教育出版社.
*Yang yingfa, Zhang Ji 杨英法, 张骥.(2017). 中华文化软实力提升与汉语弘扬间关系探讨 [The Discuss on the Relationship Between the Advance of Chinese Cultural Soft Power and the Promotion of Chinese]. ''石家庄学院学报'' Journal of Shijiazhuang University (4)106-110.
*Zhu Linbao 朱林宝. (1994). ''中华文化典籍指要'' [Essentials of Chinese Cultural Classics]. Jinan: Shandong People's Publishing House 山东人民出版社.
*Zhang Xiping 张西平. (2015). 中国古代文化典籍域外传播的门径 [The Overseas Transmission of Ancient Chinese Cultural Classics]. ''中国高校社会科学'' Social Sciences in Chinese Higher Education Institution (3)79-91.

===Terms and Expressions===

*Matteo Ricci 利玛窦
*Joseph de Prémare 马若瑟
*James Legge 理雅各
*The Four Books and The Five Classics 四书五经
*the Library of Chinese Classics project 《大中华文库》项目
*The the Belt and Road Initiative 一带一路
*Kirgiz 柯尔克孜语
*Writings in Classical Chinese 文言文
*vernacular 白话文

===Questions===

*1. What does cultural classics refer to according to Li Zhengshuan?
*2. The word “classics” in Cihai means “important national documents”. (T/F)
*3. When did the foreign translation of Chinese culture classics begin?
*4. What project did Chinese government launch?
*5. The Library of Chinese Classics project is the direct driving force for the foreign translation of Chinese cultural classics. (T/F)

===Keys===

*1. According to Li Zhengshuan, cultural classics refer to ancient books or documents that record natural, humanistic and philosophical ideas as well as important laws and regulations.
*2. T
*3. The foreign translation of Chinese culture classics began in the Ming and Qing dynasties.
*4. The Library of Chinese Classics project
*5. F

==英语笔译张姣玲 Zhang Jiaoling 202170081607 CE==

'''On movie adaptation of Chinese classics - The example of Yu Hua’s ''To Live'''
张姣玲
===Abstract===

In recent years, the movie and television adaptation of literary masterpieces has become a trend and has attracted people's attention. As the “Four Literary Masterpieces” have been successively put on the screen, which have aroused hot comments from the society. Although people have mixed reviews of works adapted from literary classics, they still have a great interest on those adapted woks. After entering the twenty-first century, China's film and television industry has become more prosperous, while the adaptation of classic literary works has also gained increasing popularity, and both film and television industries have recognized the value of classic literature to their development. The novel To Live is one of the representative works of the avant-garde writer Yu Hua, and it is also his attempt to explore the theme of death. In the novel, there are obvious imprints and scratches of the collision and docking of Chinese and Western cultures. Yu Hua aims to make interpretations and reflections on death in a metaphysical sense, reflecting his understanding and depicting of modern life philosophy in this novel. The film adaptation of “To Live” directed by Zhang Yimou is the complete opposite of the content expressed in the novel, as the film focuses on realistic criticism and historical reflection that is closer to life. This paper will take Yu Hua's work “To Live” as an example to explore the differences between novels and film adaptations from the following three aspects: storyline, narrative perspective, and connotation.

===Key words===
Movie Adaptations; Chinese Clasisics; To Live; Differences

===Introduction===
Generally speaking, classic novels have the advantage of plot and narrative framework, and consequently have a profound influence on the choice of techniques and innovative concepts of movie. Movie, on the other hand, has outstanding features in spatial modeling, and its distinctive spatial characteristics can in turn promote the innovation of novel structure, bringing irreplaceable influence to the writing techniques and innovative development of contemporary literary masterpieces. In the interaction between the two, the narrative structure and temporal consciousness of literary works are weakened, but the aesthetic features become richer as they are strengthened in terms of stylistic and spatial consciousness. Films adapted from masterpieces, on the other hand, add various audiovisual elements to the original plot, opening up a broader artistic space. At the same time, literary masterpieces provide films with rich and deep materials, and films reflect them with more diversified expressions and stronger expressive power, and reinforce their fame through wider publicity, thus realizing the wide dissemination of masterpieces. Thus, literary classics and film adaptations complement each other.

To Live has brought its writer Yu Hua high honors, winning him the top prize of the Italian Grinzana Carver Literary Award, the Chevalier de l'Ordre des Lettres et des Arts de France, and many other awards. It has become a myth of contemporary pure literature texts, with a staggering number of copies in print every year. Zhang Yimou adapted it for the big screen in 1994, and the film attracted great attention and discussion, and brought Zhang Yimou a series of honors, such as the Spirit of Humanity Award at the 47th Cannes International Film Festival, the Best Foreign Language Film Award at the 48th British Academy of Film and Television Arts, and the Best Foreign Language Film by National Society of Film Critics Awards.

As one of his best novels, Yu Hua's To Live is a modernist philosophical poem, based on the principle of "writing for the heart" and extremist writing in pioneering literature, and through a series of descriptions of "death", it condenses life consciousness and philosophy of Fu-gui style, showing a metaphysical philosophical character. Its film adaptation is based on the literary view of realism, focusing on the display of metaphysical suffering and the irony of modern history, brilliantly interpreting the "suffering" story of the original, but its "happy ending" and the aesthetic principle of gentle and generous, resentful but not angry, have dissipated the ideological meaning of the original and weakened the social criticism. Zhang Yimou's films have distinctive national and personal characteristics, and are characterized by a distinctive "Zhang Yimou style" of narrative art. Zhang Yimou's works have won numerous domestic and international awards and critical acclaim, but in contrast, there is no shortage of critical voices. The film version of To Live is one of Zhang Yimou's most popular and controversial works. This essay will analyze the differences between the novel and the film adaptation from three aspects: storyline, narrative perspective, and connotation.

===Literature Review===
Most researchers believe that the novel "To Live" and its adapted film show significant differences in theme or aesthetic meaning. Centering on this core issue, researchers conducted comparative studies on many similarities and differences between the two versions and made their own aesthetic value judgments. To sum up, there are three main views:

The first view is that the film "To Live" is superior to the original novel in artistic achievement and aesthetic value, and that "Zhang Yimou's film adaptation of "To Live" is more enjoyable, dramatic and impactful than the novel, and has a stronger tragic beauty. From the perspective of art history, some people speak highly of the film "To Live": "This film is a lofty monument in film industry since China's reform and opening up, and an artistic peak that Zhang Yimou himself has not been able to surpass so far. "Browsing through Zhang Yimou's entire oeuvre, we can see that it is in fact a monumental work that can represent the new era of Chinese movies, and it is also the peak work of Zhang Yimou, the leading figure of Chinese movie in the new era."

In the second view, more commentators focus on the basic characteristics of the two art forms of novel and film, objectively comparing the similarities and differences between them in terms of the spirit of the subject matter, narrative perspective, narrative style, characters' fate, and artistic imagery, and exploring Zhang Yimou's artistic recreation in the process of adaptation, while trying not to make an overall ideological and aesthetic implication value judgment on the two art forms of To Live.

The third view is that Zhang Yimou's film To Live is inferior to Yu Hua's novel in terms of ideological significance and aesthetic value: "Both Yu Hua's novel and Zhang Yimou's film are successful", each with its own characteristics in terms of narrative perspective, character design, time and space setting, and aesthetic style. However, it is Zhang Yimou's artistic re-creation of certain aspects, especially the happy ending, that has "flattened the novel's 'depth pattern'" to varying degrees. Some people believe that the film adaptation has weakened the artistic charm of the original novel compared to the original; from the literary text to the film script, many changes are inevitable to be made, but no matter how the changes are made, the inner spirit of the work cannot be altered. The movie "To Live" is misaligned with the original in terms of theme and intent, making its aesthetic and artistic value far from reaching the height of the original novel.

===The Differences in Storyline===
1.Novel To Live: About the absurd fate and inevitable death of human beings

The style of Yu Hua's novel To Live is quite absurd and cold.

What Yu Hua explores and expresses in his book is in fact the ultimate concern for human life and fate. What Yu Hua writes about is a mysterious force of fate that is beyond human control, just as the existence and death of Fugui's family are metaphysical presentations of the word "absurdity". The title of the novel is "To Live", but the book is filled with the demise of life around the main character, that is, "dead", which is the exact opposite of "live". In Yu Hua's novel, the demise of Fugui's family is more like a symbol, a natural and irreversible flow of life, while the realistic background is only to serve the context.

In Yu Hua's novel, according to Fugui's recollection, he was so addicted to gambling in his youth that he lost his family's fortune, and his family's house was taken away by Long Er, so the family had to move to a dilapidated thatched hut. Since then, Fugui's family seemed to be caught in a whirlpool of cruel reality and absurd fate. With his father dead, Jiazhen taken away by his father-in-law, and his family shattered, Fugui still had to try every means to earn money to make ends meet and provide for his mother. Life was hard, but there was a glimer of hope for Fugui. Jiazhen's return to the family gave Fugui a little hope and warmth in life, and then he worked as hard as he could. He thought he could live a peaceful life despite the hardships, but then a unexpected change happened, and Fugui was suddenly conscripted as a soldier and left for a few long years. It was a miracle that Fugui came back alive as no one knows when they might be shot to death while in the army. When Fugui returned home, he found his mother dead and his daughter mute after a high fever. At this point in the story, the fate of Fugui and his family shows a certain pattern of ups and downs, that is: once a little brightness is seen in life, the next thing that follows is grayness and misery.

Fugui lost his family's fortune due to gambling and his house was given to Long Er, but he accidentally avoided being shot during the Land Reform and was given five acres of land that he used to plant. When the family was rich, Fugui gambled all day long when Jiazhen washed her face with tears all day long. When Fugui was stubborn and did not listen to her advice, Jiazhen went back to her mother's house, but returned to the family with her son after Fugui ending uo of living in a hut, and supported her mother together with him ......

In all these cases, we can see that it is as if the destiny that can never be defined and controlled, or is called "fate".

Although "luck" and "misfortune" seem clear in the present, but as time goes by, no one can accurately predict what the future will look like. After that, the fate of Fugui's family changed dramatically. The son died prematurely due to excessive blood drawing, which was used by the wife of the governor, who was Fugui's friend Chunsheng in the army; his daughter Fengxia died of a hemorrhage in childbirth; his son-in-law's death was even more shocking - crushed to death in a concrete slab; His grandson Kugen died of eating too much boiled edamame. Almost all of these deaths around Fugui were unexpected disasters, except for his mother and wife, who died of illness. Suffering comes with a gray tone and a sorrowful destiny that leaves one in silence.

At the end of the novel, almost all the people are dead, but only Fugui is alive.

Depression and absurdity are the most intuitive experience and feeling brought by the novel "To Live", which is also the style and tone of the whole novel. Everyone is dead, but the main character Fugui. The fact that Fugui is still "alive" echoes the title of the novel, but it also conveys the sadness of "living for the sake of living". The thematic meaning of survival and death in To Live shows a certain overlap with Heidegger's existentialist philosophy, and Fugui's life actually has a certain philosophical revelation. Heidegger once said, "As a being toward its death, this is actually dead, and remains dead as long as he does not reach the moment of death." Behind Yu Hua's cold words is a complex imagination of the boundlessness of human death, a portrayal and writing of an absurd, uncontrollable fate.

2.Film To Live: A film about an individual's survival in harsh reality

While preserving the main characters and relationships of the novel, Zhang Yimou has adapted To Live in many ways, and the adaptation of the plot gives the film a completely different tone from the novel. Therefore, compared with the novel, the aesthetic and ideological connotations displayed in the film have also changed.

Taking 1949 as the time boundary, the plot of the movie is basically similar to that of the novel. But we mainly focus on the differences between the development of the story in the movie after 1949 and that of the novel plot.

The first episode about "death": Youqing's death.

After the Great Leap Forward begins, Fugui forced Youqing, who has stayed up all night, to go to school, but Youqing ended up being crushed to death by the collapsed wall, and the district head of the collapsed wall was the Chunsheng who had shared the hardships with Fugui back in the army. In the novel, the death of Qing was caused by excessive blood donation, which is already absurd, coupled with Yu Hua's cold and dreary writing style, will bring the reader into a spine-chilling sense of absurdity when reading. Although both of them were accidents and the cause of death was related to Chunsheng, we obviously felt that the death of "being killed by a wall" actually made the audience feel less absurd than the death of "dying from excessive blood donation".

The second episode about "death" : the death of Fengxia, Fugui's daughter.

In both the movie and the novel, Fengxia died of a massive hemorrhage during childbirth. The only difference is that in the movie, Fengxia died because no one was able to diagnose and treat her. Here, Zhang adds a more epochal touch to Fengxia's tragic death, which the film tries to highlight: the impotence of small individuals in the harsh reality of the times. The film's prominent historical background is not the main theme of the novel.

The third episode about "death": the end of the story.

In the novel, only Fugui survived at the end of the story. Perhaps Fugui was the one who was most likely to be taken away by death, but he was the only one who survived when everyone else dies. Fate is unpredictable, and this meaningless "living" is also a form of death in a sense.

The end of the movie is completely different from the novel.

At the end of the movie, there was a scene of many years later: the warm sunshine was shining on Fugui and his family. Fugui, his son-in-law Erxi and his grandson gathered around the bed of the sick Jiazhen, chatting with each other in a relaxed atmosphere. Fugui's family has gone through so much suffering, but still have the opportunity to sit around and chatting. The film's images also became slightly brighter, no longer in a completely somber and gloomy tone. The three characters Zhang Yimou chose to keep are very important to the meaning of Fugui's life. Jiazhen, as Fugui's wife, accompanied him through all his suffering, Erxi, as Fugui's son-in-law, was the sustenance of his deceased son and daughter, and Mantou, as Fugui's grandson, was a symbol of hope. The family pattern of three generations is preserved, as well as the few good things that can be experienced by people who bear the hardships of various stages together. In the film, we can see a little light in Zhang Yimou's camera. The fate of the Fugui family did not end in tragedy like it in the novel, and a glimmer of hope is preserved.

===The Differences in Narrative Perspective===

1.The novel To Live: a cold, calm narration in the first person

The novel To Live actually has two different narrators, one is the folk song collector at the beginning of the work, that is, "I". "I" wandered through the countryside and fields, originally to collect folk songs, but I met an old man, that is, Fugui, the main character of the story. The old man, Fugui, is full of vicissitudes and told "me" stories about his past. The main plot of the novel then unfolds, with the narrator switching between "me" and Fu Gui. The story of To Live is mainly about Fu Gui and is narrated by him. As a young man who came to the countryside for a ramble, “I” was more often than not a listener, independent of Fugui's story.

In the old man's calm recollection and narration, the reader sees the absurd and cruel past of the former Fugui family, all of which is saddening. The old man's eyes are gentle and indifferent, and his narrative is slow and easy. Some of the memories are absurd, some of the memories are extremely sad, but the old man is very calm, as if these things did not happen to him. In the process of the old man Fugui's narration, "I", as one of the narrators, will also reflect with the old man's memories. When "I" think, the readers are also separated from the story, so that they can think rationally as they read. This is a kind of "alienation" effect, that is, let the reader and the text have a certain distance so as to guide the reader to think independently and calmly. The reader, like the "me" in the book, is shocked and saddened by these memories, but is able to detach oneself and to think.

Yu hua's writing brings a sense of alienation and calm, and is filled with wisdom of life. Coupled with the novel's first-person limited angle of narrative perspective shift, the novel gives its reader a whole touches without drowning them in the story, thus allowing them to think independently about what Yu Hua really wants to convey - the theme of life and fate.

2.The film To Live: a moving, detailed narrative in the third person

Zhang Yimou is a photographer originally, and he is good at controling the camera with a distinctive characteristics; in the film To Live, his unique sense of lens art is expressed to the fullest. The overall tone of To Live is not bright and clear, but it does give us a glimmer of hope, not only because of Zhang Yimou's adaptation of the plot, but also because of the film's unique narrative rhythm and perspective.

The film records the story with the lens, and the lens itself is independent of the characters in the picture. When Zhang Yimou shot the film, he did not use the first-person narrative perspective of the novel, but eliminated the role of "I" as a folk song collector in the novel, and simply told the experiences of Fugui's family in chronological order. By eliminating the narrative perspective of "I", the viewers cannot feel the "separation" brought by the novel in the film, instead, they can follow the camera deeper into Fugui's story and get a more direct emotional experience.

There are many scenes of life and death in the film, but Zhang Yimou does not let them become monotonous or uniformed. Whether it is the body language of the characters on the verge of despair or the sad and passionate background music greatly enhance the artistic impact of the scenes of life and death, making the audience feel as if they were on the scene. The audience experiences the intense grief in these images, their emotions fluctuating thereby, and the sense of despair penetrates into the hearts of everyone behind the camera. That's why, at the end of the movie, when Fuguei's family gets together to talk, the dull but warm atmosphere will move the audience and make them feel a sense of gratitude for Fuguei's family and for the fact that there is still a glimmer of hope in the story.

===The Differences in Connotation===

1.The novel To Live: a philosophical inquiry into the meaning of human existence

Yu Hua's novel is titled To Live, but a large part of it is about death. The old man Fugui had experienced the death of too many people around him, and finally only an old cow was left with him. He reminisced about the past, when the progression of life stages was almost always accompanied by the death of loved ones. The suffering and the sad fate made people feel absurd, but did not destroy the old man's spirit, and he became calm and uncontested, still insisting on living. What is the purpose of this "living" and what is the meaning of it when all reasons for survival are lost? This question actually has the meaning of Heideggerian existentialist philosophy. In asking such a question, Yu Hua is thinking about the meaning of life, and he also wants to convey this kind of thinking and perception of existence of life to us.

The novel To Live has a deep and grand narrative structure. Yu Hua is always focused on the ultimate reality of human life, hoping to show us a certain normality of life's sorrow through the protagonist's absurd life. The novel is not as angry and cruel as Yu Hua's previous works, as the protagonist recalls these events with a calm and serene mood, as if he has transcended the fear of death and entered a state of philosophical detachment.

The academic circle has been debating Yu Hua's plot setting that leads Fugui to such a transcendent situation. Some scholars have given it a positive assessment, saying that it is Yu Hua's positive dissolution of the tragedy of life, a spiritual power that transcends death; others believe that Yu Hua hereby chooses to dissolve suffering and escape from it, and that this has become his limitation.

As we delve into the text and thematic ideas of the novel, we find that the rendering of the themes of death and existence in the work is not powerful enough. But we can hold a certain tolerant attitude towards this, because the novel To Live has shown that contemporary writers have shifted from the level of politics as the theme to the level of thinking about human nature, life and other values, which deserves our more attention.

2. To Live: Individual survival tragedy and social tragedy in a specific time and space
The movie To Live shows the life and death of the Fugui family, and emphasizes the political elements behind the story. What the film is about is very simple: the tragic experiences of a family in a specific historical era, using the family's suffering as an entry point and perspective on Chinese history and culture. In Zhang Yimou's film, the retrospection and reflection on a specific history are intensified, and the philosophical thoughts on human existence in the novel are weakened.

Although the film To Live retains the main characters and part of the plot in the novel, its connotation has taken on a completely different direction from the novel text. If the novel is a philosophical reflection and inquiry on the whole human life, then the film To Live is a statement of social tragedy in a specific time and space in China. Zhang Yimou's film adaptation of the original work is actually a second creation after deconstructing and reconstructing the novel, so the overall artistic style and theme connotation of the film are fundamentally different from that of the novel.

In the film, both the cause of death of the main characters and the spatial location of the story reflect the values that Zhang Yimou wants to express, which is to look back and reflect on history, and to look at the tragedies of the lives of the little people in a particular time and space. Zhang Yimou's adaptation leads the story in a direction closer to real life and history, and what he wants to highlight is the retrospection and reflection on a specific historical period. This is a tragedy of a specific historical era, a tragedy in the culture and history of the nation, and this adaptation of the film embodies Zhang Yimou's courage to face history and reflect on it.

===Conclusion===

In the process of the film adaptation of novels, there must be some deletion and modification. In different historical backgrounds, the characteristics of film adaptation are not the same. Although the novel To Live and the film have similar characters and some similar plots, in fact, they are two texts with very different connotations no matter from the overall style tone, narrative technique or thematic meaning. The novel has a somber tone, while the film has a brighter tone; the novel is narrated in the first person, which creates a certain effect of "separation", while the film is told in the third person, which makes it easier to create a certain effect of "empathy"; he novel is intended to ask questions about the fate and meaning of life as a whole, while the movie focuses on the social tragedy and personal tragedy in the context of a specific era.

Whether reading the novel or watching the movie To Live, readers and audiences will be deeply shocked and moved, which is cause by the heavy weight carried by the words "to live".

