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20220630 Culture 4

2022-07-05T03:17:08Z

Xie Xiaoying: /* 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===

===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 Traditional Chinese Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
The word "philosophy" comes from Greece, which means “the study of wisdom”. It is characterized by the ultimate exploration of the universe and the world. As the essence of the spirit of the times, philosophy is the core content of national culture. Before contemporary times, there was no word “philosophy” in China, and naturally, there was no such subject in the ancient academic classification. For a long time in ancient China, literature, history, and philosophy were integrated and inseparable. In contemporary times, after being translated by Japanese scholars, philosophy has become the primary discipline of humanities and social sciences in this country.
Traditional Chinese 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, traditional Chinese 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. The second is the period of feudalism. Third, is 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.

===The Evolution of Chinese Traditional Philosophy===
From another point of view, traditional Chinese philosophy has gone through seven different stages of development, namely, the Pre-Qin philosophy, the study of Confucian Classics in the Han Dynasty, the Metaphysics of the Wei and Jin Dynasties, the Buddhist philosophy during the Sui and Tang Dynasties, Neo-Confucianism in the Song and Ming Dynasties, the Practical Thought in the Ming and Qing Dynasties, and Textual Studies in the late Qing Dynasty. Each stage of development has its distinct ideological characteristics.

(1) the Pre-Qin Philosophy

During the Pre-Qin period, the ideological circle was extremely active, and various ideological theories and academic schools appeared one after another. A large number of prominent thinkers emerged, such as Confucius, Mencius, Xunzi (Hsun Tzu), Laozi (Lao Tzu), Zhuangzi (Chuang Tzu), Sun Tzu, Mozi, Hui Shi, Gongsun Long (Kung-Sun lung), Han Feizi (Han Fei-tzu) and so on. People also call the philosophy of this period “the Pre-Qin study of Zi”. Besides, many schools of thought have been formed, such as Taoism, Confucianism, Mohism, the School of Legalists, the School of Logicians, the School of Military Strategists, the Yin-Yang School, the School of Political Strategists, the Eclectics, the School of Agriculturists, and many others. Among them, the most influential ones are the Confucian School, Taoist School, Mohist School, the School of Legalists, and the School of Military Strategists. The discussion of philosophy during that period focuses on the composition of the universe and social life. For example, what is the universe made of? How did people get here? What is the position of man between heaven and earth? What is the value and significance of living? The Pre-Qin philosophy laid the foundation for the development of philosophy in China and ushered in the real awakening of Chinese philosophy and the spirit of the Chinese nation.

(2) the Study of Confucian Classics in the Han Dynasty

A lesson from the demise of the Qin Dynasty is that a country cannot be well governed only by severe punishment and laws. Therefore, the early Han Dynasty advocated the learning about Emperor Huang and Lao Tzu. Later, Emperor Wu of the Han Dynasty adopted Dong Zhongshu’s proposal to “proscribe all non-Confucian schools of thought and declared Confucianism the state ideology”. Since then, Confucianism has leaped from one of the hundred schools of thought to an official and mainstream ideology. A prominent manifestation of the authoritarianism, institutionalization, and ideologization of Confucianism is the birth of Confucian classics. Confucian scholars expressed their academic views and political opinions based on the Confucian classics in that period through the annotation of these classics.

(3) the Metaphysics of Wei and Jin Dynasties

The Wei and Jin Dynasties are quite different from the Han Dynasty in their style of study, ideology, and mode of thinking. During that period, against the cumbersome Confucian classics and theological teleology of the Han Dynasty, Lao Tzu, Zhuangzi, and ''the book of changes'' were respected, known as “three metaphysics”, and there was a great liberation in thought and mode of thinking. The core issues discussed in the metaphysics of Wei and Jin Dynasties can be summarized as follows: first, the relationship between the Confucian ethical code and nature; Second, the relationship between the original and the end; Third, the relationship between language and thought; Fourth, the relationship between the human body and spirit. These problems discussed in the Wei and Jin Dynasties all have a deep philosophical connotation, marking a big step forward in people’s thinking ability and the ability to understand the world and self.