===Terms and Expressions===
the avant-garde writer: 先锋作家

the top prize of the Italian Grinzana Carver Literary Award: 意大利格林扎纳·卡佛文学奖最高奖项

the Chevalier de l'Ordre des Lettres et des Arts de France: 法兰西文学和艺术骑士勋章

the Spirit of Humanity Award at the 47th Cannes International Film Festival: 第47届戛纳国际电影节人道精神奖

the Best Foreign Language Film Award at the 48th British Academy of Film and Television Arts: 第48届英国电影学院奖最佳外语片奖

the Best Foreign Language Film by National Society of Film Critics Awards: 全美国影评人协会最佳外语片

Land Reform: 土改

Great Leap Forward: 大跃进

===Questions===

1.Is Yu Hua's novel a deliberate pile of tragedy?

2.What is the difference between the style of the novel and of the film?

3.What are the themes conveyed by Yu Hua and Zhang Yimou?

===Answers===

1.No, it’s not. All the tradedy happened to the main characters are to reveal a theme, that is, living itself does not have any meaning, what has meaning is life.

2.The novel’s style is more absurd while the film is more ironic.

3.Yu Hua’s To Live is to live for the sake of living, while Zhang Yimou’s is to live for a better life.

===References===

*刘诗杨,唐杨[Liu Shiyang, Tang Yang].文学经典影视化：融合、困境与出路[ Film and Television of Literary Classics: Integration, Dilemmas and Ways Out][J].戏剧之家[Home Drama],2021(26):137-138.

*付丹[Fu Dan].《活着》小说与电影的叙事互文[Narrative Intertextuality between Novel and Film of To Live][J].辽东学院学报(社会科学版)[Journal of Eastern Liaoning University(Social Science Edition)],2021,23(03):97-101.DOI:10.14168/j.issn.1672-8572.2021.03.14.

*王芳[Wang Fang].现实悲苦与荒诞命运——张艺谋电影和余华小说的两种“活着”[Realistic Misery and Absurd Fate -- Two Kinds of "Living" in Zhang Yimou's Film and Yu Hua's Novel][J].现代交际[Modern Communication],2020(20):135-139.

*王凌云[Wang Lingyun].论跨文化传播中文学剧本的电影改编方式[On the Film Adaptation of Literary Scripts in Cross-cultural Communication][J].西部广播电视[West China Broadcasting TV],2019(09):105-106.

*闵易秋[Min Yiqiu].论文学名著和电影改编[On Literary Masterpieces and Film Adaptations][J].戏剧之家[Home Drama],2019(07):135.

*胡焕龙[Hu Huanlong].两种艺术展现两种境界的“活着”——余华小说《活着》与同名电影改编作品比较[Two Artistic Expressions, Two Realms of "Living" - A Comparison of Yu Hua's Novel "To Live" and the Film Adaptation of the Same Name][J].海南师范大学学报(社会科学版) [Journal of Hainan Normal University(Social Sciences)], 2018,31(05):58-64.DOI:10.16061/j.cnki.cn46-1076/c.2018.05.011.

*王晨雨露[Wang Chen Yu Lu].小说《活着》与电影《活着》的死亡叙事比较[A Comparison of the Death Narratives in the Novel To Live and the Film][J].北方文学[Northern Literature],2017(21):280-281+288.

*王海霞,王达敏[Wang Haixia, Wang Minda].“真实”与“现实”的不同追求——余华小说《活着》与张艺谋电影《活着》比较[The Different Pursuit of Truth and Reality: A Comparison between Yu Hua's Novel To Live and Zhang Yimou's film to Live][J].乐山师范学院学报[Journal of Leshan Normal University],2015,30(09):23-28+75.DOI:10.16069/j.cnki.51-1610/g4.2015.09.007.

*刘悦笛[Liu Yuedi].《活着》两种——从余华小说到张艺谋电影的审美嬗变[Two kinds of To Live:The Aesthetic Transition from Yu Hua's Novel to Zhang Yimou's Film][J].锦州师范学院学报(哲学社会科学版)[Journal of Jinzhou Teachers College（Philosophy and Social Scienae Edition)],2000(03):41-43.DOI:10.13831/j.cnki.issn.1672-8254.2000.03.010.

==英语笔译张瑞 Zhang Rui 202170081608 MW==
<center>'''An Analysis of English Translation of Classical Prose Based on the Skopos Theory'''</center>

<center>张瑞 Zhang Rui</center>

===Abstract===
The information age has made cultural communication the norm in the world, and transmitting the essence of Chinese traditional culture to the world is not only an important way to show the profound cultural heritage of China, but also a good way to make the world understand China. This paper introduces the theory of cultural translation into the translation of Chinese classical prose. By selecting the classic prose of Han Yu, the first of the Eight Great Masters of the Tang and Song dynasties, as a case study, we analyze the English translation process of Han Yu's prose under the guidance of cultural translation, show the applicability of cultural translation in the English translation of classical prose, and provide new ideas and references for the future translation of classical prose.

===Key words===
Skopos Theory; Strategies for English translation of classical prose; the classic prose of Han Yu

===Introduction===

Today's era is not only the era of economic globalization, but also the era of cultural globalization, and the mutual dissemination of culture has become the norm in the world. China is an ancient civilization with a long history of 5,000 years. The Chinese people are industrious and wise, leaving behind a large number of excellent texts, which have made outstanding contributions to world civilization.

As the essence of traditional Chinese culture, the smooth dissemination of Chinese classical literature not only enables China's profound cultural ideas to be transmitted to foreign countries, but also enables countries around the world to understand China and its traditional culture more deeply. In the process of mutual cultural transmission, the role of translation is particularly important. This paper intends to study the English translation of classical prose from the perspective of cultural translation science, and to analyze and try to improve the translation of Han Yu's classic prose in order to enrich the study of English translation of classical prose and to explore the translation theories and perspectives used to guide the English translation of classical prose.

The English translation of classical prose has its unique features and cannot be carried out according to the traditional translation methods. Chinese classical prose generally presents a profound meaning in a concise text, and the language is relatively easy to translate, but the meaning attached to the language is difficult to handle. Han Yu's prose is selected for analysis because, as one of the eight great writers of the Tang and Song dynasties, Han Yu was called by Su Shi as "a writer who started the decline of the eighth generation", and his prose was a fusion of a hundred schools of thought. Han Yu's rejection of pompous forms and his focus on content, which is characterized by a free flow of thought, logical coherence, frankness and forcefulness, had a major impact on the literary creation of later generations.

===Literature Review===
Skopos translation theory is a relatively new model of translation theory dating back to the 1960s and 1970s, when the linguistic orientation in translation studies was challenged. Some scholars rejected the rigidity of the structuralist translation model that dominated the field. They wanted to inject a new school of thought that would eliminate academic scholarship with a more pioneering attitude, focusing on accessible and meaningful communication. As a different perspective of translation studies, Skopos theory breaks through this rigid model, broadens the field of translation studies, gives more meaning to translation, places translation in the framework of behavioral theory and cross-cultural communication, and opens a new path of exploration for Western translation theorists who are dominated by the linguistic school. In this way, Skopos theory has attracted more attention in recent years.
2.1 Translation Studies from the Perspective of Scopes Theory
Skopos theory is a translation theory first proposed by the German scholar Hans Vermeer in the 1970s. There are two main reasons for this: firstly, translation is not only or even mainly a linguistic process; secondly, translation is not only a linguistic process. Secondly, linguistics does not really address the problem of translation difficulties. Therefore, he proposed a Skoposian theory of translation based on the theory of action.
In the framework of Vermeer's Skopos theory, one of the most important factors determining the purpose of translation is the audience - the recipient of the translation. Each translation is directed to a specific audience, so a translation is "a text produced for a specific purpose and target audience in the context of the target language". According to Vermeer, the original text is only the source of some or all of the information for the target audience.
The central idea of Skopos's theory is that every action has a purpose. The actor chooses the most appropriate way to achieve the desired goal based on the actual circumstances. Since translation is also an action, the translator will be guided by the purpose of the translation. An attempt is made to consider all possible relevant factors. In order to determine the most appropriate course of action, a normative ground rule can be derived from the description of the actual situation: the purpose of the action determines the strategy for achieving the desired goal. In other words, the translation should perform the intended function for the intended recipient.
According to the Skopos theory, the first rule that all translators follow is the "Skopos rule": the purpose to be obtained by the act of translation determines the whole process of the act of translation, i.e. the result determines the method. There are three interpretations of this purpose: the purpose of translation (e.g., making money; gaining academic value; reputation); the communicative purpose of translation (e.g., motivating the reader), which is achieved by using special reasons for translation (e.g., the desire to make a direct translation based on the structure of the language in order to illustrate the special features of its grammatical structure). Usually, the purpose of translation refers to the communicative purpose of translation. Skopos theory suggests that the initiator's translation process determines the communicative purpose of the translation, and the initiator determines the need for the translation. Under ideal conditions, the translator will be very clear about the reasons why the translation is needed. These are collectively referred to as translation requirements. These will include the content of the recipient, the use of the translation environment, and the functional reasons for the translation. The translation requirements of the translator indicate what type of translation is needed. The translator does not necessarily accept everything passively and can be involved in determining the purpose of the translation, especially if the originator is unclear about the purpose of the translation due to lack of expertise or other reasons.
According to Vermeer, the translation (output appearance) is not the original text (input appearance), but the inner purpose of the translation.
The functionalist Skopos theory has attracted a lot of attention from the very beginning.
Mona Baker explains the Skopos theory and related concepts in her Encyclopedia of Translation Studies. Monia Cowie's Dictionary of Translation Studies contains the main elements of functionalist purposive theory and related concepts. There are many other introductory articles and books on the theory, and Functional Appmaches Explained (Nord, 2001) is the most representative work to date that introduces the functional translation approach in the most detail.
In China, many articles on translation have been written since the introduction of Skopos theory in 1987. The relevant researches mainly cover such topics as translation definition, translation standard, translation criticism, translation teaching, translation strategy, literary translation, non-literary translation (including tourism translation, trademark translation, advertisement translation, film title translation, Chinese medicine literature translation, university website translation, news translation, and legal translation). In recent years, many articles have combined theories such as Scobos Theory with traditional Chinese translation theories and research works, for example, Yan Fu's elegant writing is more abstract, vague and has a certain subjective theory. ovo theory has similarities in the pursuit of fidelity, consistency of translation and reader adaptability. However, there are great differences in the theoretical system, translation standards and the status of translators in the translation teaching research of translation Skopos theory . Noteworthy is the book Skopos Theory in Witness to the Construction of English-Chinese Translation Textbooks (Tao Youlan, 2006)。the author uses the translated Skopos theory to study and analyze translation teaching in China, and draw many suggestions from them.
According to Vermeer (1986), the concept of "translation purpose" actually includes three meanings: translation process - the purpose of the translation process, translation result - the function of translation and translation method - the intention of the method used.
Vermeer (1989) claims that the Skopos theory makes three main contributions: first, it makes explicit the often denied facts and makes people aware of their existence; second, the concept of task-driven purpose expands the possibilities of translation; it adds alternative translation strategies and frees translators from the constraints imposed on them by often meaningless direct translations; third, it puts the responsibility of translators on the agenda and frees them from the constraints imposed on them by meaningless direct translations; and third, it puts the responsibility of translators on the agenda and frees them from the constraints imposed on them by meaningless direct translations. translators' responsibilities on the agenda and expands their scope. It is clear that the translator must perform the intended function in order to achieve the stated goal. Vermeer (1989) also points out that ignoring the purpose of translation can lead to the serious consequence of misunderstanding or distorting how best to translate a text. With a clear purpose or task, agreement can be reached on at least one macro-strategic choice.
The skopos theory has a wide range of pragmatic features, which focus on the characteristics of text types and help to improve the translator's awareness of the communicative functions and linguistic signs of functional translation units and increase the effectiveness of translation. However, kopos theory focuses on the study of the functions of the target text and purposeful rewriting for the effects of the target text, which gives the original text a new purpose to communicate to new times and audiences. In conclusion, Skopos theory provides a new perspective for translation research and facilitates the comprehensive study of various translation variants and the development of translation theory.

===Strategies for English Translation of Han Yu's Prose===
3.1 Grasp the meaning of the original text accurately

To convert a literary text into a modern one, one needs to have a solid foundation in Chinese, especially knowledge about the language. In addition, the translator is required to pay attention to the specific meaning of the words in the text when converting it to modern. In addition, it is important to understand the phenomenon of word usage in the text. In the conversion. In addition, we must understand the phenomenon of word-appropriation in the text, and in the conversion, we must be flexible in converting words according to the context of the original text, and not stick to the lexical nature of the word that makes the sentence awkward. It is difficult to read or difficult to Dong: for example, the original second paragraph "horse-eaters do not know that they can eat for a thousand miles" where "thousand miles" is a quantity word, but according to the meaning of the text, this should be understood as "traveling a thousand miles a day". Therefore, it belongs to the use of the word "quantity" as a verb.

3.2 Deeper understanding of the emotion of the original text

Without the grasp of the emotion of the original text, the modern text will not be able to convey the original author's thoughts and feelings and the quality of the English translation will also be greatly reduced. The talent is compared to a thousand li horse. The ruler who is foolish and shallow and does not know talent is compared to a horse eater. In the case of the thousand-lipped horse, he was humiliated by the hands of the slave and died in the groove of the stable, and wrote about the fate of talented people who were not used for life. The story is written with the words "not enough food, not enough strength. The author's resentment at the lack of talent and his dissatisfaction with the feudal rulers for burying the talents.

3.3 Mastering appropriate translation skills for conversion

In the process of organizing the modern text, for the omitted sentences in the text, we should add the omitted components in the omitted sentences in the conversion journal, for example, in the second paragraph of the original text, "the horse-eater did not know that he could eat for a thousand miles. For some false words in the text that have no practical meaning and only play a grammatical role can be deleted without translation: for example, in the third paragraph of the original text, the words
For example, in the third paragraph of the original text, the word "之" in the phrase "鳴之而不能通其意" plays the role of a supplementary syllable and can be left untranslated. In addition, attention should be paid to the adjustment of language order.

===Translation Principles===

Yan Fu, a modern Chinese Enlightenment thinker, introduced Western studies and at the same time put forward the standards of translation, letter, reach, and elegance". He said in the "Translation Example" in the "Theory of Heavenly Evolution": "Three difficulties in translation: letter, reach, elegance, seeking its letter has been a great difficulty, Gu letter carry on not reach, although the translation is still not translated, then reach is still absent".
The object of literary translation, specifically, is the novel prose poetry and drama works it is not equivalent to the general sense of translation, it is to convey the author's full intention that through the artistic approach to influence the reader's thoughts and feelings. Therefore, it puts forward higher requirements on the literary quality of the translator, who should, on the basis of a deep understanding of the original work, accurately grasp the author's writing style and his feelings. The translator should accurately grasp the author's writing style and the ideas to be expressed, so that the translation is neither too right nor too left, and strive to produce a translation that is not only faithful to the original text but also smooth and fluent.

The processing of adding and subtracting words in the English translation. Some sentences need to add subjects and predicates, while others need to add prepositions, conjunctions and pronouns. Other sentences need to add words that are not specified in the original text in order to make the text flow smoothly. There are many pronouns. In addition, according to the meaning of the original text, words that are not specified in the original text are added, such as "the rider', "he. in order to obtain a complete expression of the meaning of the original text.
The difference between Chinese and English syntax is very different between the two languages. Chinese (especially Ancient Chinese) is a language of meaning. Sometimes a sentence in Chinese is composed of several phrases or words placed side by side. There are no formal markers - but they are complete in meaning: unlike English sentences. If there is no connecting word in the sentence, such as a relational pronoun or an adverb, the whole sentence will become logically confused and lack of readability: therefore. Therefore, when translating from English to Chinese, we should try to find something that can better reflect the meaning of the word. We should try to find some words that can better reflect the logical relationship between the sentences so that the relationship between the sentences is reasonable.

4.1 Taking the source language culture as the source and the target language culture as the guide

There are great differences between Chinese and Western cultures, therefore, in the process of translation
Therefore, in the process of translation, translators should pay attention to the appropriate preservation and transformation of culture. The "meaning" in ancient Chinese texts is the core, and the translator should pay attention to the proper preservation and transformation of culture in the translation process.
"If the translation is blindly transformed into a western culture that is easy for foreign readers to read, then it is bound to be a mistake.
If the translation is blindly transformed into a western culture that is easy to read by foreign readers, then the original meaning will be lost. Therefore
Therefore, while retaining the core essence of the ancient text, we should adopt the strategy of forignization
The translation should retain the core essence of the ancient text, but use the strategy of dissimilation to highlight the "differences" in style and other aspects of the original text. In this way
In this way, the linguistic and cultural characteristics of the original text can be preserved in the translation, so that the readers of the translated text can feel the exotic atmosphere and
readers to feel the exotic atmosphere and the existence and uniqueness of other cultures.
The translation should also take into account the At the same time, the differences between Chinese and Western cultures and the cultural thinking of Western readers should also be taken into account.
Chinese culture is accurately presented in the eyes of the readers of the translated language, taking into account the differences between Chinese and Western cultures and the cultural thinking of Western readers.
The Chinese culture should be accurately presented to the eyes of the readers of the translation. For example, the famous lines in Han Yu's "The Way of Origin”: “博爱之谓仁，行而宜之之谓义，由是而之焉之谓道，足乎己而无待于外之谓德。” The sentence was translated into:” The universal love is called benevolence, the behaviors which are consistent with benevolence are called righteousness, moving forward from benevolence and righteousness is called Tao, something which you have and do not rely on outer environment is called virtue. ”
In ancient China, "benevolence," "righteousness," "Tao," and "virtue" are the basic concepts of Confucianism.
The basic concepts of Confucianism are extremely far-reaching. Take "ren" as an example, in
In traditional Chinese culture, "ren" is the core of Confucius' doctrine, which embodies respect for father and mother, love for brother and sibling, and respect for the sovereign.
In traditional Chinese culture, "ren" is the core of Confucius' doctrine.
In traditional Chinese culture, "ren" is the core of Confucius' doctrine, which embodies the basic moral principles of respect for father and mother, love for brothers and siblings, universal love, and the noble character of a gentleman.
In the process of translation, we should prevent assimilation and not destroy the integrity of the source language.
The translation process should prevent assimilation and not destroy the integrity of the source language. Another example is "Tao", which not only contains the meaning of reason, preaching, and the path, but also contains the ineffable meaning of the word "Tao".
It also contains the unspeakable natural laws of heaven and earth. In foreign vocabulary of foreign countries, it is difficult to express these profound meanings in a single word or a few phrases. to express these words with profound cultural meanings, therefore, it is possible to
through the phonetic translation method to preserve the essence of Chinese words, so that the western readers can feel the mystery of Chinese culture. Readers would feel the mystery of Chinese culture, and then either to elaborate on it in a separate chapter or find the right place for detailed annotations.
4.2 Making good use of naturalization

With culture as the core of the text, the means of translation should be more flexible, and when appropriate, in order to make the readers of the translated language more
In order to make the readers of the translation more aware of the Chinese cultural meanings and connotations of certain languages, it is necessary to make good use of naturalization.
Take Han Yu's famous essay "The Teacher's Discourse" as an example: "三人行，则必有我
师焉.
Translation: "Among three men who walk with me, there must be a teacher of mine."
Here, in order to reflect Chinese culture and let foreign readers better understand the meaning.
In order to reflect Chinese culture and let foreign readers better understand the meaning of this famous saying, the word "three" is translated into Chinese.
The word "three" is not a precise concept, but an imaginary or metaphorical expression.The translation is more in line with the logic of English thinking and more in line with the meaning of the original text.This way, the translation is more in line with the logic of the English language and the meaning of the original text.