(4) the Buddhist philosophy during Sui and Tang Dynasties

Buddhism was introduced into China in the Han Dynasty and flourished in the Sui and Tang dynasties after hundreds of years of collision and integration, and many Buddhist schools were formed. On the one hand, the various sects have been in constant strife; On the other hand, they have also absorbed and influenced each other. At the same time, all sects drew nutrients and wisdom from Chinese traditional Confucianism and Taoism to enrich and develop their doctrines. Among all the Buddhist sects in Sui and Tang Dynasties, the Chan sect is the most widespread and influential one. It is the model and mature symbol of the Sinicization and secularization of Buddhism. It is the product of the integration of Buddhism and Chinese inherent philosophy.

(5) Neo-Confucianism in the Song and Ming Dynasties

Neo-Confucianism in the Song and Ming Dynasties is a new philosophy based on Confucianism, combining the ideas of Buddhism and Taoism. The institutionalization and ideologization of Confucianism during the period of the Han Dynasty was the first major turning point in the development of Confucianism, while the emergence and formation of Neo-Confucianism were right the second one. Neo-Confucianism is the guiding ideology of the late feudal society in China for nearly 700 years, which mainly has four schools: Cheng-Zhu Neo-Confucianism (Cheng Hao, Cheng Yi, and Zhu Xi), Lu and Wang’s Philosophy of the Mind (Lu Jiuyuan and Wang Yangming), Zhang and Wang’s Qi theory (Zhangzai and Wang Fuzhi) and Chen and Ye’s Utilitarian Thought (Chen Liang and Ye Shi). It discusses a wide range of content and scope, such as cosmology, ontology, life theory, the theory of mind and nature, the view of knowledge and behavior, cultivation theory, and so on. As an important stage of the development of Confucianism, Neo-Confucianism in the Song and Ming Dynasties raised Chinese philosophy to a new level. Its political purpose is to find the ultimate value basis for feudal ethics.

(6) the Practical Thought in the Ming and Qing Dynasties

In the eyes of thinkers in the Ming and Qing Dynasties, Neo-Confucianism in the Song and Ming Dynasties is nothing but empty talk about the nature of mind and life, which is useless. They also attributed the collapse of the Ming Dynasty to Neo-Confucianism. Therefore, most of the thinkers in that period strongly opposed Neo-Confucianism and feudal autocracy and advocated practical thoughts, which had the nature of early enlightenment. The main representatives of practical thoughts in the Ming and Qing Dynasties were Gu Yanwu, Huang Zongxi, Yan Yuan, and some others. The ideological trend of practical thoughts spread all over the political, economic, scientific, cultural, and artistic fields at that time, which was the concentrated embodiment of the Confucian thought of practical application in the Ming and Qing Dynasties.

(7) Textual Studies in the late Qing Dynasty

Textual Studies in the late Qing Dynasty takes textual research as its main research method and pays more attention to evidence than theory, to distinguish it from the abstract discussion of Neo-Confucianism in the Song and Ming Dynasties. Its most outstanding academic contribution is the systematic arrangement of traditional philology, phonology, exegesis, and bibliography, which has achieved unprecedented development. After the Opium War broke out in 1840, the Western powers opened China’s door with advanced weapons, opium, and cheap commodities, and interrupted the inherent development path of Chinese civilization using armed aggression. At that time, the reformists, represented by Gong Zizhen and Wei Yuan, demanded that academic research should be combined with real politics, and opposed textual studies in the late Qing Dynasty, which were divorced from reality. It can be said that Gong Zizhen and Wei Yuan were both the terminators of the practical learning trend in the Ming and Qing Dynasties and the pioneers of bourgeois reformism in modern China.　

===The Representative Schools of Thought===
(1) the Confucian School

As one of the hundred schools of thought during the Pre-Qin period, Confucianism is an ideological system founded by Confucius and gradually perfected by future generations. It was one of the most influential schools at that time, and it was called the "Famous School of Thought” with Mohism, which is “显学” in Chinese. The Confucianists paid attention to personal cultivation, social ethics, and state governance, which had a far-reaching impact on ancient and modern China. The main content of Confucianism in the Pre-Qin time can be divided into two aspects: “Ren” (仁) and “Li” (礼). In most cases, “Ren” refers to perfect virtue, covering “wisdom”, “courage”, “loyalty”, “filial piety” and other concepts in Confucianism. And “Li” means the rules of propriety in most instances. “Ren” is shown as “be intimate with families” and “be in sympathy with others” in dealing with the world, and “ruling people depending on the moral sentiments” in governing the state. According to Confucianism, “Ren” is seen as a qualification for people to enter society and live, while “be intimate with families” refers to “filial piety” and “virtue” based on the most basic human blood relationship. Confucius believed that in the blood relationship with the family as the basic unit, the concept of “filial piety” is indispensable. In the aspect of governing the state, the Confucian School advocates ruling people depending on moral sentiments, so that the king can be loved by his subjects in this way. “Li” requires people to attach importance to rites and ceremonies and restore the rites of the Zhou Dynasty, including various moral principles and humanistic norms in social life. (Miao Xinlei 2021, 187) The representative work of the Confucian School is ''the Analects''.

(2) Taoist School

During the Spring and Autumn Period, Laozi gathered the great wisdom of ancient sages and summarized the essence of ancient Taoist thought, forming a complete systematic theory of Taoism, marking the formation and formalization of Taoist thought. This thought first originated from the period of the Fuxi and the Yellow Emperor, after the period of Yao, Shun, and Yu and the Xia, Shang, and Zhou Dynasties, the Taoist doctrine was not formed until the time of Laozi, which is the foundation of Chinese civilization. In Taoist thought, Laozi introduced the word “Tao” and used this abstract concept to explain the truth of the universe. “Tao” is the origin of the universe, which was born before the universe, invisible but always existed. According to Laozi, the universe consists of four parts: Heaven, Earth, Man, and the Tao. It is further derived that to survive, man must follow the natural laws of the earth; on the earth, the growth, reproduction, and migration of all things must follow the natural climate changes; the natural climate and celestial changes follow the “Tao”, and the “Tao” is the original appearance of all things in the world. This is the core concept of Taoism: “Tao follows nature”. Taoism advocates following nature and ruling without doing anything. (Hu Lu 2019, 141) This idea has been used by many emperors throughout Chinese history as a method of governing the state. The masterpiece of Taoism is the ''Tao Te Ching''.

(3) Mohist School

Mozi was the founder of the Mohist School, and his ideas are concentrated in the book ''Mozi''. ''Mozi'' was compiled by Mozi's disciples who collected his quotations based on his life story and historical materials. The book Mozi originally contains 75 pieces, of which 53 exist today. The first 31 pieces focus on Mozi's main ideas and doctrines, including the ten major propositions of “Universal Love”, “Against Aggression”, “Respecting the Virtuous”, “Identifying with the Superior”, “The Will of Heaven”, “On Ghosts”, “Against Fatalism”, “Against Music”, “Simplicity in Funerals” and “Saving Expenditures”. The remaining chapters record Mozi’s contributions in the fields of logic, mathematics, and mechanics. “Universal Love” is the core of Mozi’s thought, which refers to undifferentiated love and equal fraternity, which is opposite to the Confucian thought of “Love with Distinctions” (爱有等差). “Against Aggression” means opposing war and demanding peace. “Identifying with the Superior” refers to requiring the upper and lower levels to unite as one and implement a righteous government. “Respecting the Virtuous” means advocating sages, including electing sages as officials and electing sages as monarchs. Heaven has the will, ghosts are gods, and heaven loves the people. If the emperor disobeys the will of heaven, he will be punished by heaven. Otherwise, he will be rewarded by heaven. That means “The Will of Heaven” and “On Ghosts”. Mozi opposed the Confucian saying that “Death and life have been determined appointments. Riches and honor depend upon heaven.” (生死有命，富贵在天). He believed that everything is not determined by “destiny”. As long as people make active efforts, they can achieve their own life goals. This is what “Against Fatalism” means. Mozi believed that although the music was pleasant to hear, it did not conform to the principle of the king and the interests of the people, so he opposed music. He also believed that long mourning and costly funerals were not beneficial to society. Monarchs and nobles should live a frugal life like ancient saints. This is the meaning of “Simplicity in Funerals” and “Saving Expenditures”. (Lu Jian Lin 2019, 196)