4.3 Focus on interpretation and annotation

In the process of translating ancient texts into English, there are phrases that contain endless meanings beyond the language.
The charm of traditional Chinese texts is precisely this, and in order to preserve the meaning in the English translation process, it is often necessary tothe process of English translation to retain the meaning, often through the detailed explanation of key words, so as to achieve a more profound cultural
The English translation process can preserve the meaning of the key words, which often requires detailed explanation of the key words to achieve a more profound cultural impact. Take Han Yu's "The Saying of the Horse" as an example: 世有伯乐，然后有千里马。“ The sentence is translated into:” Only after Bole［1］ came into the world were there horses able to gallop one thousand li． ” ［1］ Bole: a legendary figure in the seventh century B.C，Bole was an authority on horses．
Here, "Bole" literally means a master who knows how to control horses, but by extension, it means a representative who knows people and reuses them in traditional Chinese culture.
The translation should retain the original "meaning" of the text and convey it to the Western readers. Therefore, the meaning of the key words can be added in the translation to facilitate understanding.
4.4 Appropriate sentence adjustment
The culture of a country is accumulated over time in the course of national life Different countries in different regions have different development history, different forms of life, different religious beliefs, different ethnic groups, etc. The culture of a country is the result of the process of national life. The culture of a country is the result of the process of national life. The purpose of cultural communication is to spread these personalities. The translator should make the translated culture and the source culture functionally equivalent in the translation, so that the translated text has the same effect on the readers of the translated culture as the source text has on the readers of the source culture. The translator should make the translated culture and the source culture functionally equivalent, so that the translated text has the same effect on the readers of the translated culture as the source text has on the readers of the source culture. Therefore So, when appropriate, the text and sentence structure can be modified to varying degrees in order to preserve the source language culture. The text and sentence structure can be adjusted to varying degrees when appropriate in order to preserve the culture of the source language, highlighting the cultural subject The translation of the text and sentence structure can be adjusted to varying degrees when appropriate in order to preserve the culture of the source language, highlighting the cultural subject.
《马说》中:“故虽有名马，祇辱于奴隶人之手，骈死于槽枥之间，不以千里称也。”
”Such horses are common，but a Bole is rare． So even fine steeds，if mishandled by slaves，will perish in their stables without being known as good horses． ”
In order to effectively convey the source language culture in the text, the translation changes the original the sentence structure of the original text, and the English translation process is appropriately The English translation is adjusted appropriately.

===Conclusion===

Cultural export is the intellectual acceptance by people of other countries of their own system, language, art, history, and other material and immaterial culture. They feel that the culture of their country is The culture of the country is advanced and superior, and people learn about it because they admire it. The Chinese people The Chinese nation has undergone 5,000 years of transformation and has accumulated a brilliant culture, which has left an indelible legacy in literature and philosophy. It has left indelible traces in literature and philosophy. Although mankind's wars have subsided for more than half a century century, there is still constant friction between countries and signs of resurgent imperialism. imperialism is still resurgent, and under the surface of peace, it is engaged in divisive behavior and intends to dominate. Confucianism advocates "peace is precious", and Chinese culture is the most important factor in the current complex and multifaceted The Chinese culture is urgently needed to ensure human peace and development in the current complex and multifaceted world situation. In diplomatic speeches, ancient poetry is often quoted to show the pattern of a great nation. The wisdom in Chinese ancient texts should also be like spring breeze and rain, embracing the task of world culture construction. The translation of ancient texts has become an important medium for cultural export, and whether or not the translation of ancient texts can faithfully convey their unique Whether the translation of ancient texts can faithfully convey their unique contexts becomes the key to effective cultural export.
Translation is an important bridge for cross-regional cultural transmission, and classical Chinese Chinese classical prose is another treasure of traditional Chinese culture. The very purpose of translating Chinese classic proses is to spread them to other parts of the world. So, we may stick to following rules to improve the spread of Chinese literature and culture.
Stragegies: Generally speaking, there are two ways to translate allusions, one is paraphrase and the other is direct translation with commentary. If allusions are used in the outgoing pairs of sentences, it may be better to use the Italian translation. Of course, the more common way of translation is direct translation with commentary, or Italian translation with commentary.
These annotations, which are not limited by the word count and format of the text, can explain the allusions in as much detail as possible and form another story, so they can not only increase the interest of readers, but also achieve the effect of spreading cultural knowledge.

Further efforts:

1. Cultivate local translators and absorb the translation achievements of overseas sinologists.
The lack of local translators has slowed down the pace of our traditional literature to the world. Overseas sinologists are Sinology lovers and Sinology researchers, but the cultural environment they live in is different from that of China, and the resulting way of thinking is also different. Cultivating local translators can, on the one hand, have a "filtering" effect, i.e., disseminate works that we consider excellent and can convey a positive image of the country; on the other hand, it can make translation a long-term project and prevent the phenomenon of a talent cliff from occurring. Incorporating the translation achievements of foreign sinologists can
In the process, the sparks generated by the cultural collision can also further the study of Chinese ancient proses.
2. Dividing the difficulty level of the readings according to the different Chinese levels of the audience
Considering the different learning levels of the audience, the difficulty level of the readings can be divided. The translation of the primary text can be mainly Italian translation, which focuses on explaining the content of the text clearly and conveying the author's thoughts and sentiments. The translation of the intermediate reading book can adopt a combination of Domesticating Translation and Foreignizing Translation, in which the naturalizing approach is used to look at the target language so that the reader can read it smoothly and fluently, and the foreignizing approach is used to emphasize the heterogeneity of the source language culture so as to preserve the characteristics of our traditional The combination of naturalization and alienation For example, in Dream of the Red Chamber, there is a phrase of "Manproposes, God disposes", which is translated by Hawks as "Manproposes, Heaven disposes" and by Yang Xian Yi as "Manproposes, Heaven disposes". The former is just like a translation in accordance with the Christian culture, while the latter is a communication of Chinese Buddhist thought. The combination of the two approaches can reduce the difficulty of reading on the one hand, and give readers the opportunity to understand foreign cultures on the other. The translations by Mei Weiheng and Kang Dawei are suitable as intermediate level readings. The advanced translation of the ekphrasis should no longer be limited to satisfying the general public, but should also have a certain degree of researchability, not only in terms of formal correspondence and formatting, but also in terms of wording and phrasing, striving to match the original text, and involving proprietary vocabulary and allusions that should be clearly marked in the commentary, preferably with the provenance of the canonical texts, in order to provide assistance to overseas scholars for further research.
The requirements for translators are that the translator must be deeply involved in the culture of the source language, but must also be comfortable with the incoming language. As exploring In the process, the translatability of ancient texts can certainly be achieved. And according to the idea that "the way can be transmitted and the meaning According to the idea of "the way can be transmitted and the idea can be declared", any idea can be conveyed in language, and the philosophy of translation The philosophy of translation lies in "people share the same heart, the heart shares the same reason", where the same heart shares the same reason can be connected. The philosophy of translation lies in the fact that "people have the same heart, the same mind, the same reason". Cultural differences make ancient languages show temporary Cultural differences make ancient languages show temporary untranslatability, and the creative nature of translation makes translation standards vary, but when the level of human cognition and mastery of language breaks through the present barrier, the relative the level of human cognition and mastery of language break through the current barrier, the relative untranslatability will be transformed into absolute translatability. As China's influence on the world As China's influence on the world grows, Chinese culture will gradually become the culture of the world.

===References===

Peter, F. (2004). Skopos Theory: An Ethnographic Enquiry. Routledge.

Nord, C. (2001). Translating as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign language Education Press.

Wang Zuoliang 王佐良 . 1989 翻译、思考与试笔 {Translation, reflection and test writing} 北京：外语教学与研究出版社，

Ya Se 雅瑟．(2011) 唐宋八大家散文鉴赏大全集 {The Eight Great Prose Writers of the Tang and Song Dynasties: A Complete Collection of Prose Appreciation}．北京: 新世界出版社．

Gao Fengpin 高凤平．(2005) 文化翻译观与语际翻译中的文化因素问题 {Cultural Perspectives on Translation and Cultural Factors in Interlanguage Translation}．西安外国语学院学报，

==英语笔译赵宇翔 Zhao Yuxiang 202170081609 CE==
<center>'''Research On Problems And Strategies Of Translation of Chinese Classics'''</center>

<center>Zhao Yuxiang</center>

===Abstract===
The translation of Chinese classics into foreign languages has lasted for more than a century. From the cultural exchanges along the ancient Silk Road to the "One Belt and One Road" initiative to spread Chinese classics to the West, the translation of Chinese classics into foreign languages has always played an important role in the process of Chinese culture going out. This paper analyzes the purpose of the translation of Chinese classics into foreign languages, discusses the current situation and problems of the translation of Chinese classics into foreign languages, and looks forward to the new future of the translation of Chinese classics into foreign languages under the background of the "Belt and Road" initiative in the new era. In the new century and new era, to tell Chinese stories well, it is necessary to vigorously promote the process of translation and dissemination of Chinese classics and accelerate the pace of "going out" of Chinese culture.

===Key words===
'''Chinese Classics Translation; Purpose; Situation; Future'''

===Introduction===
This paper discusses the purpose, current situation and problems of the translation of Chinese classics into foreign languages, and looks forward to the future of the translation of Chinese classics into foreign languages under the background of the "Belt and Road Initiative." Chinese cultural classics are the crystallization of the Chinese nation's inheritance and conclusion for more than 5000 years. Under the background of economic globalization and the impact of various cultures, it is necessary for citizens to have a clear understanding of Chinese cultural classics and their current situation, which is also necessary to improve the soft power of Chinese culture. The translation of Chinese classics is the main way to spread Chinese culture. Translation is an effective way to spread the excellent culture of Chinese classics. The quality of translation also determines whether Chinese classics culture can go out and be deeply understood by western readers. Similarly, it also affects China's impression and status in the eyes of all countries in the world. Therefore, the quality of translation is very important. At present, the quality of Chinese classics translation is not uniform, and there are still many problems.
===1.The Purpose of Translating Chinese Classics into Foreign Languages===
Although all translation activities are purposeful activities, the purposes of translation activities in different fields are different. For example, the translation of machine operation manuals is to enable the translated language operators to operate according to the chapters without accidents; Therefore, the translation of any text will be directed to specific audiences, and the translated text produced must first meet the needs of these specific audiences.
The translation of Chinese classics into foreign languages has a special purpose in contemporary China. From the introduction of western learning to the east in the late Qing Dynasty and the early Republic of China to the active participation of domestic scholars in the western spread of middle schools today, the time span has reached as long as one hundred years. It has been a hundred years since Chinese intellectuals translated a large number of western works from seeking the truth of saving the country and the people from foreign countries to today's translation of excellent Chinese literature and classics to foreigners in order to spread and carry forward Chinese culture and tell Chinese stories well.
Although the western translation of Chinese classics is the main text channel, it has a strong direction of cultural communication to the outside world, with the direct purpose of "telling a good Chinese story" and the ultimate purpose of "promoting emotion with culture, promoting emotion with culture and building trust with culture", so as to let the world understand China, let the world understand China, let the world accept China, and jointly build and maintain a peaceful and prosperous new world. But for now, it seems that there is still a long way to go to achieve this goal.
So there is such a situation: In this sense, the direct purpose of translating Chinese classics into foreign languages is probably to give priority to the translation of those parts of Chinese traditional culture that best reflect the universally recognized beauty of human nature and nature and are unique to China and easy to arouse the interest and resonance of foreign readers in ways and means easily accepted by the people of the target language countries, so as to have an impact among those readers and spread them. In other words, we need to find the greatest common divisor between Chinese culture and civilization and its evolution and western culture and civilization, and try our best to explore and translate.
===2.The Status Quo of Translation of Chinese Classics into Foreign Languages===
Cultural exchange is a two-way street. In the process of communication, the two sides are subject and object of each other, and the world culture can develop in the understanding, collision, absorption and fusion of cultures. But the two sides of the cultural exchange is not equal. This is the weak culture and strong culture. According to statistics, every year China imported from abroad as many as tens of thousands of this translation, and introduced to foreign language translation of Chinese culture is only a few hundred poor, this is the obvious cultural asymmetry.
According to the Global Survey Report 2019 of China's National Image released by the Foreign Communication Research Center of China Foreign Languages Bureau, Chinese food, traditional Chinese medicine and martial arts are still the most representative elements of Chinese culture considered by overseas respondents (55%,50% and 46% respectively); The report did not translate the classics into Chinese, which is both unexpected and understandable. Because can be called the classics of literature, mostly not ordinary people can easily accept. Its audience, especially the initial readership nature is limited. At the same time, the translation of Chinese classics is actually the reverse flow of the weak culture, resulting in the translation of our classics in China, but it is relatively calm abroad.
Taking The Analects of Confucius as an example, The Analects of Confucius is one of the Confucian classics, which mainly embodies Confucius 'political thought, moral principle and educational idea. there have been more than 60 English translation and abridged version of that analects of Confucius since the publication of the first English literal translation by Marshall in 1809. Although it started late, its English versions are numerous and have great influence. The extroversion of Chinese culture is inseparable from the spread of Confucianism, which is based on the English translation of the Analects of Confucius. Therefore, the English translation of The Analects of Confucius is like a "source of flowing water" for the outward dissemination of Chinese cultural classics. We should make full use of its "leading" effect to continuously convey Chinese cultural classics and open the door for the outward dissemination of cultural classics. However, Yin Qing ( 2020) found that the overseas sales of the English versions of The Analects of Confucius, whether as a public reading material or an academic reference, are far from satisfactory, especially the English versions of Chinese translators. The influential English translation of The Analects of Confucius has sold so much, and the situation of other Chinese classics can be imagined. The English versions of Chinese cultural classics are not widely used overseas. There are three main reasons:
Another example is the "Guan Ju" in the Book of Songs, where the interpretation of "Guan Ju" has been controversial since ancient times, and its English translation shows more obvious diversity. Li Linbo ( 2011) collected 22 representative English versions of "Guanju" for research. Through analysis of translation structure, text details, semantic differences and cultural words with Chinese characteristics, the 22 texts were divided into three types: traditional translation, modern translation and poetic creation translation. He believes that through the study of the English translation of the poem "Guan Ju," we can see some common problems in the translation of Chinese classics: This means that the translator must have a clear version of the awareness, the annotation of the text should also have a good ability to identify, which is the basis of translation. 2. Positioning: The same classic text has different values for different translators. Some translators attach importance to its cultural nature, some translators attach importance to its literary nature, and some translators have no clear orientation. Different orientation determines different translation strategies. Some translators have definite translation purpose and consistent translation strategies, while some translators choose translation strategies randomly, and the value of their versions is bound to be different. The value of a translation does not necessarily depend on whether it is based on the traditional authoritative annotated version or the modern popular annotated version, because the two versions complement each other, but it inevitably depends on whether there is a clear translation purpose and consistent translation strategies. 3, language problems: There are two kinds of language problems: Regional characteristics of the performance of the dialect, such as the "Book of Songs, Guofeng" language, its geographical characteristics have a lot of untranslatable factors, but still need the attention of the translator, a dialect lost, easy to cause differences in the interpretation of the second dialect with cultural and stylistic characteristics, even if not translated, should also consider whether some compensation. Historicity is manifested in semantic changes, changes in characters, etc. Many of the characters have different meanings from the present, such as "wife" and "civilization," which are easily ignored by translators who are not aware of the classics. The change of characters is mainly manifested in the conversion of traditional characters and simplified characters. Many traditional Chinese characters correspond to simplified yu based on their pronunciation similarity, which has semantic deviation. For the translator, only according to the simplified Chinese version, even today's translation, without studying the traditional Chinese version, mistranslation, missing translation, inadequate translation. 4, cultural issues: cultural issues, including macro and micro aspects of the problem. The difference in the origin of Chinese and Western thoughts determines the unique cultural spirit of Chinese classics, such as Lao Tzu's "Tao" and Confucius '"benevolence." These cultural terms are the core of their thoughts. Different translations of them will cause differences in their overall interpretation, which can be said to have the key to affecting the whole body by pulling one hair, which is a macro issue. Microscopic aspects of the performance of the material culture, such as the "Book of Songs,""Chu Ci" recorded in some animals, plants, clothing names, some due to species evolution or changes in time variation, or even extinct, for the translator not only need rigorous research, but also to face the problem of how to find the counterpart, or how to compensate or deal with transliteration, omission, generalization and other translation methods caused by the loss.
To sum up, through a number of researchers on the translation of Chinese classics, the author summed up the current translation of Chinese classics facing three main problems: Although there are many professional translators, few are proficient in translation.
===3.Strategies for Translating Chinese Classics into Foreign Languages ===
The translation of Chinese classics into foreign languages needs to follow some necessary principles if it wants to realize its original intention. This not only refers to the transformation of linguistic signs between the source text and the target text, but also refers to the comprehensive consideration of all aspects of the translation process. For example, how to choose the texts of classics, how to choose publishers, how to examine and approve the quality of target texts, how to select translators, how to determine the printing circulation of translated texts, how to publicize and build momentum in the target countries after publication, and whether it is necessary to carry out readers 'follow-up survey, etc., I'm afraid all need to be discussed so as to establish corresponding regulations. Should we focus on the translation of classics that we think foreigners should know and understand, or on the translation of classics in related fields that foreigners want to know? As for the above-mentioned status quo and problems of translation of Chinese classics,
According to the published catalogue of the Great China Library so far, the Great China Library has selected 21 kinds of ideological and academic classics such as the Book of Changes, Lao Zi, the Analects of Confucius and Mencius, 10 kinds of historical classics such as Shangshu, the Biography of Zuo's in the Spring and Autumn Period, Guoyu and Historical Records, and 55 kinds of literary classics such as The Book of Songs, Songs of the South, Three Hundred Tang Poems, The Romance of the West Chamber and A Dream of Red Mansions. At the same time, the second phase of the project will be carried out. The most representative 20 Chinese cultural classics will be selected and translated into 7 languages such as France, Russia, Spain, Arabia, Germany, Japan and Korea, and 9 languages will be introduced to the world.
Obviously, among the 110 kinds of literature, literature books accounted for 50%, ideological and academic books accounted for 19.09%, traditional Chinese medicine and technology books accounted for 13.63%, history books accounted for 9.09%, and military books accounted for 8.18%. This reflects the editorial board's principle of focusing on the selection of classics and documents, as well as the principle of "self-centered" in the translation of classics.
From the point of publishing library text press, all of them are China's press, and a foreign press. It now seems that when the texts of the classics are completed, they would be better if they were published in the country where the target language is the mother tongue. Therefore, in the publishing and distribution of this link, if we adopt the mode of foreign publishing or joint publishing, the way of transmission will be wider and the effect of transmission will be better. This is the principle of international cooperation in the translation and publication of classics.
From the perspective of translators, more than 90% of the 142 published classics are completed by individual translators in China alone, and there are few cooperative translations like Yang Xianyi and Gladys Yang, and even fewer translations by foreign translators. The author believes that in the field of traditional literature, history, and even thought of classics translation work by individual translator is appropriate, but in other fields of strong professional, I'm afraid to set up by the industry experts (preferably know a foreign language) and the translator team to complete. In this way, to a great extent, it can be guaranteed that the translator as a layman will avoid the omission of principles, intellectual errors and layman's words as much as possible when translating the text. This is the principle of cooperation between translators and experts in non-literary, historical and philosophical fields.
As a representative of the country's foreign translation of classics, its translation level also represents China's national image. Therefore, it is the most important task to train excellent translators who are proficient in translation, fully understand the historical and cultural characteristics of the target country and the source country (China), and understand the knowledge background of the translated classics. At the same time, in order to improve the quality and speed of translation, the cultivation of machine-assisted translation ability is also an indispensable part. At the same time, minority language talents are scarce. Nowadays, English and Chinese are more and more widely used, so we should turn the steps of translating Chinese classics into other small languages.
===Subtitle 4 A New Opportunity for Translating Chinese Classics into Foreign Languages===
The long road of cultural exchange between China and foreign countries has been continued up to now, and the translation of Chinese classics has been quietly carried out in different ways. Entering the new era of the 21st century, the Chinese government attaches more importance to cultural exchanges with other countries in the world. In 2014, the "Belt and Road" initiative was put forward, which further demonstrated the determination of Chinese culture to go global. The translation of Chinese classics is the most direct means and way for Chinese culture to go out. The Belt and Road Initiative, as a channel for cultural exchange, provides new opportunities for the translation of Chinese classics into foreign languages, and will directly promote the development of the translation of Chinese classics into foreign languages.
Buddhism and Buddhist classics were introduced to China through the ancient Silk Road, and now Chinese Confucianism and Confucian classics will be spread to the world through the "Belt and Road." First, in the construction of the Belt and Road Initiative, Chinese builders sent to various countries and regions along the route will spread Confucianism and Chinese culture in their daily exchanges with local people. In addition, China actively promotes Confucius Institutes along the "Belt and Road" route, which directly promotes the external dissemination of Confucian ideas and classics. Finally, with the help of the construction of the "Belt and Road" economic belt, Xinjiang, Tibet and Taiwan are connected in the Greater China Cultural Circle3, which can not only enhance national identity, but also increase the public's recognition of ethnic classics and promote the development of English translation of ethnic classics.
At the same time, the types of translated classics began to diversify. At the "Belt and Road" International Summit Forum, the "Action Plan for Chinese Social Organizations to Promote the" Belt and Road "People's Livelihood ( 2017 - 2020)" was released, and the "Civil Society Organization Cooperation Network along the Silk Road" and the "Belt and Road" think tank cooperation alliance project were launched. At the same time, CDB will also hold "the belt and road initiative" special multilateral exchange training and set up "the belt and road initiative" special scholarship. This has promoted the translation of excellent classics in many fields of Chinese culture. Take the "Greater China Library" project as an example. Since its formal establishment in 1995, the project has selected many most representative classics from the fields of culture, history, philosophy, economy, military affairs, science and technology from the pre-Qin period to modern times in China, translated by experts and published, which has greatly promoted the dissemination of foreign translation of Chinese classics.
===Conclusion===
The "Greater China Library"-led China Translation and Introduction Project shows us that in the new era of the new century, the pace of translation of Chinese classics has never stopped, and China's determination to make Chinese culture go abroad has never wavered. Although there are still many problems in translating Chinese classics into foreign languages, I believe all these problems will be solved in the near future.
===References===
*[1]Wang Keming. A Study on the Purposes and Strategies of Translating China Classics into Foreign Languages [J].Translation and Communication,2021(01): 9-16.
*[2]Zhang Huimin. New Opportunities and Challenges in the Translation of China Scientific and Technological Classics [J].Campus English,2020(43): 255-256.
*[3]Yin Qing. Translation of China Classics and Cultural Extroversion from the Sales Volume of English Versions of The Analects of Confucius [J].Shandong Foreign Language Teaching,2020,41(05): 120-130.
*[4]Wang Zongqiang. Translation of China Cultural Classics and Its Problems [J].Science and Education Wenhui (last ten-day issue),2019(06): 179-181.
*[5]Yu Qing. Problems and Strategies in the Process of Translating China Classics into Foreign Languages [J].Campus English,2018(41): 246.
*[6]Yang Junjun, Liu Ziyue."One Belt and One Road"-New Opportunities for Foreign Translation of China Classics [J]. Journal of Jilin Radio and TV University,2016(08): 90-91.
*[7] Zhou Xinkai, Xu Jun. China Cultural Values and Translation of Chinese Cultural Classics [J]. Foreign Language and Foreign Language Teaching,2015(05): 70-74.
*[8] Li Linbo. From the "Guan Ju" of the multi-English translation of China classics translation status and problems [J]. Foreign Language Teaching, 2011, 32 (05:90-95.
*[9] Tan Shuya. Dilemma and Reflection on the Translation of Chinese Culture-A Case Study of the Translation of Greater China Library [J]. English Square,2021(34): 22-24.
===Terms===
*the Belt and Road initiative “一带一路”倡议
*late Qing Dynasty 晚清
*the Foreign Communication Research Center of China Foreign Languages Bureau 中国外文局对外传播研究中心
*the Global Survey Report 2019 of China's National Image 《中国国家形象全球调查报告2019》
*traditional Chinese medicine 中医
*Chinese martial arts 中国武术
*The Analects 《论语》
*the Book of Songs 《诗经》
*the Great China Library 大中华文库
===Questions===
1. The direct goal of English translation of Chinese classics is to tell a good story.
A. YES B. NO