(4) the School of Legalists

The School of Legalists, or Legalism, one of the Hundred Schools of Thought, is an important school of thought in Chinese history that advocates the rule of law as its core. The thinking of Legalism is a practical political philosophy, unlike Taoism, which takes the whole universe as its object of study, or Confucianism and Mohism, which takes the whole society as its object of study, but takes politics as its object of study and focuses on governing the state. It has the following main characteristics. First, it opposes the ritual system of Confucianism. The Legalists valued law and opposed the Confucian “Li”. They believed that Confucianism was unfair in upholding the privileges of the nobility, opposing the hereditary privileges of the nobility, which monopolized economic and political interests and demanded private ownership of land and the award of official positions according to merit and talent. Secondly, the theory of human nature of “man tends to pursue interests and avoid harm”. The Legalists believed that human beings have the nature of pursuing profit and hate to be harmed. The rulers could use this to govern the state and the people. Thirdly, is the historical view of “not following the past nor the present”. The Legalists opposed the conservative idea of retrogression and advocated reform. They believe that history is moving forward, and all laws and systems should be developed with the advance of history, neither retrogressive nor conformist. Fourth, the combination of “law”, “managing strategy” and “managing power” is the strategy of ruling the state. The representative figures of Legalism, namely Shang Yang, Shen Tao, and Shen Buhai, advocated the idea of emphasizing law, managing strategy, and power respectively. Han Fei, the master of Legalism, proposed a close combination of the three. “Law” refers to a sound legal system; “managing strategy” refers to the strategies and means to manage the ministers, grasp power, and implement decrees; and “managing power” refers to the power of the monarch, requiring the monarch to be in sole control of the military and political power. The representative works of Legalism include ''Guanzi'', ''the Book of Lord Shang'', ''Hanfeizi'', and so on.

(5) the School of Military Strategists

The School of Military Strategists, one of the Hundred Schools of Thought, refers to a school of thought that studied military theory and engaged in military activities during the Pre-Qin and early Han Dynasties in China. According to this school, everything in the world has its objective law of change and development, and only by following the development of the law and correctly applying the laws of nature can war be won. In addition, warfare must be guided by knowledge of the ways of using the military and by the mastery of flexible strategies and tactics. As a ruler, not only should he know the military, but also master the general laws of war. A ruler should govern the state with both punishment and virtue, with both force and mercy, and regulate society according to the laws of nature to achieve long-term peace and stability.

War is a continuation of politics and is a matter of life and death for a country or a nation. A book on the art of war is both a guide on how to rule a country and develop a national strategy; and a book on how to lead an army into battle and develop a war strategy. ''The Art of War by Sun Tzu'' is the most important work of the School of Military Strategists and the oldest surviving book on warfare in the world. This work summarizes the experience of warfare and military governance of the time puts forward a series of strategic and tactical principles and contains a wealth of ideas on military dialectics. After the 18th century, The Art of War by Sun Tzu was translated into English, French, German, Czech, Russian, and Finnish, and widely appreciated across the world.

===The Influence in Contemporary Times===
(1) the Confucian School

On Environmental Protection

Confucians believe that “man is an integral part of nature” (天人合一), and nature is the common source of man and all things in the world. Confucianism emphasizes that man and nature should live in harmony, and everyone should love and protect nature. (Ren Jiaying 2021,199) Since the time of the industrial civilization, mankind has created massive material wealth. Yet, it has come at a cost of intensified exploitation of natural resources, which disrupted the balance in the Earth's ecosystem, and laid bare the growing tensions in the human-Nature relationship. Influenced by Confucian thought, the Chinese firmly believe that destroying the natural environment is equivalent to self-destruction. Therefore, in recent years, China has begun to take the path of sustainable development, pursuing the purpose of “green mountains are gold mountains”, and protecting the ecological environment while pursuing economic growth.
On the Character of the Chinese Nation

“Harmony in Diversity” (和而不同) is an important concept of Confucianism, which first came from ''the Analects of Confucius''. As philosophical thinking in ancient China, it is a scientific world outlook and methodology, which has given important guiding significance in the development of China’s economy, politics and culture. Ku Hung-Ming (1857-1928) pointed out in his speech at Peking University that the Chinese people have a specific spirit, a spirit that no other nation has, that is, gentleness. Gentleness is not softness, nor weak submissiveness, but a power of compassion. This power of compassion cannot be separated from the guidance of “Harmony in Diversity” as a world outlook for the Chinese people. This principle has cultivated the fine conduct of the Chinese people today and formed the unique temperament of the Chinese nation, which is “gentle”, “modest” and “inclusive”.