2. According to the survey report, which is the most representative of Chinese culture?
A. Chinese cuisine B. traditional Chinese medicine C. Chinese martial arts

3. When was the first English translation of the Analects published?
A. In 1809 B. In 1909 C In 1709

4. How many kinds of academic classics of thought does the Great China Library select?
A. 21 B. 22 C. 11
===Answers===
1. A
2. A
3. A
4. A

==英语笔译郑冬琴 Zheng Dongqin 202170081610 MW==

<center>'''The Development and Spread of Chinese Network Novels'''</center>

<center>Zheng Dongqin</center>

===Abstract===
Chinese online literature has had a history of more than 20 years of development, and it has gradually formed a mature development system. In recent years, with the rapid development and popularity of the Internet, online literature has played an increasingly large role in people's daily lives. Among them, online novels play a particularly important role in people's lives. Moreover, the development and dissemination of Chinese online novels overseas has also achieved great success. However, there are still some problems and shortcomings in the field of online fiction that need to be addressed. Therefore, in order to better promote Chinese cultural exports, we need to create our own cultural calling cards and promote Chinese network novels "go globle". In this paper, I will discuss five aspects of Chinese online fiction: definition, development, pros and cons, current situation and overseas dissemination.

===Key words===
Chinese Network Novels; Development; Dissemination; Value; Adaptation

===Introduction===
This paper focuses on the history of the development of Chinese online novels and the current state of their dissemination overseas. This essay is divided into five main parts. In the first part , it mainly gives a brief introduction to online novels, which includes three aspects of the definition, creative characteristics and main classifications of online novels. In the second part, it gives a brief overview of the history of the development of Chinese online novels, which includes the exploration stage, the transition stage and the maturity stage. In the third part, it discusses the pros and cons of Chinese online fiction in a dialectical manner. It mainly mentions the influence of online fiction on the younger generation, especially teenagers. In the fourth part, it analyses the current situation and trends of Chinese online novels, and it highlights the phenomenon of product homogenisation and the film and drama adaptations of popular novels. In the fifth part, it introduces the achievements of Chinese online novels in their overseas distribution by discussing two examples, namely The Legend of Zhen Huan and Ten Miles of Peach Blossoms. Finally, the paper provides a brief summary of the issues explored, with a view to offering some suggestions and help for Chinese culture to go global.

===1.A Brief Introduction to Network Novels===
1.1 Definition of network novels

Network novels are novels published by online writers relying on the web-based platform. It is a new genre of fiction that has emerged with the rapid development of the Internet. It is characterised by a wide variety of styles, unlimited genres, and simple publication and reading methods. Its main genres are fantasy and romance. The language of online novels is more colloquial and full of Internet buzzwords.(Cui Feng 2010) Besides, in addition to differences in textual content, network novels also make use of variations in symbols, patterns and typography compared to general novels. Online fiction is the main form of online literature.
Generally speaking, there is a broad and narrow definition of online fiction. Broadly speaking, it can include all fiction published and circulated on the Internet. However, on the narrower level of the origins of online fiction, it mainly refers to forms of fiction written by online writers and first published online, and then circulated.
Online novels fall into two main categories. One category is novels read by boys, which are generically referred to as male channel novels(男频), and the other category is novels read by girls, which are generically referred to as female channel novels(女频). Most novels read by boys seek to be powerful from body to power, while most novels read by girls are from the perspective of love. And the influence of these two types of novels depends on the ratio of males to females on the internet.

1.2 Creative characteristics of network novels

There is no doubt that online literature still belongs to the category of literature. Therefore, online novels naturally have the basic characteristics of all literary works. However, due to some characteristics of the Internet and the influence of the commercial model of literary websites, online literature has gradually formed its unique creative and artistic characteristics. The characteristics of online novels are mainly manifested in the following four aspects:
Firstly, the length of the network novel is very long. Because an online novel is usually formed in a long serial mode, it has a considerable number of words. Among them, long female channel novels are at least 600,000 words, while long male channel novels are up to millions of words.Secondly, online fiction is highly interactive. Because of the instantaneous nature of the Internet, authors and readers communicate online far more quickly than the previous correspondence. This makes online works naturally a little more interactive. What really determines the interactivity of an online novel, however, is its serial nature. Because online novels are often divided into chapters and sections, presented and completed gradually over a long period of serialisation, readers are able to express their views on the work at any point in its creation, expressing their appreciation or dissatisfaction, and offering suggestions and expectations for subsequent content. These comments will be seen by the author in the first instance. They can then influence the creation of the work to a large extent.Thirdly, the threshold for the creation of online novels is low. Generally speaking, the threshold for the creation of traditional literature is very high, and not any work can be published. However, the editorial and vetting standards for online literature are very low. Anyone who is literate and can tell a story has the opportunity to become an online writer, or even an online author. In other words, in the realm of online fiction, anyone who publishes and gets a certain number of readers can generate income. As a result, more and more people are becoming online writers and the creation of online novels is gradually becoming a way to earn an income.Fourth, online fiction is like a kind of fast food literature. The evaluation criteria of traditional literature are mainly reflected in values, outlook on life, and the author's writing skills. However, the focus of online novels is on entertainment and the reader's pleasure in reading them. In order to cater to the needs of readers, most online writers overly pursue the quantity of novels at the expense of quality. They over-express the reader's desires in their works, which makes them lack artistic and emotional value. Internet novels are like a kind of fast-food literature, which lacks nutrition and is difficult to be remembered and loved in the long run.

1.3 Classification of network novels

Online novels can be broadly classified into the following genres: fantasy novels, martial arts novels, immortal novels, science fiction, urban novels, romantic novels, supernatural novels, historical novels, mystery novels, military novels, sports novels, game novels, fan fiction, boy’s love novels, two-dimensional space novels and etc.According to online reader statistics, the ten most popular online novels are：

1、The Legend of Goku - Now Where 《悟空传》- 今何在

2、Ghost Blows Out the Light - Blogging site 《鬼吹灯》- 天下霸唱

3、Purple River - Old Pig 《紫川》- 老猪

4、Blasphemy - South of the Smoke 《亵渎》- 烟雨江南

5、Nebulous Journey - Potential Flute 《缥缈之旅》- 萧潜

6、How Bad Men Are Made - Six Paths 《坏蛋是怎样炼成的》- 六道

7、Time Raiders - Uncle Three of Southern School 《盗墓笔记》- 南派三叔

8、Kill the Immortals - Pot Flute 《诛仙》- 萧鼎

9、Fights Break Sphere - Silkworm Potato 《斗破苍穹》- 天蚕土豆

10、AutoFull - Wind Blow Strong 《傲风》- 风行烈

===2.The Development History of Chinese Network Novels===
Chinese online literature has had a history of over 20 years of development. Throughout the history of the development of online literature, we can divide it into three development stages: the exploration stage, the transition stage and the mature stage.

2.1 Exploration stage

During this period, online novels were mainly carried on computers and the payment model was established. In 1998, Riffraff Cai's The First Intimate Contact 《第一次亲密接触》was published on the Bulletin Board System(BBS), which opened the era of Chinese online novels. For the next 10 years, the computer served as the main vehicle for users to disseminate and read online literature. In October 2003, the business model of online literature became clear when the Starting Point Chinese Network Fiction(起点中文网)pioneered the paid online reading model. Some of the so-called "gods" of online fiction began to appear, and online fiction had its own stable, youth-centred and relatively small reading group. Annie Baby, Li Xunhuan and Xing Yusen were also representative online writers of that period.

2.2 Transition stage

From 2008 to 2014, online literature entered a transitional period, when reading behaviour began to penetrate into mobile smart devices. Around 2011, the proportion of users who read online literature on computers declined year by year, while the number of users on mobile smart devices grew rapidly. At the same time, reading platforms in the form of apps also sprang up, and mobile bookstores such as QQ Reading and Palm Reader became increasingly popular. After 2014, smartphones, tablets and other mobile smart devices became popular in China, making mobile phones the largest reading channel for online literature users. Novels in genres such as tomb raiding, mystery and romance have seen rapid development. Representative works of this period include Time Raiders, Tomb of the Gods and Fights Break Sphere.

2.3 Mature stage

As the scale of the online literature market continues to expand, Internet giants have become involved in online literature, and online literature enterprises have embarked on a stage of large-scale group operations. (Zhang Hainan,Han Lei 2021:79-83)In 2013, Tencent and the core team of the former Starting Point Chinese website (起点中文网)cooperated to establish Genesis Chinese Website(创世中文网); Baidu acquired 100% of the equity of Zongheng Chinese Website (纵横中文网)for 191.5 million; In 2014, Zongheng Chinese Website, 91 Panda Book (91熊猫看书)and Baidu Book City (百度书城)merged to form Baidu Literature(百度文学). In 2015, Chinese Online (17K Novel Website) was listed on the A-share GEM board with a $2 billion capital increase to build a pan-entertainment ecology. After Tencent's $5 billion acquisition of Shanda Literature Limited(盛大文学), it merged with Tencent Literature to form China Reading Limited(阅文集团); Ali acquired Shuqi Novel (书旗小说)and UC Book City (UC书城)and merged them with its own mobile reading business to form Ali Literature. At this point, the industry pattern of domestic online literature has basically taken shape.Since 2018, online literature has entered an era of convergence. The IP operation of online literature has gradually matured, film and television dramas and games adapted from online literature are favoured by the market, and free reading has gradually emerged, creating a new model of "free + advertising". Internet literature has established its own unique literary system and has received widespread attention from society. It has also become an important source for film and television adaptations. Nowadays, it seems that many important film and television works have come from online literature, and these super IPs have had a huge impact on the development of film and television culture. Representative works from this period include The Legend of Zhen Huan《甄嬛传》, The Legend of Mi Yue《芈月传》, The Journey of Flower《花千骨》, and Nirvana in Fire《琅琊榜》.

Nowadays, Chinese online literature has become an important literary phenomenon that cannot be ignored and has become an indispensable cultural resource for the younger generation. At the same time, from the perspective of world literature, China-centred online literature written in Chinese can be considered a unique phenomenon. Its unique creative characteristics and mode of operation are incomparable. It now seems that Chinese online literature has also gained its own unique status and significance in the development of literature across the globe. The wide distribution of The Three Bodies overseas in recent years is a good example of this.

===3.The Pros and Cons of Chinese Network Novels===
As a new form of literature, online literature has had a huge impact on people's daily lives. Like a double-edged sword, online fiction has its unique value and significance, but also has many problems and shortcomings. Therefore, we should adopt the right attitude towards it and take the essence and remove the dross.

3.1 The Pros of Chinese Online Fiction

3.1.1 Reading online novels can develop literary literacy

Firstly, there are many excellent works in online fiction that deserve to be read and appreciated with care. Outstanding online novels are characterised by their dramatic storylines, superb writing skills and meaningful themes. By learning from the authors' writing methods, we can develop our imagination and creativity, and thus improve our own writing skills.(Li Xin 2016:172) At the same time, by reading excellent works, we can increase our knowledge, broaden our horizons and improve our literary skills.

3.1.2 Reading online novels can improve reading skills

Secondly, because the online novel is serialized, it is updated very quickly and in very large numbers of words. Readers have something new to read almost every day. This means that in order to keep up with the author's updates, the reader needs to be able to read very quickly. If the reader is reading several online novels at the same time, then he needs to be able to read faster. Thus, by exercising over time, the reader can develop a good habit of reading every day and can improve his or her reading skills and abilities to a great extent.

3.1.3 Reading online novels can relieve stress

Thirdly, online novels can help readers to vent their negative emotions and relieve stress to a certain extent. In today's highly developed economic, political and cultural world, people face a variety of challenges and pressures in their daily lives, such as the pressure of marriage, interpersonal relationships, mortgage repayments, further education and job promotions, and so on. They are reluctant to face the cruelty of reality and need a space where they can forget their worries and keep their mood happy. Therefore, the beautiful virtual worlds created by online novels have gradually become a place for people to vent their emotions, express their desires and seek solace. Moreover, with the rapid development of the Internet, mobile communication devices have become widely popular. Nowadays, almost everyone, young and old, has their own mobile phone, which makes it possible for people to read online novels through various mobile apps and websites anytime and anywhere. We have found that the majority of readers of online novels in China find themselves relieving their stress and gaining a great deal of pleasure from reading online novels. For female readers, they tend to read romance novels and urban novels. For male readers, they prefer to read mystery novels and tomb raiding novels. In short, for those devoted novel lovers, the virtual world constructed by online novels is a perfect, utopian ideal society. As the characters and storylines portrayed in online novels are very close to life, such a setting easily arouses readers' emotional resonance, thus giving them a strong sense of vicariousness. In this virtual world, they can relieve the stress and worries brought about by the real world, allowing them to relax their long-tightened nerves. This is also a form of stress relief for the young generation of today.

3.2 The Cons of Chinese Online Fiction

3.2.1 Adverse effects on people's daily habits

In this highly developed society with the Internet, people can use mobile phone apps to read online novels anytime and anywhere. It is because of this convenience that online novels are having an increasing impact on people's daily lives. Online fiction is like a drug that makes people addicted to them. For adult readers who are addicted to online novels, they read all day and night and do not even feel hungry. As a result of staring at their mobile phone screens for long hours, some suffer from myopia, while others are so addicted to the pleasure and thrill of reading online novels that they miss work. Faced with online novels, they lack self-control and self-discipline, which makes them break the regular routine of life. When reading online novels, they see themselves as the protagonists in the novels, causing them to be unable to distinguish between real life and the virtual world. Over time, this group of people who are obsessed with online novels may suffer from severe procrastination, which then puts their lives in a vicious cycle.
While for young readers, the dangers posed by online novels seem to be even more serious. Some online novels are not suitable for teenagers. If young readers are exposed to these novels, it is inevitable that they will become too precocious and may even lead them astray. For example, one of the most iconic Internet classics, The First Intimate Contact, is very popular among secondary school students. The author tells a poignant love story that expresses a common ideal in metropolitan life, namely the desire to make romantic love denied in reality a reality in the virtual world. (Li Xin 2016:172) Many teenagers have admitted that they have imagined or even actually experienced online romance after reading The First Intimate Contact. In addition, many urban and romance novels such as Laugh Slightly Very Bend City, The Left Ear and Fleet of Time also have had an impact on teenagers.

3.2.2 Causing distortion of values

Because of the low threshold for the creation of online novels and the lax regulation of the market, there are many low-quality works on the Internet that contain unhealthy information. These vulgar novels are filled with many contents that are not conducive to the healthy physical and mental development of young people, such as violence, cruelty, pornography, selfishness and so on. In the process of reading online novels, readers will unconsciously accept these wrong values. As the main force of the online novel reading group, teenagers are often more susceptible to the influence of bad values. On the one hand, as the minds and hearts of teenagers are not yet mature, they lack the ability to select works and self-discipline. On the other hand, as teenagers are more curious about the unknown, they are more likely to be attracted to the characters portrayed in online novels and develop a stronger sense of immersion. Moreover, as teenagers are in the process of forming their values and worldview, the harmful information in online novels can have a huge negative impact on their values, and may even cause distortion of values. For example, some reported cases of school bullying, murder and rape are related to the harm caused by vulgar online novels.

3.2.3 Fast food novels waste time

Many online novels are fast food novels. It would be a mistake for people to devote too much time and energy to these online novels. Due to the low threshold for the creation of online novels and the lax regulation of the market, various genres of online novels are springing up in the world today, which makes many online writers see their creation as a way to make profit only, and they devote more time and energy to the quantity rather than the quality of their novels. As a result, most online novels are written with a tumultuous plot to capture the reader's attention and interest. These novels often lack depth of thoughtfulness, and some even contain frequent misspellings, misuse of idioms and grammatical errors. If we fail to spot these errors in time, this can inadvertently deepen our impression of the wrong usage to the extent that these errors may appear in our own writing.
In addition, readers tend to read online novels at a very fast pace. Some can even finish reading several online novels in a day. However, these fast-food novels, which lack nutrition and value, do not give readers a great deal to gain. When people are reading these online novels, the content of the novels hardly cause the readers to think. As a result, readers are not impressed with the content of the novels after reading them. This kind of reading behaviour without value and meaning is in essence a waste of time. Instead of wasting our time and energy on these unproductive online novels, it would be better for us to choose a classic work of literature to read and appreciate its connotations and meanings by heart. By reading and appreciating the classics, we can communicate with great souls across time and space. In this way, our literary skills can be improved, our minds can be sublimated and our souls can be purified. So, from now on, please take the time to develop a good habit of reading classics again, which will benefit you for the rest of your life.

===4.The Status and Trend of Chinese Network Novels===
4.1 Homogenization of products

Although the market is flooded with online novels of various genres and themes, only truly outstanding works are accepted and loved by the public. As a result, there is serious vicious competition in the field of online fiction, which has led to the homogenisation of products in the current online fiction market. When a work becomes successful, there will be many imitations. Many novels have highly similar themes, motifs and plots, and even have very similar backgrounds, characterisations and life settings. Once these popular characterisations have formed a fixed format, they become as similar as industrially produced products. As a result, these similar novels will cause aesthetic fatigue among the audience and their dissemination will be greatly reduced. (Qin Junxiang,Li Ting 2017:38-42)For example, online novelist Qiong Yao publicly reported on Weibo that Yu Zheng's Palace 3:The Lost Daughter《宫锁连城》had copied several plots from her work The Plum Blossoms《梅花烙》. In addition, when the TV series Jade Palace Lock Heart《宫》 started to make a splash on TV screens in 2011, there were many other similarly titled dramas. Some authors ignored historical facts and made a mess of historical adaptations in order to cater to the taste of their audience, which reduced the literary, artistic and aesthetic value of the work itself. Some authors even deliberately make up all sorts of fascinating but unethical plots in order to gain high click-through rates, which has caused a distortion of the values of some works. This series of homogenisation and vicious competition has not only led to infringement and plagiarism, but has also led to monotonous content of works, aesthetic fatigue among readers and an impact on the market order. In short, homogenisation and plagiarism are not conducive to the innovation and development of online literature.The relevant government departments should strengthen the supervision and regulation of the online literature market. They should establish a sound copyright protection mechanism, improve the professionalism and aesthetic level of online authors and film producers, and raise audiences' awareness of copyright protection, so as to promote the healthy and benign development of the online literature market and the film industry.(Liu Yang 2017:95)

4.2 Adaptation of novels into film and TV series

The emergence of film and television adaptations of online novels can be traced back to The First Intimate Contact , an adaptation of the novel of the same name by Chinese Taiwanese author Tsai Chi-hang. This novel was made into a film in 2000 and adapted into a TV series in 2004. This was the first time in the history of Chinese film and television that an online novel was adapted into a film or television production. (Xiao Yudi,Ouyang Changlin 2021:33-38)However, the audience response at the time was poor, with fans who had read the original novel not liking the format and content presented in the TV series very much. Although the audience response did not meet expectations, it made the novel an instant hit. The first trial of a web novel adaptation showed its potential and problems, drawing the attention of some film and television producers. After six years of hibernation, the adaptation of web novels for film and television finally made its official entry onto the television screen in 2010. The first wave of Chinese online novels adapted for film and television was marked by the TV series Beauty's Rival in Palace《美人心计》.Subsequently, costume dramas such as The Legend of Zhen Huan《甄嬛传》, Startling by Each Step《步步惊心》, Princess Dumping World《倾世皇妃》and Jade Palace Lock Heart《宫锁心玉》received high ratings and were unanimously praised and recommended by the public. Soon, with the rise and development of online video platforms, China ushered in a second wave of web novel adaptation dramas. In 2015, there were a number of web novel adaptations represented by The Journey of Flower《花千骨》 and Nirvana in Fire《琅琊榜》, which not only achieved high ratings during their television broadcast, but also reaped superb viewership and buzz on major video platforms. In 2017, the online novel adaptation television series Ten Miles of Peach Blossoms《三生三世十里桃花》began to dominate the public's attention, marking the arrival of the third wave of adaptation boom. The drama took over Weibo's top searches and headlines almost every day, and its original novel, plot, cast, headgear, make-up, costumes and soundtrack became a daily topic of conversation for the public at their leisure. In recent years, popular costume dramas such as East Palace《东宫》, Qing Yu Nian《庆余年》 and The Untamed《陈情令》have brought the craze for web novel adaptations to a peak.In terms of film and TV drama adaptations of novels, costume and romance novels have become the main trends in Chinese online novels.

===5.The Overseas Dissemination of Chinese Network Novels===
In recent years, Chinese costume novels have become very popular overseas. There are websites dedicated to Chinese novels such as "Wuxia World"(武侠世界) and "Webnovel"(起点国际). There are even people overseas who read serialised novels to kick drug addiction and treat depression. This shows the huge influence of our online novels overseas.

For example, in recent years, Legend of Concubine Zhen Huan has become popular in Japan, South Korea and some countries and regions in Southeast Asia. In addition, the cast of The Legend of Concubine Zhen Huan has joined forces with the American television station HBO to edit the original 76-episode series into six short episodes (each 90 minutes long) for broadcast overseas. The release of Legend of Concubine Zhen Huan on the US pay platform Netflix a few years ago also created a national sensation, and Legend of Chu Qiao《楚乔传》and Ten Miles of Peach Blossoms have long been officially synchronised on Youtube at the time of its launch. This marked the successful spread of Chinese costume novels overseas.

Take Ten Miles of Peach Blossoms as an example, the translator of Ten Miles of Peach Blossoms, Poppy Toland, is a British freelance translator who studied Chinese at the University of Leeds and lived in Beijing, China for four years. She was commissioned by Amazon.com, the copyright holder of the novel, to translate Ten Miles of Peach Blossoms into English before the TV series hit the airwaves.(Ma Xiaoxing,Zhao Mengyuan 2020:59-62) In order to ensure that the translation does not lose the flavour of the original, she insists on using the translation strategy of domestication to deal with the linguistic forms. However, for the cultural elements in the original work (such as mythology, religion and other cultural factors), she introduces Chinese culture directly to Western readers through the method of foreignization. On 23 August 2016, To the Sky Kingdom, the English translation of Ten Miles of Peach Blossoms, was released on Amazon in the United States. Upon its release, the translation reached number three on Amazon's Asian Literature bestseller list and number one in the Asian Literature section of the Kindle Edition bestseller list. The translation was recommended to foreign readers on Amazon.com, along with other famous novels such as Three Bodies《三体》and Wolf Totem《狼图腾》, and was once ranked the third best-selling Chinese novel on Amazon.com.It shows that Chinese online novels have achieved great success in overseas distribution.

===Conclusion===
After more than two decades of development, Chinese online novels have developed a relatively mature industry system, not only in terms of accumulation in the domestic market, but also in terms of expansion in overseas markets. However, there are still some problems and shortcomings in the process of its domestic development and overseas distribution. Therefore, we need to further improve the quality and value of Chinese online novels and strive to build a unique international cultural brand of our own. We need to help Chinese culture go overseas through cultural branding so that more foreign friends can understand and enjoy traditional Chinese culture. In short, it is the duty of every Chinese to strengthen our cultural soft power and enhance the cultural confidence of the Chinese nation.

===References===
*Cui Feng 崔冯.(2010).网络小说的文体特征研究[Research on the Genre Characteristics of Online Novels].重庆师范大学Chongqing Normal University.
*Li Xin 李昕.(2016).网络小说利弊纵横谈[The Pros and Cons of Online Novels].西部皮革Western Leather(12):172.
*Liu Yang 刘杨.(2017).中国网络小说改编剧的困境与建议[The Dilemma and Suggestions of Chinese Online Novel Adaptations].参花Participation Flowers(16):95.
*Ma Xiaoxing, Zhao Mengyuan 马孝幸,赵梦源.(2020).中国文化“走出去”背景下的网文出海研究——以《三生三世十里桃花》外译为例[A Study on the Overseas Translation of Chinese Culture in the Context of "Going Global"--The Foreign Translation of "Ten Miles of Peach Blossoms].新阅读New Reading(08):59-62.
*Qin Junxiang,Li Ting 秦俊香,李婷.(2017).网络小说改编剧的同质化现象批评——以权谋宫斗题材古装剧为例[Criticism of the Homogenization Phenomenon of Online Novel Adaptations - Taking Ancient Costume Dramas on the Theme of Power and Palace Combat as An Example].中国电视China TV(06):38-42.
*Xiao Yudi, Ouyang Changlin 肖雨笛,欧阳常林.(2021).网络小说改编剧的狂欢与思考[The Carnival and Reflection on the Adaptation of Online Novels].肇庆学院学报Journal of Zhaoqing College(03):33-38.
*Zhang Hainan, Han Lei 张海楠,韩磊.(2021).网络小说创作主体迅猛发展成因探析[An Analysis of the Causes of the Rapid Development of the Main Body of Network Novel Creation].兰州文理学院学报(社会科学版)Journal of Lanzhou College of Arts and Sciences (Social Science Edition)(03):79-83.

===Terms and expressions===
*The Legend of Goku 《悟空传》
*Ghost Blows Out the Light 《鬼吹灯》
*Purple River 《紫川》
*Blasphemy 《亵渎》
*Nebulous Journey 《缥缈之旅》
*How Bad Men Are Made 《坏蛋是怎样炼成的》
*Time Raiders 《盗墓笔记》
*Kill the Immortals 《诛仙》
*Fights Break Sphere 《斗破苍穹》
*AutoFull 《傲风》
*Wolf Totem《狼图腾》
*Nirvana in Fire《琅琊榜》
*The Legend of Zhen Huan《甄嬛传》
*The Plum Blossoms《梅花烙》
*Jade Palace Lock Heart《宫》
*Laugh Slightly Very Bend City 《微微一笑很倾城》
*The Left Ear 《左耳》
*Fleet of Time 《匆匆那年》
*Startling by Each Step《步步惊心》
*The Journey of Flower《花千骨》
*East Palace《东宫》
*The Untamed《陈情令》
*Qing Yu Nian《庆余年》
*Legend of Chu Qiao《楚乔传》
*To the Sky Kingdom《三生三世十里桃花》
*The First Intimate Contact 《第一次亲密接触》
*The Legend of Mi Yue《芈月传》
*Palace 3:The Lost Daughter《宫锁连城》
*Princess Dumping World《倾世皇妃》
*Beauty's Rival in Palace《美人心计》
*Men's Channel 男频，即男生频道，是网络小说网中对男生爱看的网络小说的一种称呼。男频以玄幻、推理、盗墓等题材的小说为主。
*Women's Channel 女频，即女生频道，是网络小说网中对女生爱看的网络小说的一种称呼。女频以都市、言情和穿越等题材的小说为主。

===Questions===
1.Which of the following is a common genre of male channel fiction?

A.Time Travel Fiction

B.Fantasy Novels

C.Romance Fiction

D.Urban Soap Novels

2.When was the online novel The First Intimate Contact published?

A.In 1996

B.In 1997

C.In 1998

D.In 1999

3.How many stages does the author of this article divide the history of Chinese online fiction into?

A.2

B.3

C.4

D.5

4.Which of the following is not a work by Yu Zheng?

A.Jade Palace Lock Heart

B.Palace 3:The Lost Daughter

C.Beauty's Rival in Palace

D.The Plum Blossoms

5.Which of the following novels is a work of transition stage?

A.The First Intimate Contact

B.Nirvana in Fire

C.Time Raiders

D.The Untamed

===Answers===
1.B

2.C

3.B

4.D

5.C

==英语笔译钟青 Zhong Qing 202170081611 CE==
On the Translation and Spread of Three Kingdoms

==英语笔译周皓熙 Zhou Haoxi 202170081612 MW==
On the Translation and Spread of Guanzi

Abstract

Guanzi is a Chinese classical work covering multiple aspects such as agriculture, economy, commerce, law and etc., which draws the attention of many scholars both at home and abroad. At present, there are two complete English version of Guanzi, one is by American Sinologist W. Allyn Rickett, the other is by Professor Zhai Jiangyue. Thus, this paper attempts to study its transmission in the English world based on the current research situation of its English versions.

Keywords

Guanzi Complete Version English World

I.Introduction
The Guanzi is a multifaceted text.
The study of Guanzi in China focuses on its date of composition, ideas, and contemporary influence, while overseas research on Guanzi focuses on the translation of Guanzi and the influence of the ideas contained therein in the West. The study of Guanzi by Western scholars began in the late nineteenth century and has continued unabated until 1999, when the first complete English translation of Guanzi was published by Li Ke, who published the second part of the text. The publication of the first complete English translation of Guanzi was a landmark for Western readers, creating a new world for Western scholars to understand Guanzi and laying a solid foundation for its dissemination in the Western world. It is of great practical importance to examine the spread of Guanzi in the English-speaking world.

II. An Overview of the English translation of the Guanzi

(1)
Foreign English translations of Guanzi. The translation and study of the Guanzi by Western scholars began at the end of the nineteenth century. During this period, scholars such as Gabelentz, Wilhelm Grube and Edward Parker introduced and translated Guanzi, but they only introduced Guanzi. It was not until the late 1920s that the study of Guanzi really began in the West, with the emergence of such scholars as Forke
The study of the Pipe did not really begin until the late 1920s, when researchers such as Forke, Henri Maspero, Bernhard Karlgren, Piet Van Delon, Hughes ), they discussed whether the Guanzi was a "forgery" or "pseudoscript" and each made a detailed examination and study (Li Zongzheng: 2014).
In the 1950s, the first monograph on Guanzi appeared in the West, Economic Dialogue in Ancient China: Selections from Guanzi, which was translated and published by Chinese American scholars Tan Bofu and Wen Gongwen, mainly in abridged and selected translations (Chen Shuyi: 1996). In the late twentieth century, H. Roth also explored the ideas contained in the chapters on the mind and inner work of Guanzi in his publication Original Tao. Princeton University Press published the first volume of GUANZI-Political, Economic, and Philosophical Essays from Early China, translated by American sinologist W. Allyn Rickett, in 1985, and the second volume was published by the same publisher in 1998. The second volume of the book was published by the same publisher in 1998. This is the first complete and authoritative translation of Guanzi into English in the West.
(2)
The English translation of Guanzi in China. The English translation of Guanzi by domestic scholars is quite rare.
The main translations are those published by Li Xuejun on the New Legalist website and Zhai Jiangyue's version published by the Greater China Library. "Li Xuejun's translation of Guanzi: Earliest Masterpiece on Political Economy in Human History is serialized on the New Legalist website, and this series of articles is an abridged translation of the representative political and economic views of Guanzi. This series of articles, which are mainly abridged translations of the representative political and economic views of Guanzi, has been published by Li in 15 consecutive articles, which laid a solid foundation for further research on the English translation of Guanzi (New Legalist website), and has been published one after another in the Greater China Library series since 1995, among which Guanzi has been translated into modern and English by Professor Zhai Jiangyue of Ludong Normal University, and was first published by Guangxi Normal University in 2005.
(3)
A review of the studies on the English translation of Guanzi. The main forms of research on the English translation of Guanzi by domestic and foreign scholars are books and papers. The domestic studies are mainly expressed in the form of dissertations, including Feng Yu's "Evaluation of the English Translation of <Guanzi>" in 1988; Feng Yu's "Major Treatises on the Study of <Guanzi> in Europe and America" in 1988; Song Limin's "The Study and Translation of <Guanzi> (Essays on Early Chinese Political and Economic Philosophy)" in 1989; Li Xia's "Introduction to the Study of <Guanzi> in this Century" in 1993; and The Communication of English Translation of the Linguistic Simplicity Style of <Guanzi> by Chen Jiangning in 2014; Overview of Research on Foreign Translation of <Guanzi> by Li Zongzheng in 2014, etc. The main foreign studies on Guanzi include an article on Guanzi-youguan by the American sinologist Li Ke in Bulletin in 1960; Li Ke's monograph Kuan-tzu: A Repository of Early Chinese Thought published by the University of Hong Kong Press in 1965; in 1988 the American The scholar William G. Boitz published a review of Li Ke's translation of Kuan-tzu (vol. 1) in 1988, and another American scholar, Robin D. S. Yates, wrote a review of Li Ke's translation of Kuan-tzu: A Repository of Ancient Chinese Political, Economic, and Philosophical Essays in 1988.

III. Dissemination of the English translation of Guanzi

1.
Amazon Books website reader reviews. As of January 15, 2016, the National
Amazon.com has two main reader reviews for the English translation of The Pipe, the first of which was posted by Lenny Lendon on July 9, 2006, in which the reader argues that Leek's English translation is too scholarly and not suitable for every reader. The book does not work on editing, so the whole book is not as interesting to read, and Li Ke's first edition does not fully translate the best parts of Guanzi, whereas Li Ke's various commentaries in the translation are more welcome, and the Chinese canonical works should be able to win more attention. Another review was posted by Matthias Richter on August 18, 2008, in which the reader felt that Li Ke's translation made a great contribution to Western readers, adding a great deal of detailed and accurate commentary to make it easier to read. This may be related to some obscure phrases in the original text and translation of Guanzi, but given the comments of the two readers mentioned above and the achievements of scholars who have studied Guanzi, it can be seen that the English translation of Guanzi has remained at the academic level in the Western world, and if it needs to be disseminated to a wide audience, it may need further efforts from scholars. If it needs to be disseminated to a wide audience, further efforts by scholars may be needed.
2. Citations and comments on the English translation of Guanzi on academic websites.
As of January 15, 2016, according to the statistics of Google Scholar, the English translation by the American sinologist Li Ke was cited 138 times during the 27 years from 1987 to 2014, and the topics of the cited articles covered Chinese traditional culture, Chinese prehistoric civilization, ancient economy, comparison between the ancient cultures of East and West, and the study of Taoist thought. The English translation of Guanzi and the English translation of Li Ke's text have provided a better and more comprehensive understanding of Chinese traditional culture for Western scholars, and also provided a certain medium for the dissemination of Guanzi in the West.
3.
The influence of the English translation of Guanzi on Pound
When it comes to the spread of the English translation of Guanzi in the West, we must mention the famous American poet of Confucianism and the master of imagism, Pound. Pound became interested in the English translation of Guanzi through the Englishman General Fuller, who introduced it to him. Pound talked about the content of the Guanzi as well as his praise of the Guanzi many times in his Poems from the Imperial Throne published in 1959 (Qian Zhaoming, 2014: 115). Pound's further knowledge of Guanzi occurred in the late 1950s, when he was composing his Poems on the Imperial Throne and reflecting on the ways of governing at St. Elizabeth's Hospital in Washington, D.C., and when Pound had a close personal relationship with a Chinese scholar who had traveled to the United States. Noel Stock, a close friend and biographer of Pound and editor-in-chief of Edge magazine, mentions in a book explaining the Poems that in 1957 a Chinese poet living in the United States, Zhao Ziqiang, sent Pound a copy of an English translation of an excerpt from Guanzi entitled Economic Dialogue in Ancient China, written by Lewis Maverick. -It was published by Lewis Maverick in 1954. Pound sent it to me for publication in The Blade, and it was published in June of that year. Chapter 106 must have been written shortly after this (Stock Noel, 1967:70). In Poems from the Imperial Throne, chapters 98 and 99 focus extensively on the Sixteen Articles of the Imperial Bishops issued by Kangxi in his early years, which Pound envisioned as a well-governed, decent state of social life designed by the Confucian "imperial throne. Throughout the poetry scene in Europe and America in the 1950s, Pound was unique in that he not only drew on certain forms and characteristics of Japanese poetry such as haiku poetry, but also incorporated traditional Chinese canonical works into his poetry, making his own contribution to the understanding of the canonical works such as Guanzi by Western readers and making great efforts to promote cultural exchange between the East and the West. In addition, the English translation of Guanzi not only influenced Pound's poetry, but also made him more profoundly aware of the economic, political, and diplomatic connotations contained in Guanzi, from the traditional ethical perspective of Confucian writings to his own ideas.

IV. An Introduction of Zhai’s version

Guanzi is named after Guan Zhong, a stateman and philosopher lived in the Autumn and Spring Period with Guanzi as his honorific title. This collection believed to have reflected Guan Zhong’s main ideas was translated into modern Chinese and then English by Dr. Zhai Jiangyue and was published by Guangxi Normal University Press in 2005 in four vols with its ISBN: 7563353461.
Guanzi is a collection of essays and comments authored Guan Zhong or under his name. Regulated by Liu Xiang in the Western Han Dynasty, the collection included 86 essays after filtering out the repeated among 564 essays. The ideas of the collection were regarded as that of Taoism in Han Dynasty and as that of Legalists after Sui Dynasty. Only 76 essays are preserved until this day. Guanzi discussed politics, economics, military matters, education and other aspects with ideas of Taoism, Confucianism and other schools and knowledges on yin-yang and five elements, astronomy, calendar, education edaphology, etc. It’s an eclectic collection that is unique among Chinese cultural classics and worthy of studying.
Western studies on Guanzi emerged in late 19th century but meaningful translation of it didn’t appear until mid-20th century, yet with many pretermissions and mistranslations. In 1950s, ethnic-Chinese Tʻan Po-fu and Wen Kung-wen co-published the first monography on Guanzi in the west, in which they translated Guanzi with selection and abridgement. In 1954, American sinologist Dr. Walter Allyn Rickett began translating Guanzi and published two volumes one after another and a revised bound volume in 2001. Chinese studies on Guanzi are also flourishing. Li Xuejun published 15 essays in succession on Xinfajia.net with abridged translations of Guanzi’s ideas on economics and politics. Dr. Zhai finished the translation of Guanzi after the launch of Library of Chinese Classics (李宗政, 2014). By far, there are only two completely translated versions, one by Dr. Rickett and another by Dr. Zhai.
Until January, 2022, by the statistic of World Cat, Rickett’s version was collected by 254 foreign libraries and Zhai’s by 77. While on Goodreads, Rickett’s version had only a few marks and comments and Zhai’s had neither. This shows that the western knowledge on Guanzi is mainly at academic level.
Zhai Jiangyue, the translator of Guanzi, the Library of Chinese Classics version, is professor of the Academy of Chinese of Ludong University and distinguished professor for International Sinological Research Center of Shandong University. She masters pre-Qin Dynasty literature as well as English and German, which enabled her to devote herself to the translating and publishing of book series of Library of Chinese Classics (English-Chinese Version) with fruitful publications, including The Spring and Antumn of Lu Buwei, Guanzi, Records on the Warring States Period, Huainan Zi, and Selections from Classified Conversations of Zhu Xi.
Ren Qiang (任强, 2019) noted that the skopos of Zhai’s version was to tell Chinese stories which resulted in her adaptation of foreignization to achieve a translation that is generally acceptable. Moreover, Ren thought Zhai’s two phases of translation, intralingual translation (from ancient to modern) and interlingual translation (from Chinese to English), kept consistency and interactivity for her version. Li Zongzheng (李宗政, 2014) commented that Zhai kept the version’s enjoyment at the cost of the concision of ancient Chinese.

V. An Introduction of Rickett, W.A’s version

One of the most accomplished American sinologists, Walter Allyn Rickett (1921-) is best known for his translation of the complete works of the pre-Qin Chinese classic, Guanzi. In fact, from 1948, when he began his study of Guanzi at the University of Pennsylvania under Derk Bodde, to 2014, when he accepted a position as advisor and chief senior fellow at the American Academy of Guanzi, Rickett has devoted his academic career to the study, translation, and promotion of Guanzi with his life's work and knowledge, and is thus respected in American sinology circles and worldwide as a leading scholar of Guanzi. It is no exaggeration to say that he is respected as an authority on Guanzi in American sinology and worldwide. Today, at the age of more than ninety, it is necessary to take a look at Professor Li Ke's sixty years of dedicated research and translation of Guanzi, and try to divide it into three research phases, so as to pay tribute to this great sinologist by introducing the research results of different periods, and to call more domestic scholars to pay attention to Li Ke and his representative translation of Guanzi.　
1)The Beginning of Li Ke's Study of Guanzi and its First Emergence (1948-1965)　
In October 1948, Li Ke and his husband, Adele Austin Rickett (1919-1994), came to Beiping with great ambition under a Fulbright scholarship to study Chinese philosophy at National Tsing Hua University and Yanjing University, where they also worked as English teachers. From this period, Li Ke began his lifelong study of the interpretation and translation of Guanzi under the recommendation of his friends Feng Youlan and Xu Weiyu.
At the beginning of his life in Beiping, Mr. and Mrs. Li Ke had no worries about food and clothing, but only the friendship with scholars such as Qian Zhongshu and Zhouliang, so he should have had a fulfilling and peaceful study career. However, because they were "commissioned" by the U.S. Navy Department to collect intelligence in China before they left, and because they were in the midst of the great historical change in China between the old and the new, Mr. and Mrs. Leek were separated in 1951.
In 1957, Cameron Associates published their memoir Prisoners of Liberation-Four Years in a Chinese-Communist Prison, which describes their time in prison. In 1957, Cameron Associates published their memoir Prisoners of Liberation-Four Years in a Chinese-Communist Prison, which describes their experiences in China and their "ideological rehabilitation" in prison. In fact, for Li Ke, in addition to his "ideological reformation" in prison, this experience was a rare opportunity for him to come into contact with all kinds of people, including intellectuals, peasants, butchers, and Nationalist soldiers, and to experience a completely different world from the one inside the "ivory tower. He experienced a completely different world from that of the ivory tower. At the same time, he also made good use of this period to study Chinese history and philosophy, which laid the foundation for his academic career after returning to the United States. After returning to the United States, he continued his doctoral studies at the University of Pennsylvania and selected eight representative texts from Guanzi for his doctoral dissertation, which was published in 1960 as TheKuan-tzu: An Annotated Translation andStudy o Eight Represen tative Chapters. TheKuan-tzu: An Annotated Translation andStudy o Eight Represenative Chapters In the same year, Li Ke published An Early Chinese Calendar Chart: Kuan-tzu, III, 8, (Yu Kuan) in T'oung ao (Bulletin), Vol. 48, No. 1. (Yu Kuan) (Ancient Chinese Calendar Chart: "Guanzi-Youguan"), a detailed interpretation and translation of the text of "Youguan" in more than 50 pages. On this basis, Li Keqian published Kuan-tzu: A Repository of Early Chinese Thought by the University of Hong Kong Press in 1965, with the exception of "Young Official" which was published separately in the Bulletin, the rest of the articles are "Da Kuang", "Du Di", "Fa Fa", "Q", "Situation", and "Dou Di". Fa Fa Fa", "Q", "Situation", "Solution of the Situation", "Nei Ye", "Xin Shu Shang", "Xin Shu Xia", "Art of War", and "Map", a total of 12 articles, each of which is annotated and examined in greater detail. By carefully examining, studying, and translating the 12 representative texts, Li Ke officially announced to the American sinology community the beginning of a systematic and comprehensive study of Guanzi. One of the English translators of the canonical text Mencius, sinologist W. A. C. H. Dobson, wrote a book review in The Journal of Asian Studies, Vol. 26, No. 2, in 1967, in which he acknowledged the research of sinologist Li Ke and his contribution to the American sinological community. However, Dobson also pointed out that Li Ke's book was influenced by the requirements of his doctoral dissertation, and that he tried to translate word-for-word for the sake of academic rigor, preserving the characteristics of Chinese word order, sentence structure, and thought patterns, which facilitated the understanding of Guanzi's ideas to a large extent by Chinese scholars. However, by taking care of the one and losing the other, this word-for-word translation is more specialized and less literary, thus limiting the reading of non-Chinese scholars. Therefore, he calls on Li Ke and others to add appropriate notes and narrative commentaries for non-Chinese scholars who are unable to read the original work.
　　
2) The Deposition, Full Explosion Phase of Li Ke's Study of Guanzi (1966-2001)
After publishing the translation and study of 12 articles in Guanzi in 1965, Li Ke aspired to translate all the 76 existing articles of Guanzi, but due to the influence of teaching and administrative work, it took two full decades before Li Ke finally compiled and published the first volume of Guanzi in English in 1985, Guanzi: Politi-c In the introduction of this book, Li Ke devotes more than forty pages to introduce the layout of Guanzi, the style of the book, and the history of the book. In the introduction to this book, Li Ke devotes more than 40 pages to the layout of Guanzi, the relationship between Guanzi and Guanzhong, the changes in the editions of the various periods, and the translation methods used in the text. The main text contains a total of 34 extant articles, each of which is preceded by an introductory commentary of varying length, focusing on evidence and background material, including the specific history, content, structure, and relationship to other chapters of each article, plus a large number of footnotes and treatment of some rhymes, which shows Li Ke's profound Chinese language skills and rigorous academic attitude. At the same time, in consideration of the connection of contents, the chapters 64, 65, and 66 of "The Situation", "The Nine Defeats of the Establishment", and "The Interpretation of the Edition" are advanced and placed after the corresponding chapters of "The Situation", "The Establishment", and "The Edition". It should be noted that Li Ke has abandoned the previous translation method of Wittoma Pinyin, and has used Hanyu Pinyin to mark the key words directly, such as changing the translation of Guanzi from "Kuan-tzu" to "Guanzi". For example, the translation of Guanzi was changed from "Kuan-tzu" to "Guanzi. This reflects the translator's respect for Chinese culture and helps maintain the exotic accent read by European and American scholars.
In response to the publication of this pioneering work, the Chinese scholar Feng Yu wrote a review in 1988, saying that Li Ke's forty years of dedicated research and the assistance of experts such as Ma Feibai made the translation of high quality and "not the kind of haphazard work that lacks understanding of China. The foreign scholar Robin D. S. Yates also praised the translation highly in The Journal of Asian Studies in 1988, saying that "the importance of the original text and its authenticity can no longer be denied". "This book has made an outstanding contribution to the study of the Guanzi and will be a first-rate authoritative work for many years to come." After the publication of the first volume of Guanzi, Lik was affected by his own advanced age and the death of his wife, Adele Austin Rickett, from cancer, before finally completing the translation and collation of the second volume of Guanzi in 1996 and publishing it in 1998, also at Princeton University Press. Excluding the missing pieces and the three pieces that were brought forward to the first volume, the second volume actually contains 42 pieces. The layout and translation method of the second volume basically follow those of the first volume, but in accordance with the comments and suggestions of Robin D. S. Yates and others mentioned above, many additions to the omitted parts of the original ancient Chinese have been eliminated in order to take care of the readability of the translation without affecting the understanding. At the same time, based on the suggestions of William Boltz and others, Li Ke adopts a more flexible approach to the terms "reason" and "righteousness" in different contexts. After completing and publishing the entire translation of Guanzi, Li Ke did not stop there. He reworked the first volume against the translation style of the second volume, with the most notable changes being the emphasis on rhyme and the addition of Chinese characters to facilitate reader study, and published it in 2001 by Poston Cheng and Cui Dongfang Translation Company. Since then, Li Ke has become the only Western sinologist to have translated all 76 of the 24 extant volumes of Guanzi into English. In 2003, Robin McNeal wrote in Early China The Development of NaturalistThought in Ancient China: A Review of W. Allyn. Allyn Rickett's Guanzi, in 2003, acknowledged the results of Li Ke's long years of research and said that the translation provided scholars with a place to go for frequent consultation, and that many of the historical issues addressed in it played a key role in furthering the understanding of early Chinese society, intellectual structures, and so on.

VI. Conclusion

The study of the English translation of Guanzi remains mostly academic and has done little to promote the dissemination of Guanzi, but with the successive release of the two complete translations of Guanzi and the continuous exchange of Chinese culture with the world, Guanzi will receive more and more attention from scholars worldwide. In conclusion, the English translation of Guanzi has played a certain role in spreading Chinese culture, attracting the attention of Western readers, and enhancing national pride; however, it should be pointed out that we should try to make the English translation of Guanzi better to attract the attention of Western readers as much as possible, and the translation effect should be more in line with the translation of the incoming language, while expanding the dissemination of its English translation.

Reference

[1]Guanzi:Earliest Masterpiece on Political Economy in Human History[DB/OL].新法家网站,http://www.xinfajia.cn/10275.html.

[2]Stock Noel.Reading the Cantos:A Study of Meaning in Ezra Pound[M].London:Routledge and Kegan Paul Limited,1967.

[3]W•Allyn Rickett.GUANZI——Political,Economic,and Philosophical Essays from Early China[M].Princeton:Princeton University Press,1985.

[4]陈书仪.齐文化研究在国外J].1996(2).

[5]李克.《管子》研究在西方[J].1989(2).

[6]李霞.本世纪以来《管子》研究简介[J].1993(3).

[7]李宗政.《管子》外译研究概述[J].2014(2).

[8]宋立民.《管子》的研究和翻译[J].1989(1).

[9]钱兆明.《管子》“西游记”[J].2014(2).

[10]翟江月.大中华文库(汉英对照)——管子[M].桂林:广西师范大学出版社,2005.

==英语笔译周哲 Zhou Zhe 202170081613 CE==
<center>'''On the Translation of Peony Pavilion'''</center>

<center>周哲 Zhou Zhe</center>

===Abstract===
The Peony Pavilion, also known as "The Return of the Soul", is a masterpiece by Tang Xianzu (1550-1616), an outstanding Chinese opera singer of the 16th century. Compared with the script, The Peony Pavilion has not only been greatly changed in terms of plot and description, it has also improved greatly in terms of theme and thought. The Peony Pavilion has also reached an unparalleled artistic level in terms of diction, singing, music, stance and performance. In this essay, the full translations by Wang Rongpei, Cyril Birch, and Zhang Guangqian are selected for analysis and comparison, and their translations are abbreviated as follows: Wang's translation, Birch's translation, and Zhang's translation.

===Key words===
conveying the meaning in its full flavor; The Peony Pavillion;

===Introduction===
''The Peony Pavilion'', with its dizzying plot and magnificent structure, is especially good at portraying characters. With more than 160 characters, the play is a living panorama of the times. The artistic and literary value of ''The Peony Pavilion'' has been highly praised in both China and the West. The ''Drama 100: A Ranking of the Greatest Plays of All Time'' (2008) by Daniel S. Burt ranks ''The Peony Pavilion'' at number 32, and he (2008:184) comments that Tang Xianzu's ''The Peony Pavilion'' is the first great work to feature a female protagonist, and from it the reader can enter the tradition of Chinese classical literature.As you can see, this is still a very high opinion.

The earliest English translation of ''The Peony Pavilion'' is Acton's hybridity of translation "Ch'un-hsiang Nao Hsüeh" in Tian Hsia Monthly, vol. 8, no. 4, 1939. Cyril Birch translated some scenes of The Peony Pavilion in 1965 in Selected Readings in Chinese Literature, and published a full translation in 1980 at Indiana University Press; Zhang Guangqian's full English translation was published by Beijing Foreign Language Press in 2001; and Wang Rongpei's full English rhyming translation was first published by Shanghai Foreign Language Education Press in 2000. In 1999, an English version of the novel ''The Peony Pavilion'' was published. One adaptation, by Chen Meilin, was published by New World Press, and another adaptation was published by Seahorse Books, New Jersey, USA.

===Translator Introduction===
1. Wang Rongpei's Translation

Professor Wang Rongpei began his translation of The Peony Pavilion in 1996, which lasted for more than three years. In order to get a sense of Tang Xianzu's life and writing, he visited Tang's hometown of Fuzhou, Jiangxi Province, which was called Linchuan in the old times, in March 1999. In the preface to his translation, Professor Wang said that he set the goal of "conveying the meaning in its full flavor" for his translation. Specifically speaking, first, the translation should creatively and accurately reproduce the style of the original. In the process of translation, he tried to recreate the original in English to reflect the beauty of the original text, so he translated the prose dialogues or monologues into understandable English as much as possible. For example, he translated “吾今年已二八,未逢折桂之夫” as "I've turned sixteen now, but no one has come to ask for my hand". At the same time, when translating the lyrics and verses, the original imagery of the author is kept as much as possible without affecting the understanding of the English readers, otherwise it is rather sacrificed and replaced by corresponding expressions in English. Second, for the poetic and lyric parts of the original text, some forms of traditional English metrical poetry are adopted in translation. In addition, the lyrics of Tang Xianzu's The Peony Pavilion follows a strict tune, and the poetic part is also in the form of metrical poetry. Therefore, Professor Wang uses the iambic pentameter as the basic format and adopts a variety of different rhyme schemes when translating them.

2. Birch’s Translation

Birch was born in Lancaster, England, in 1925. He studied Chinese at the Institute of Oriental and African Studies at the University of London, where he received his Ph.D. in Chinese literature in 1954, taught Chinese at his alma mater from 1948 to 1960, taught in the Department of Oriental Languages at Berkeley University in 1960, and later became Professor of Chinese and Comparative Literature and Head of the Department, retiring from Berkeley University in 1991 as Professor Emeritus. Birch 's writings cover traditional Chinese fiction and drama as well as modern Chinese literature, and he is best known for his translations of Ming dynasty plays and stories. His translations of The Peony Pavilion (Acts 1-5, 7, 9, and 10) were published in the third issues of The Translation Series, respectively. Although Birch had edited many anthologies of Chinese literature in verse and verse, his favorite of all literary genres was classical drama. Bai's translation of The Peony Pavilion was published by Indiana University Press in 1980. Birch is a leading contemporary American sinologist who, in addition to his translation of The Peony Pavilion, has translated works such as Chinese Gods and Monsters, Selected Stories of the Ming Dynasty, and Selected Plays of the Chinese Ming Dynasty, and has edited books such as Selected Readings in Chinese Literature and Studies in Chinese Literary Genres. His essays on The Peony Pavilion include "(The Peony Pavilion) or (The Return of the Soul)," "The Structure of The Peony Pavilion," and "The Winter's Tale> and The Peony Pavilion.

Birch 's English translation reproduces the original in fluent modern English and is generally faithful to the original text, with free verse in both the choral and poetic sections (Wang Rongpei, 2000:33). This is evidence of his rigorous academic attitude. It took at least seven or eight years from the earliest translation to the final revision of the text. In general, Birch's translation was a success, and all performances of The Peony Pavilion in the West were based on Birch 's translation, but his translation was not immune to the errors of understanding that are common among Western translators.

3. Zhang Xianqian’s Translation

Zhang Guangqian's translation of The Peony Pavilion was published by the Travel Education Press in 1994 and reprinted by the Beijing Foreign Language Press in 2001, the first full English translation done independently by a Chinese translator.

In his preface to The Peony Pavilion, Professor Wang Rongpei (2000:35-36) also comments on Zhang's translation, arguing that, compared to Birch's translation, Zhang's translation has the greatest advantage of being more accurate in conveying the meaning of the original, which is a clear strength of Chinese translators in translating Chinese classical masterpieces. It is clear from the translation that Zhang's mastery of ancient literary knowledge is very solid. In his translations of the lyrics and verses, he uses the format of sung poetry on most occasions, with iambic pentameter as the basic rhythm, and occasional rhymes that follow their nature. On the whole, Zhang Guangqian's translation is successful, and in many places it is more accurate and refined than Birch's translation.

===Examples and Analysis===
Example 1:（柳梦梅）：谩说书中能富贵，颜如玉，和黄金那里?

Wang: The saying goes that studies bring the wealth, but where is pretty lady and

where is gold?

Birch: "In books lie fame and fortune," they say—then tell me, where are the jade-smooth cheeks, the room of yellow gold?

Zhang: Some say that books will provide you with what you need, Yet, where is the promised beauty, where the gold?

The Peony Pavilion is a masterpiece of Tang Xianzu. Tang Xianzu is good at quoting scriptures and references, and there are countless allusions and proverbs in the book, which gives the text a deep cultural connotation. From the perspective of "reaching the meaning", when translating this kind of text, we should not only pay attention to the semantic meaning of the language, but also pay more attention to the semantic meaning and cognitive meaning. Specifically. This is reflected in the translation of words with profound cultural connotations. In this sense, it is not easy to translate classical operas to "reach the meaning", but it is even more difficult to "convey the spirit".

For the understanding of "In books lie fame and fortune", there is a problem with the translation of Birch, which does not mean that books themselves can give people wealth, but that they can create wealth only after learning and mastering knowledge. And Zhang's translation "Some say that books will provide you with what you need" does not clearly translate what "wealth" is. The chorus also contains two words with cultural connotations: "Yan Ru Yu" and "House of Gold". Birch's translation literally translates "the jade-smooth checks" and "the room of yellow gold," but not the true meaning of these two words. On the issue of cultural treatment, Prof. Wang's strategy is to reflect his own understanding directly into the translation, as his translation is intended for a general Western audience, and therefore does not add additional notes on the words that contain cultural connotations. The strategy adopted by the Zhang translation is consistent with that of the Wang translation.

Example 2:（柳梦梅）：敢甚处里杨曾系马?

Wang: Are you an old acquaintance to see me now?

Birch: In some former time and place, did we "tie our steeds beneath green aspen"?

Zhang: Or, is it because your horse was once attached to my tree?

This is the phrase that Liu Mengmei asked Du Liniang, who guessed where they had met before? The phrase "敢甚处里杨曾系马" is a cultural phrase related to the times. In feudal China, unmarried girls could only stay in their boudoir. Therefore, it is not logical to translate it as "met somewhere". However, the literal translation

The literal translation does not reflect the cultural connotation of the sentence, so the paraphrase is used. Both Bai and Zhang translate literally, which may not be understood by readers of the target language and may even cause misunderstanding. Wang's translation is more appropriate and better conveys the connotation of the original text, achieving a high level of "reaching the meaning" at the linguistic and cognitive levels.

Example 3:（陈最良）： "玉不琢，不成器；人不学，不知道。"

Wang: As The Book of Rites says, "Uncarved jade is unfit for use; uneducated men

are unaware of Tao."

Birch: "Jade unsculpted unfit for use; person untutored unaware of the Way."

Zhang: It's said, "Unpolished jade has little worth; untutored man has little wit."

The phrase "If jade is not cut, it does not become a tool; if a man does not learn, he does not know" is from the Book of Rites, and for Western readers who do not know Chinese culture, they do not know the context of the phrase, so Wang adds "The Book of Rites" in the translation to make it clear to readers at a glance, and it is easier for them to understand the context after understanding the cultural background of the phrase. Although Zhang's translation adds "It" to indicate that this is a well-known thing, it does not specify the specific source, so the reader still cannot understand it. If we look at this sentence from the perspective of "conveying the meaning", its "conveying the spirit" lies mainly in its simplicity and neat syntax. If we look at these three translations only from the perspective of "conveying the meaning", they are indeed comparable, but a careful reader will find that Wang's choice of words is actually very careful. Normally, "Uncarved", "unsculpted" and "Unpolished" seem to have the same meaning, but when they are placed in the whole sentence, the difference appears. If the word "Uncarved" in Wang's translation is replaced by "unsculpted" or "Unpolished", the rhythm of the whole sentence will be incongruous, and it will be awkward to read. This is the same reason why Wang used "islet" instead of "isle" in his translation of the Book of Psalms. Obviously, Wang's translation has paid attention to the problem of rhyme, so it reads with a particularly strong sense of rhythm.

Example 4:（杜丽娘）：先生万福。

（春香）：先生万福。

Wang: I wish you happiness, respected tutor.

I wish you kindness, respected tutor.

Birch: Our best respects, esteemed sir.

We hope you're not vexed, esteemed sir.

Zhang: Boundless happiness to my teacher.

Boundless kindness to your pupils.

These are the words spoken by Du Liniang and Chunxiang as they salute Chen Milliang. Although the words spoken by the maids are the same as those spoken by the ladies, the translation should be different to show their different linguistic characteristics. Wang and Zhang did notice this point, but from the point of view of "expressing the meaning", it is Birch's translation that is more accurate. Since they are late in entering the school, the teacher is already a little upset, so Chunxiang says "Don't be angry, teacher!" when greeting her. This accurately conveys the quick-talking character of Chunxiang, a maid, and also fits the situation at that time.

The author keeps emphasizing that the parameters of "conveyance" are analyzed for expository reasons, but in specific texts, many of them are integrated with each other, as in this case. The previous paragraph is analyzed on a pragmatic level, but it does not reflect the "transmission"! The wording, tone, and inflection of Duliniang and Chunxiang's speech all reflect the translation's grasp of the style and emotion of the original text. Still, "convey the spirit and meaning" should be grasped as a whole, as can be seen from this example.

Example 5:（杜丽娘）：以后不敢了。

（春香）：知道了。今夜不睡了，三更时分，请老师上书。

Wang: I won't be late from now on.

I see, I won't go to the bed tonight and I shall ask you to give me lessons at midnight.

Birch: We shall not be late again.

We understand. Tonight we won't go to bed so that we can present ourselves for our lesson in the middle of the night.

Zhang: I won't be late again.

I see. Tonight I won't go to bed at all so that teacher can start the lessons at midnight.

Du Liniang and Chunxiang both bowed to the gentleman, Chen Miliang said: "Girls, you should get up immediately after the rooster crows and greet your parents first. After eating breakfast, you should do whatever you want to do. If you are studying, you should get up early" (Zhao Shanlin, 2002:11). These two lines are their response to Chen Milliang's rebuke, in which Chunxiang's reply is relatively sharp, which on the one hand reflects Chunxiang's quick-talking character, and on the other hand, reveals On the one hand, this reflects Chunxiang's quick-talking character, but on the other hand, it also reveals her attitude of not being convinced by Chen Miliang's words.

Looking at the three translations from the perspective of "expressing the meaning", Wang and Zhang have no problem with their translations, but Birch has a deviation in his understanding. The deviation of Birch's translation does not occur at the semantic level, but at the pragmatic and cognitive level, which is reflected in Birch's insufficient understanding of traditional Chinese culture. According to the old rituals and customs, the rich and noble families had a very strict hierarchy of respect, and the young lady and the maid had to take into account their status and position when they spoke, so the "We" in Birch's translation is inappropriate, and in addition, Birch's translation of the latter paragraph does not express the meaning of "asking the teacher to write a letter".

In terms of "evocative", Wang's translation is better overall. The mischievous Chunxiang hates reading the boring Confucian classics and deliberately messes with Chen Mingliang, while Duliniang originally shares Chunxiang's feelings, but she still acts serious in front of Chen Mingliang due to the constraints of ritual. Compared with the Birch translation, the Wang translation pays more attention to observing the psychological changes of the characters, especially highlighting the word "please" in the original text, which accurately conveys the characteristics of Chunxiang's sharp tongue and her defiant state of mind at that time, and well captures the change of emotions in the "transmission".

Example 6:（杜丽娘）（作恼介）：劣丫头那里去?

（春香）：溺尿去也。原来有座大花园。花明柳绿，好耍子哩。

Wang: Where have you been, nasty maid?

I've been to the toilet. I went by a big garden overgrown with flowers and willows. It's fun over there.

Birch: (annoyed)： What have you been doing, silly creature?

Peeing. But I found a lovely big garden full of pretty flowers and willows, lots of fun.

Zhang: Naughty girl, where have you been?

Pissing. I happened to have discovered a huge garden, with lush trees and bright flowers. A very nice place indeed.

After Chen Miliang finished explaining the "Poetry", he asked Du Liniang to write again. Chunxiang stayed at one side really impatient, excuse to go to the toilet to sneak out to play. After a long time, when Du Liniang saw that Chunxiang had not come back, she said, "Why hasn't Chunxiang come back yet? Du Liniang scolded: "Bad girl, where did you go"? Chunxiang replied: "I went to pee. There is a big garden behind the house, with red flowers and green willows, which is very interesting!" (Zhao Shanlin, 2002:12).

This play is called "Make Trouble in School", and this "trouble" is mainly manifested in Chunxiang's body, but of course, it is only with Du Liniang's tacit approval. The difference between the two of them in status, position and upbringing is so great that it is not possible for Du Liniang to make a scene like Chunxiang, but Du Liniang's "scene" is in the dark, elegant and clever. In fact, this is Du Liniang in front of Chen most Liang fake anger at Chunxiang, but in fact full of pity for her; and Chunxiang also know Du Liniang will not really blame her. Chunxiang's mischievousness is also obvious.

The above three translations are more accurate in terms of "conveying the meaning", but the subtle differences are reflected in "conveying the spirit", which is also expressed in the transmission of "emotion". Reading through the context, we know that Chunxiang's answer of "peeing" is actually an excuse, not really going to "pee", but the transitive word "But" in the Birch translation gives the impression that Chunxiang really went to pee, but happened to find a garden when she returned. Wang and Zhang are more accurate in handling this detail, and they are in the middle of the pack.

From the above examples, we can see that there are many factors to be considered in the translation process, such as character characteristics, tone of voice, psychological state, language characteristics, etc., but it is not easy to take into account the overall situation, which is a test of the translator's language mastery and skills.

Example 6:（柳梦梅）：好一座宝殿哩。怎生左边这牌位上写着＂杜小姐神王＂，是那位女王

（石道姑）：是没人题主哩。杜小姐。

Wang: What a magnificent hall! On the memorial tablet on the left is the inscription "The Spiri of Miss Du". What's the meaning of "spiri"? To complete the service, we need someone to add the final letter. It's "The Spirit of Miss Du" .

Birch: What a majestic temple! By the way, which queen is that memorial tablet

Oh, it's Miss Du's memorial tablet. The last stroke hasn't been added onto it yet.

Zhang: What a magnificent shrine! But I don't understand the inscription on this tablet: "The Ruler, Miss Du." Which "ruler" was this? The character that looks like "ruler" needs an extra dot on top to make it read “host”, that is to say, “tablet lodging the spirit of Miss Du.” We are waiting for some person of distinction to inscribe the dot.

This dialogue is from the 33rd episode of The Peony Pavilion, "Secret Discussion". Liu Mengmei was entrusted by Du Liniang to dig a grave for her, but he was a scholar, so he had to follow Du Liniang's suggestion and come to Shi Dao Gu for discussion (Zhao Shanlin, 2002:127). Then Shi Dao Gu leads Liu Mengmei to visit the temple, and Liu Mengmei exclaims: What a precious temple. Why does the tablet on the left say "Miss Du, God King"? Shi Daoist nun replied: "No one is the subject. Miss Du." In the olden days, when the deceased was given the sign of the gods, a point was deliberately missing from the 'main' and a prestigious person was asked to put a dot on it with a vermilion pen on a certain day, and this ceremony was called "dotting the main" or "inscribing the main" (ibid., 2002:128).

From the translations of the three translators, they all have a certain understanding of the ancient customary ritual of "inscription of the Lord", among which Wang and Zhang express the meaning more clearly, while Birch omits the phrase "How can the left side of this tablet have Miss Du's divine king written on it", which is unknown whether it is a mistake of the translator or some other reason, and cannot be verified.

This is particularly evident in Wang's translation, where "convey the spirit" is the sublimation of "reach the meaning". Zhang's translation basically conveys the meaning, and the language is more plain. The treatment of Shan in the Qian translation is very impressive. It can be said. The words "stem" and "main" in the text are word games. This is a difficult point in translation. It is very tricky. But at the same time. If handled properly, it will add an unexpected effect to the translation. Wang's translation is very creative, as he creates his own word "Spiri" and "Spirit" to echo each other, bringing out the effect of "王" and "主" in the original text.

Example 7:

（杜丽娘）：晓妆台圆梦鹊声高，

闲把金钗带笑破。

博山秋影飘，

盼泥金俺明香暗焦。

Wang: When magpies greet me for my happy dream,

I tap my golden hairpins with a smile.

The incense smoke coils in autumn breeze

And makes me anxious for news all the while.

Birch: Noisy magpies greeted my rising

Presage of dream's fulfilment;

With happy smile I set my gold hair ornaments.

Fragrant smoke mingled with autumn haze,

Hopes of gilded placard of success Burned bright as incense glow.

Zhang: The chirping magpies are discussing last night's dream;

Smile creeps on my lips as I tap the golden pins.

Autumn wavers in incense smoke.

Yearning for word of success,

My heart burns like the incense sticks.

On the day of Liu Mengmei's examination, Du Liniang was at home waiting for the result of the examination. When Du Liniang got up early in the morning to do her make-up in the mirror, the sound of magpies reported the good news, which was in accordance with the auspicious omen in her dream, so she was in a particularly good mood. Among them, "博山" refers to the Boshan stove, a kind of incense burner; "泥金" refers to the mud gold post, which is used to report the joy of the new entry into the earth and the enrolment in the university; "焦" is a semantic double meaning: one refers to the incense burning into ashes, and the other refers to the anxiety in Du Liniang's heart.

Double meaning refers to the use of speech, a word, or a sentence in a certain linguistic environment, while associating two different things, expressing double meaning, and the words in this meaning in the other, also known as "multiple meaning association". The literal meaning of double meaning is clear; the implicit meaning is implied. From the point of view of "expressing the meaning", the three translations are inaccurate: first, the use of "Noisy" to describe the magpie's cry is inaccurate, as we know from the above analysis that the magpie's cry here means "announcing good news". The second is that the phrase "盼泥金俺明香暗焦" is inaccurate, not like "hope for good news is burning", but that Du Liniang's heart is very anxious.

From the point of view of "conveyance of spirit". Let's look at the problem of form first. It is obvious that the original text has only four lines, but Zhang's translation has one more line; Wang's translation is relatively concise and clear, and while paying attention to rhyme, it also uses the rhyme scheme of xava without losing time, which has a strong sense of rhythm. In terms of conveying emotions, Wang and Zhang are comparable in that they both express the anxious mood of Duliniang, but the difference between them lies in the fact that Wang uses implicit metaphors while Zhang uses explicit ones.

Example 8:（杜丽娘）：可知我一生儿爱好是天然。

Wang: （DuLiniang）：But love of beauty is my natural design.

Birch: （Du）：Always my nature to love fine things.

Zhang: （Du）： My love of beauty is of natural build.

This is one of the more famous lines in The Peony Pavilion, which is usually widely recited as a clear and beautiful phrase. However, there are two ways to interpret these two lines: First, it can be seen that my lifelong hobby is "天然", that is, I like things in their natural color; second, it can be seen that my lifelong love of "好" is natural, that is, the love of beauty is my nature. In the absence of context, both understandings are fine. However, the difference will be obvious. The difference will be obvious. This has to be inferred from the context of the chant. This is the tenth play "dream" in the singing words. It was a beautiful day. In the morning, the sound of birds and swallows woke up Du Liniang from her sleep, and Chunxiang brought Du Liniang dressing clothes, and Du Liniang dressed up in the mirror. Chunxiang saw the beauty of the lady, could not help but say: "today’s dressing is really good"! This immediately resonated with Du Liniang. With this context, the meaning of this line is obvious: "It is my nature to love beauty". Among the above three translations, Wang's and Zhang's are accurate, while Birch's does not match the original. This shows that reasonable logical reasoning in context is also necessary in translation.

Example 9:（杜丽娘）：原来姹紫嫣红开遍，似这般都付与断井颓垣。良辰美景奈何天，赏心乐事谁家院!

Wang: (Du Liniang)：The flowers glitter brightly in the air,

Around the wells and walls deserted here and there Where is the "pleasant day and pretty sight"? Who can enjoy the "contentment and delight"?

Birch: (Du)： See how deepest purple, brightest scarlet Open their beauty only to dry dwell crumbling. "Bright the morn, lovely the scene," Listless and lost the heart—where is the garden "gay with joyous cries"?

Zhang: (Du)： So the garden is all abloom in pink and red, yet all abandoned to dry wells and crumbling walls. The best of seasons won't forever last; can any household claim undying joy?

These are the four most famous lines of the Peony Pavilion. When Du Liniang finished dressing, Chunxiang reminded Du Liniang that it was time for breakfast, so they walked out of the room and came to the garden with spring colors. Looking at such a beautiful scenery in front of her. Du Liniang could not help but exclaim: "the original flowers bloom so bright and beautiful". But at the same time see the dilapidated walls, wells, can not help but be sad: "Such a beautiful scenery, how is in such a dilapidated courtyard it? This is just like their beautiful youth is buried? As the old saying goes, ''It is difficult to combine the four: good time, beautiful scenery, pleasure and joy. (Zhao Shanlin, 2002:29-30).

From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".

The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Khan's translation. First of all, the "spirit" of Khan's translation is reflected in the form. The original rhymes with "abab", while the Wang translation rhymes with "aabb", and what is even more remarkable is that the Wang translation also takes into account the rhythm of the translation while rhyming, which gives a sense of intonation and staccato. Secondly, Wang's translation is very good at conveying emotions. The lyrics make one feel the faint sorrow of Du Liniang: she is enchanted by the beauty in front of her, and on the other hand, she is saddened by the spring sorrow she has nowhere else to go. The lyrics include "姹紫嫣红" and "断井颓垣", "良辰美景奈何天" and "赏心乐事谁家院!" One happy and one sad corresponding to the state of mind of Du Liniang depicted to the fullest, sad! It must be admitted that the words are emotionally charged. The words used by the translator indicate the kind of emotion he wants to express. The words "pleasant", "pretty", "contentment" and "bright" in Wang's translation are all words that mean "beautiful", but the addition of a "?" at the end of the sentence has the opposite effect. The effect is the opposite after adding a "?" at the end of the sentence, and the use of two "?" in a row in the third and fourth sentences to enhance the effect. It can be seen that Wang's translation conveys the emotion in a very clever way, so that people can appreciate the meaning of the original text without realizing it.

===Conclusion===
From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Wang Peirong's translation.

===References===
*Wang Rongpei (2000). The Peony Pavilion. Changsha: Hunan People's Press
*Zhao Shanlin. Selected Reviews on The Peony Pavilion. Shanghai: Shanghai Ancient Books Press

==英语笔译朱丽娟 Zhu Lijuan 202170081614 MW==
The Sinicization of Religion And its Development in China

==英语口译段小蝶 Duan Xiaodie 202170081615 CE==

<center>'''Difficulties and Countermeasures in the Translation of Chinese Classics'''</center>

<center>Duan Xiaodie</center>

===Abstract===
The translation of Chinese classics is an important part of the external transmission of Chinese culture. However,the translation of China classics into foreign languages faces many difficulties and problems. This paper aims to analyze the current situation of Chinese cultural transmission to the outside world, explain the causes of the above obstacles, and put forward several personal thoughts trying to overcome these obstacles like using diversified media, flexible presentation means and flexible cooperation with foreign companies, changing the way of the training translation talents in colleges and universities in order to achieve better Chinese culture transmission.

===Key words===
Chinese Classics; Translation and Transmission; Difficulties and Countermeasures

===The Definition of the Chinese Classics===
Chinese culture is a general term for the spiritual accumulation and material creation of the 56 ethnic groups in China. I don't know when, once chinese cultural classics are discussed, scholars must say that ancient classics such as the "Four Books" and "Five Classics" will invisibly weaken the works outside the central members of this family category, which in fact confuses the boundaries between Chinese cultural classics and their lower categories——— the boundaries between Chinese cultural classics. In fact, the category of Chinese cultural classics includes not only Chinese cultural classics, but also derivative and deductive works of traditional Chinese classics, because they also contain cultural contents such as "Red Sorghum," "Wolf Totem," "Ordinary World," and "Old Children," as well as epic poems, poems, religious doctrines, witchcraft, oral literature, and songs created by ethnic minorities. Therefore, this is because the Chinese nation is composed of 56 ethnic groups, and the cultural crystallization of each ethnic group constitutes the Chinese cultural classics; Moreover, ethnic minority epics, poems, religious doctrines, and other works have naturally become indispensable members of Chinese cultural classics, some of which have been disseminated abroad, and some of their works also have a certain overseas audience. Therefore, Chinese cultural classics should not only include classics dominated by the Han nationality, but also classics of other nationalities, and more importantly, other non-classic works with national characteristics and identified as excellent works (including academic works, journal papers, conference papers, etc.) with certain influence.

===The Significance of Translating Chinese Classics into Foreign Languages===
The Chinese nation is a nation with a long history and profound tradition. For thousands of years, it has left behind unparalleled cultural classics, mainly based on language and written texts.These books constitute the spiritual level and value core of the history of Chinese civilization, which is a heritage worth inheriting and spreading.Therefore, in the modern society, the information is developed, the communication is frequent, the need for a foreign translation promotion process.Such a process and the resulting results, that is, translated and published text, not only allows the Chinese people to review the history and tradition, change the status quo and progress, but also for the development and progress of other nations in the world, there is also a certain reference value. Of course, in this translation process and products, China's original cultural traditions will also experience a change from ancient times to the present, from the inside out changes, and modern society, modern ideas, relationships and collisions. And thus become a part of modern civilization and ideological values, or as a basis, or as a cultural form, to be retained and continued, development and progress. This is our current translation of Chinese cultural classics of cultural history, but also have to change China and the world, as well as the relationship between China and the world of modern academic significance.

===Current Situation of Chinese Classics Translation===
As the carrier of China history and culture, the translation of Chinese classics further promotes the cultural exchange between China and the world. In the late 20th century, the National Library of China (NCLC) was established. The "Great China Library" is a major publishing project listed in the national plan and supported by the national finance. This project is officially regarded as the first major cultural project in the history of our country to systematically and comprehensively introduce the collation and translation of China ancient books to the world. It is also a basic project to carry forward the excellent traditional culture of the Chinese nation.In recent years, the academic attention to the translation of classics has increased significantly, and the publication rate of relevant articles has also increased. Although these articles have different intentions, emphases and academic contents, they reflect that the translation of Chinese classics has become a hot topic in the translation circle in China. With the continuous development of the depth and breadth of Chinese classics translation studies, new progress and trends have emerged in terms of scope and perspective. According to Chen Li (2014), this new progress is mainly reflected in two aspects: (1) The number of papers has increased steadily, especially in recent three years, compared with previous years, the number of papers published has increased significantly; (2) The relevant research of domestic scholars mainly focuses on the English translation of Chinese classics, the time of translation of Chinese classics by applying translation theory, and the standards, principles and strategies of English translation of Chinese classics. However, in fact, Chinese cultural classics are still rarely known to the world. "Statistics show that there are about 35,000 kinds of classical books in China, but only about two thousandths of them have been translated into foreign languages." Thus, it is not easy to make Chinese cultural classics go out. The translation of classics into foreign languages still faces great challenges. The research of Ye Huijun and Chen Shuangxin (2015) shows that in the process of translating classics into foreign languages, there is an imbalance in the translation of terms in classics and related studies, which is mainly reflected in the following aspects: (1) the imbalance between the translation of cultural terms and the translation of classics, the former's attention and research results are much less than the latter; (2) that selection of term source is unbalanced; (3) imbalance of target language; (4) cultural terms translation study itself is not balanced. Therefore, the relevant departments need to develop practical and specific measures to implement, to carry out a full range of multi-angle study, to achieve China cultural classics "going out," there is still a lot of work to do.
With the implementation and promotion of China's book promotion plan, Chinese culture going global, Chinese cultural works translation and publishing project, Chinese literature overseas dissemination project, China National Knowledge Network international publishing project, National Social Science Fund Chinese academic translation project, Chinese ideological and cultural terminology dissemination project, the belt and road initiative and other strategies, the State Administration of Press, Publication, Radio, Film and Television recently joined forces with the central and state organs, the Propaganda Bureau of the Political Work Department of the Central Military Commission, the competent units of various publishing units, The publishing group launched the Classic China International Publishing Project, Silk Road Book Fragrance Project and Chinese Contemporary Works Translation Project, aiming to "launch more export-oriented fine books that tell Chinese stories, spread Chinese voices and explain Chinese characteristics, so that overseas readers can know, understand and understand China through Chinese books, and effectively improve the soft power of national culture"(State Administration of Press, Publication, Radio, Film and Television 2017).Later, the General Office of the CPC Central Committee and the General Office of the State Council issued the Opinions on Implementing the Project of Inheriting and Developing Excellent Traditional Chinese Culture, which aims to "adhere to the position of Chinese culture, absorb Chinese wisdom, inherit Chinese cultural genes, carry forward Chinese spirit, spread Chinese values, and continuously enhance the vitality and influence of excellent traditional Chinese culture" and "safeguard national cultural security and enhance national cultural soft power"(General Office of the CPC Central Committee and General Office of the State Council 2017).Therefore, the translation of Chinese cultural classics is facing an excellent opportunity for great development.

===Difficulties in the Translation of Chinese Cultural Classics ===
It is difficult to ensure the quality of translation of Chinese cultural classics because some translators do not have the relevant knowledge of cultural transmission and translation, and blindly pursue speed. Many people think that they can engage in translation activities if they know and understand a foreign language, so the return is not proportional to the government's investment, and at the same time, it has not reached the original intention and established goal of the state to publicize Chinese culture to the world by translating Chinese classics into foreign languages. As Qian Dingping evaluation zhi-wei feng's "the history and present situation of Chinese characters"(1994) of the Greek translation: "The traditional culture of our country is the most important part of our national culture."But to observe, the effort to the great and the effect to the small.All in all, the translation of Chinese cultural classics exist the following problems: (1) inadequate preparatory work for translation of Chinese classic: first, did not grasp in what circumstances what works by whom translation, accept how, what works to be translated; Second, they failed to identify the "tastes" and needs of the target audience, so the former Soviet Union, Russia and South America Paraguay ignored Chinese and foreign translation works and abandoned them on the pile of waste paper. This is an important lack of mapping work. If they still blindly choose their own intentions to translate and introduce, the result is likely to repeat the same mistakes. (2) no full and comprehensive understanding of the objective reality of the current translation work: the scale of foreign language training in China has been greatly improved compared with the past, but the foreign language ability and level of the current "talents" cannot meet the requirements of conveying Chinese culture. Not only can they not read through ancient books, but they also do not have the basic knowledge of national culture. What's more, some people are not familiar with the languages of ethnic minorities, nor understand the cultural traditions of ethnic minorities, so they are forced to do secondary translation through Chinese translation. However, the total number of ethnic minority books and records exceeds 8,000. The Chinese translation of less than 1000, even if the interests of the meter is feasible, it can not complete all the ethnic minority classics translation of this arduous task. (3) no understanding of the target audience's recognition and identity issues: even if the translation of classics can reach the same level as foreign scholars, the target readers do not trust Chinese publishing institutions and hold prejudice against the level of Chinese translators, which inevitably doomed the fate of translation of classics into foreign languages. Moreover, due to the limitation of subjective and objective factors, most of the translations are planned to be published and distributed by relevant domestic publishing houses, which makes it difficult to enter the foreign target group market. As Yang Junfeng said at the 5th International Forum on Language, Literature and Translation in Northeast Asia: In the United States in northern Illinois, all libraries, in possession of English translation of Chinese cultural classics, the proportion of less than one-third, and on these are mostly Chinese or English native speakers of the translation, which to some extent also reflects the Chinese cultural classics English translation of recognition with the problem. (4) unfavorable publishing and marketing: good translation works also benefit from feasible and effective sales channels in many ways. At present, the foreign translation of Confucian classics mainly relies on domestic publishers for active export, the sales channels are limited, and no time, energy and financial resources are not spent on publishing and marketing, or the work in this area is not enough, resulting in the target readers in the translation and language culture system have little understanding of the translation and introduction literature exported in China, and cannot build an effective communication and connection between the translation literature and the translation language culture system. Translated literature in a marginal position must move away from its weak position and move closer to the central position, except that it depends on translation. In addition to the unchangeable state of the language and culture system itself, it is also necessary to rely on certain external forces, such as increasing the interaction between translated literature and internal factors of the translation language culture system, and enhancing the understanding and recognition of translated literature by translated readers, which can be completed with the help of effective marketing means. At present, the foreign translation of Confucian cultural classics only follows the old traditional translation and introduction method: topic selection - translation - publication and distribution, and insufficient efforts have been made in effective publication marketing, resulting in the low awareness of the Translated Confucian cultural classics in the target culture, which is not conducive to the other party's understanding and acceptance of our translation works. In the future process of foreign translation of Confucian cultural classics, multi-channel marketing and publicity means can be adopted, such as making full use of the network platform and adopting various forms of interactive activities to enable target readers to further understand the Confucian classic cultural works exported by China, so as to expand the awareness of the cultural classics exported by China in the translation language and culture system.In view of these practical problems, we may refer to the Indian Buddhist scriptures into the experience, as well as the late Ming Dynasty and foreign missionaries translated Chinese cultural classics lessons learned. This paper trys to provide some useful promoting and teaching suggestions for the translation of Chinese cultural classics.

===Reasonable Approaches to Promote the Translation of Chinese Cultural Classics ===
At the beginning of the introduction of Buddhist scriptures, the mode of interpretation and oral interpretation by Buddhist monks and written records by Chinese people were adopted, and the concepts and terms of Confucian and Taoist classics were used to convey Buddhist scriptures, so as to close the distance between Chinese Buddhist scriptures and Chinese audiences psychologically and achieve the purpose and goal of Buddhist dissemination.Foreign missionaries also adopted the mode of translating Buddhist scriptures into Chinese, first oral by missionaries and written down by China believers, then learning Chinese and translating the Bible in person.Missionaries translation of the bible, follow the experience of buddhist scriptures using Confucianism and Taoism classic words, first use buddhist terms convey the bible thought, the result is not very ideal, hence to Confucianism, Taoism words convey the bible thought, achieve the purpose of han missionary.(Xu Guangtai 2008:20) The success of the translation of Buddhist scriptures and the translation of the Bible borrowed the resources and talents of the target audience countries, which was not only of great reference at that time, but also of some inspiration today. In The translation of China language of literature (The Language and Literature of China: Two Lectures) (1875), the pen is found: Both James Legge's translation of The Sacred Books of The East (1879) and The Orphans of Zhao, the first to be put on the European stage, were translated by native speakers or by native speakers and Chinese scholars.In addition, there are three "meta-hybrid anthologies" published in the United States States between 2010 and 2014, which are translated into English by native speakers and co-translated by Chinese and native speakers. These works are highly recognized in the United States and have been widely disseminated.Therefore, the author of Buddhist translation and missionary translation of 'Bible' lessons learned and related overseas Sinology is made as a reference to make the following reference recommendations: (1) The modes of carrying and disseminating the translated works of classics can adopt flexible modes according to the time, people and circumstances. We should not only adhere to the traditional print media as the means, but also adopt non-traditional media-self media, mobile phone network, cultural exhibitions, cultural relics exhibitions, expositions, book fairs, film festivals, populist performances, sports activities, tourism promotion and brand activities organized by overseas China cultural centers, Confucius Institutes and other governmental and non-governmental organizations. It is also necessary to expand the target audience with the variation mode based on ancient books, such as songs, songs, dances, dramas, plays and other popular literary and artistic forms. (2) The contents of the translated classics can be based on the original classics, but in order to achieve the purpose of easy acceptance by the audience and obtain the greatest impact, the translator can be flexible and flexible, and does not have to adhere to the faithful translation, but can change, compile and extract the translation, which also follows and embodies Deng Xiaoping's concept of economic governance,"No matter whether the cat is black or white, it is a good cat that catches mice." (3) The mode of cooperation between the government and non-governmental organizations and individuals as well as Chinese and foreign subjects can be adopted for the translation of classics into foreign languages: First, adhere to the government-led model, the Chinese and overseas Chinese as the main body of the non-governmental organizations to unite in, at the same time to achieve constant and moderate monitoring; Second, will be dominated by China publishing agency, to sino-foreign cooperation as the leading, government agencies responsible for the audit and supervision work; Third, unite sinologists, publishers, middlemen (such as copyright agents) and overseas students, change the main body of China translators to the composite body of Chinese and foreign translators, and use the trust and influence of overseas people to invite them to be the voice of Chinese culture so as to better serve Chinese culture. For example, the Germany Sinologist Gu Bin wrote the German version of the History of China Literature in the 20th Century, which was published in the Chinese translation by East China Normal University Press in 2008. United States professor mulberry mission to China (Sabina Knight) and Jin Kaijun (Karen Kingsbury) writing "essence of Chinese Literature theory"(Chinese Literature: A Very Short Introduction), etc.Overseas sinologists can read China cultural classics, read thousands of modern literary works, write works of Chinese literary history, and publish them in various countries at home and abroad. The reading level of sinologists can be seen, which is just the external force that can be relied on for the translation of Chinese cultural classics and the going out of Chinese culture.As stated in the Opinions (2017):"Promote international sinology exchanges and cooperation between Chinese and foreign think tanks, strengthen the international promotion and dissemination of China publications, support sinologists and overseas publishing institutions to translate and publish Chinese pictures and books, and rely on overseas Chinese, cultural and sports celebrities, and outbound personnel from all walks of life, relying on China's overseas institutions, Chinese-funded enterprises, friendly and cooperative institutions with China, and Chinese restaurants around the world to tell Chinese stories, spread Chinese voices, and explain Chinese characteristics well. Specifically, the China-foreign cooperation model can invite overseas translators, overseas Chinese, humanities and social researchers who do not understand Chinese culture, especially overseas sinologists, to cooperate. The Chinese are responsible for interpreting classic works, and the sinologists are responsible for transcribing the translation, jointly refining the translation, and submitting it to the relevant government departments for final review; Invite overseas Chinese culture lovers, researchers and Chinese cooperation, Chinese scholars responsible for the classic content, foreign scholars responsible for the transcript of the translation, and then by the Sinologist scrutiny translation, submitted to the relevant government departments audit; Scholars in foreign language circles should refer to existing materials to translate relevant classics and submit them to foreign scholars or relevant China departments for examination and approval. In addition, overseas sinologists (such as Du Bin of Germany, Fu Yunbo of Canada, Du Boni Australia, etc.), Chinese culture lovers, overseas Chinese (such as Shen Guowei Japan), high-level Chinese translators (such as Mr. Xu Yuanchong of Peking University, Professor Yue Feng of Fujian Normal University, China academy of social sciences professor zhu hong, etc.) separate translation, the Chinese government funding, at the same time held the work before publication audit; Encourage the establishment and improvement of international copyright dealers and agents system; Encourage overseas publishing institutions such as Colombia University Press to come to China to solicit foreign translation business, and boost the international publishing, sales and cooperation path of China publishing institutions; Strengthen and enhance the translation and introduction of China cultural centers, Confucius Institutes, non-governmental organizations, Chinese students, visiting scholars, students and visiting scholars in China. For the translation and introduction of Chinese students and visiting scholars and related activities, the government can provide financial support, assign collaborators who are familiar with the contents of the works, and assist them in publishing translated works. Finally, it can also cooperate and cooperate with famous foreign journals by professors with international reputation. We should set up special columns on the translation of China classics into foreign languages, the study of Chinese classics, and the study of overseas Sinology to promote the strategy of Chinese culture going global. No matter which model is adopted, the government departments must keep a close watch on the examination and approval. Therefore, it is suggested that the government set up a Chinese classics translation examination committee composed of experts from foreign languages and Chinese languages in the China Foreign Languages Bureau or other relevant departments to be responsible for the examination and revision of the translations of Chinese classics and make professional evaluations of the translated texts. Provide professional advice and guidance on issues arising from the translation.
Among the above-mentioned main cooperation modes, the first one is the best way for ancient classics to go out. Overseas scholars, especially sinologists, can be invited to visit China. The additional condition is that cooperation with China scholars to translate classics can not only enrich the scientific research strength of universities or relevant institutions, but also find foreign well-known publishing houses to publish translations with the help of joint translators and their relations, so as to promote the translation of classics with their influence. The purpose of publicizing Chinese culture to the world is achieved; Article 2 is due to cost and various subjective and objective factors, Sinologist cannot come to China, the record of the translation work by the China foreign language scholars do, the Sinologist is responsible for the embellish color translation, can be attached to the revision of names, in an attempt to use its influence, looking for a well-known publishing house translation, expand the sales of translation, and achieve the purpose of promoting Chinese culture; The third is the last resort. If the translation is successful and the relevant foreign publishing houses are selected, the purpose of promoting China culture can also be achieved, but the effect will not be as good as the first two.It can be seen that sinologists and overseas lovers of China culture are effective resources worth using to let Chinese cultural classics go abroad.finally, that translation of China cultural classic should learn from the experience and lessons of the translation and publication of classic after 1949, take into full consideration the autonomy of the target readers, the readers 'read psychology and language habits, and pay more attention to the correspondence of terms in the classics, or make up their own terms. or use that inherent term of the target culture to supplement the relevant knowledge in the form of annotation.
In addition, we can also focus on the reader's needs, the characteristics of the translation, the translator's identity, the style of translation, the way of presentation, the way of promotion and other related factors.1)Readers 'needs.Because the reader identity background, education background, reading habits is not 86 figure 4 classics translation dissemination elements analysis, the demand is quite different.The translation of classics into foreign languages shall give consideration to the integrity of information and the acceptance of readers. While providing full-text translation, it shall also provide versions with low reading difficulty, such as section translation, selected translation, excerpt translation and translation compilation, so as to provide readers with a short time to get a full picture.For example, the book Chinese Wisdom (Zhang Zheng 2019) selects famous sayings from Chinese classics and publishes them in both Chinese and English, with pinyin, interpretation and provenance, so that English-speaking readers can quickly understand the essence of Chinese studies and the general appearance of classics.Both the "desk book" and the "pillow book" are indispensable carriers of classics, and the full translation and the verse translation are in parallel, providing readers with more choices.2)the characteristic of that translation.The selection of the completed translation to promote, not only to pay attention to the Chinese nation's literature and philosophy books, but also to pay attention to ethnic minorities and other disciplines books, constitute a complete system of Chinese classics translation promotion.At the same time, we should pay attention to the choice of translation to match the latest research results of scholars at home and abroad, so as to realize the synchronization of academic achievements and the promotion of classics translation.3)The translator.Translators can be overseas sinologists, Chinese translators with overseas living and working backgrounds, or China scholars and translators. Chinese-foreign cooperative translation mode or Internet crowd translation mode, which has become increasingly popular in recent years, can be adopted.In the process of translation promotion, the promotion plan can be formulated according to the characteristics of the translator.4)Translation style. In the translation of the text to promote the process, should pay full attention to the differences in translation style. Such as 'On the language' of the most influential English translation, James Legge (Legge 1861) version of the academic is stronger, and waley (Waley 1938 edition is more inclined to popular books. Two United Kingdom Sinologist, but because of different goals, translation strategies reflect the greater differences. Targeted to recommend to the reader community to achieve the exact match between the translation and the reader. 5) Presentation. Classics translation of the presentation is not limited to the traditional paper media, but also can use electronic publishing model, easy to carry and spread, To provide more convenience for readers. Social networking platforms can also be used to provide elite versions of Chinese classics for foreign translation to meet the needs of fast-paced and fragmented reading. 6) Promotion methods. Try to combine various modes such as official promotion, publishing house promotion, education institution promotion and celebrity recommendation promotion, and grasp the prominent characteristics and interrelations of various modes, which can provide new ideas for the combination and implementation of communication methods. Introduce the "agenda setting" theory into the translation and communication of Chinese classics. Instead of setting a universal model applicable to all classics and readers of all countries, it emphasizes the clarity of communication purposes and the diversification of realization methods, actively looking for communication opportunities and flexibly configuring the above factors to achieve the best effect.

===Thoughts the Teaching in the Translation of Chinese Cultural Classics===
The discussion of the translation of classics into foreign languages is naturally closely related to translation studies.In the field of translation, most foreign scholars pay attention to the direction of "foreign language-mother language," because foreign scholars subconsciously believe that they can fully grasp the quality and quantity of translation by relying on their mother tongue ability.Before the Republic of China, China scholars, like foreign scholars, paid attention to the observation and elucidation of the phenomenon of foreign translation, such as Yan Fu, Lin Shu, etc.dure that period of the republic of China, Zhang Shizhao, Hu Yilu, etc. all considered translation problem from the perspective of translating Chinese into foreign languages.since 1949, foreign language talent strategy and foreign propaganda have become important issues of national security, so we pay attention to the phenomena and problems of Chinese-foreign translation, strengthen the teaching of Chinese-foreign translation, and gradually form a modern teaching mode of Chinese-foreign translation with disciplinary significance. As far as the relationship between the demand for C-E translation and C-E translation teaching is concerned, the content, mode and quality of C-E translation teaching cannot keep up with the demand of C-E translation market, which means that C-E translation teaching in colleges and universities should gradually move towards marketization.In order to make Chinese-foreign translation teaching in universities market-oriented, it is necessary to take the road of "government-school-enterprise-school-inter-school" joint training, which is slightly similar to the current MTI training spirit.to break the single teaching content, can not be limited to literary genres, and reference translation can not be limited to domestic publications or famous examples, but to choose moderate difficulty of political economy, science and technology, military equipment, social history, folk customs and other aspects of the material, or directly with the translation market materials, so that students early understanding and adaptation to the translation market.The author argues that translation activities and teaching should be practical in nature, and that translation workshops should be set up to enable students to deal with the translation market. Teachers should play the role of guidance, assistance and supervision, and help students develop their independent abilities in project management, technology application and literature reference. Therefore, it can only be improved through practice. Finally, the college translation teaching teachers must face the ability and professionalism. Translation teachers must have the ability to understand the cultural classics, especially the China traditional cultural classics, not only to understand the allusions and technological inventions, but also a wealth of encyclopedic knowledge, that translation teachers must be a man of letters. In addition, the translation of foreign teachers need to have good skills, Third, China of C-E translation should be able to arouse students 'enthusiasm, assist students in consulting materials, and guide, evaluate and revise their translations.

===Conclusion===
The translation of classics into foreign languages is an act of cultural communication. It plays an important role in enhancing national cohesion, maintaining national unity, maintaining national cultural diversity, building up the Chinese nation community, and enhancing the soft power of Chinese culture ... It is an important means of "cross-border minority languages and cultures" protection, development and cultural communication in the "Belt and Road" language paving.At the same time, the translation and communication of classics have the multi-disciplinary attributes of ethnology, classicism, translatology and communication, and the relevant research and practical operation are complex, important and urgent, which deserve more attention and attention. It is hoped that more experts and scholars will participate in the research, carry out continuous research from multiple angles and create a new situation for the translation and communication of classics.
Based on the previous translation of Chinese cultural classics facing a variety of difficulties, this paper attempts to put forward the translation of Chinese cultural classics into a variety of paths, such as: Promotion of an international copyright dealer and agent system for domestic publishers and individuals; Promote the international publishing and sales path of domestic publishing institutions; Promote the translation and introduction activities of Chinese culture China cultural centers, Confucius Institutes, cultural departments of overseas institutions and non-governmental organizations, especially the dissemination of Chinese culture through various media, at multiple levels and in various forms; Promote Chinese cultural translation and related activities for China students, visiting scholars, students coming to China, visiting scholars and investors; Encourage multiple forms of translation, such as China translators and overseas translators, especially overseas sinologists, Chinese translators and overseas publishing agencies, overseas Chinese and native speakers, overseas Chinese, native speakers, Chinese high-level translator's cooperation, collaboration and independent interpretation; Finally, in the path of the translation of Chinese culture, I hope this paper can play a role in attracting more and more complete research results.

===References===
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*Huang Xin.黄信. 民族典籍外译传播的价值、困境与新思考[The Value, Dilemma and New Thinking of the Translation and Communication of Ethnic Classics]. 四川民族学院学报 Journal of Sichuan University for Nationalities,2021,30(03):61-65.

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*Huang Xinyan, Wu Di.黄新炎,吴迪. 中国优秀典籍外译的传播与思考——以上海外语教育出版社汉英对照版四大名著为例[The Dissemination and Reflection on the Translation of China Excellent Classics-A Case Study of the Four Great Classics in the Chinese-English Edition of Shanghai Foreign Language Education Press]. 出版广角Publication Wide Angle,2018(21):64-66.

*Chen Zhongwei, Wang Fuyin.陈仲伟,王富银. 中华文化典籍外译传播障碍研究[A Study on the Barriers to the Translation of Chinese Cultural Classics]. 海外英语Overseas English,2019(01):90-92.

*Wang Xueqiang.王学强. 中华优秀文化典籍外译何以“走出去”[How Can the Chinese Excellent Cultural Classics Translation "Go Out"]. 人民论坛 People's Forum,2019(09):132-133.

==比较文学与跨文化研究 MAHZAD SADAT HEYDARIAN 202021080004 MW==
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Academies of Classical Learning

The Shūyuàn (书院), usually known in English as Academies or Academies of Classical Learning, were private research and educational institutions in ancient China. They were built as early as the eighth century and flourished during the tenth and eleventh centuries with the support of various Emperors. The Shuyuan were not only centers for the compilation and study of classical literature, but were crucial for the development of Confucianism and Neo-Confucianism; notable Confucian thinkers such as Zhu Xi and Wang Yangming developed their ideas and taught at the Shuyuan.

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==英语语言文学 TOURE MARIAM 202021080005 MW==

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Chinese Classics in World Literature: The Viewpoints of the West towards the Four Famous Chinese Novels

==翻译学 201911080004 SAGARA SEYDOU MW==

Chinese Classics in World literature . Anthologies and World Literary History Book