On International Communication

Moreover, an important issue in today's world is how different cultural and political communities, each with its particularities, can submit to common normative principles while respecting each other’s differences. The right answer to this question can be found in “Harmony in Diversity”. “Harmony” requires us to insist on harmony in exchanges and dialogues among countries. If cultures do not adopt an open and tolerant attitude but fall into a closed, conservative, and narrow-minded way of thinking, they will surely lose their vitality and go into decay. “Harmony” can also help us avoid conflicts in cultural exchanges, while “Diversity” requires us to respect the differences between cultures and maintain our unique strengths. (Niu Yufei 2022, 8)

(2) Taoist School

On the Economy

The core of Taoist thought is “Inaction” (无为), which is to follow the original law of development and not forcefully interfere with or change the course of things. This idea has a great influence on the participants in economic activities. It inspires people not to interfere too much with normal economic activities and to let economies participate in the reasonable competition in the market, to avoid disturbing the laws of economic activities, and achieve economic prosperity. Likewise, for enterprises, the thought of “Inaction” provides us with a new management model – “soft management” - which is beneficial to the long-term development of enterprises. On the other hand, Taoism advocates “less selfishness and fewer desires” (少私寡欲), which helps people today to abandon individualism and money-worship and establish good morals.

(3) Mohist School

On World Peace

In today's world, peace and development are the two main themes. Undoubtedly, the world economy is booming day by day, but the full realization of the ideal of peace for mankind is still a long way off. Some major powers are pursuing hegemony, power politics, military strikes, interference in internal affairs, economic sanctions, and arms races, which have made the world volatile. To achieve lasting peace for all mankind, it is necessary to establish a concept of peace recognized by all humanity, that is, the Moist idea of “Universal Love” (兼爱). As historian Arnold Joseph Toynbee (1889-1975) said, "The Mozi doctrine of universal love as an obligation is all the more appropriate for the modern world, which has been unified technically, but not emotionally. Only universal love is the only hope for mankind to save themselves. Mozi's love is more needed by modern people than Confucius' love." True human peace can only be achieved if “Universal Love” is realized globally. (Liu Bangfan 2003, 24-25)

(4) the School of Legalists

On Legislation

In the face of intense social unrest, the Legalists advocated an active change of law and believed that reforms were following the natural law, the conditions of the people, and the times. Han Feizi also advocated, “There is no fixed way to manage the people, only to implement management according to law. Only by adapting to the changes of the times, can the society be well governed; Only by adapting social governance to social reality can we achieve results.” (治民无常，唯治为法。法与时转则治，治与世宜则有功。) He intended to emphasize that the law should respond to the changes of the state and adapt to the changes in social life. Influenced by this idea, since 2016, the introduction of laws such as ''Environment Protection Tax Law of the People’s Republic of China'', ''General Rules of the Civil Law of the PRC'', and ''Cyber Security Law of the PRC'' have continued to fill the legislative gaps and promote the realization of the rule of good law. (Xu Nanzhi 2018, 3)

On Administration of Justice

In the implementation of the law, Legalism advocates that “matters are determined by the law and prisoners are punished without regard to their social status” (事断从法，刑无等级). The majesty of the law lies not only in its strict regulations but also in its severe enforcement. Han Feizi further developed the idea of “no difference in punishment” into “the law cannot fawn on the noble”, and pointed the finger of reforms at the nobility, increasing the strength of law enforcement. However, it is not difficult to find that Han Feizi also emphasized the idea of “monarchy”. What he strongly defended is the monarch’s equal treatment in the application of punishment, rather than the modern Western concept of “all men are created equal” in the rule of law. Therefore, the implementation of the law at that time could not achieve the true equality of all people. In today’s society, reflecting on the law enforcement aspects of Pre-Qin Dynasty legalism helps people to understand more deeply the implementation of the law and to better practice the principle of “equality before the law”. (Xu Nanzhi 2018, 3-4)

(5) the School of Military Strategists

On National Defense

After thousands of years of inheritance and development, Chinese military science has formed a valuable treasure. Mao Zedong’s military thought is an outstanding example of inheriting and carrying forward the traditional Chinese military culture. In his military writings, he not only cited a large number of ancient Chinese examples of warfare, but also clarified the ancient Chinese military thinking, including “If you know your enemies and know yourself, you will not be imperiled in a hundred battles” (知彼知己，百战不殆), “Listen to both sides and you will be enlightened” (兼听则明，偏信则暗), and “Avoid the enemy when he is full of vigor, strike when he is fatigued and withdraws” (避其锐气，击其惰归). Then he applied those ideas to the practice of the Chinese revolution and war. Mao Zedong pointed out in ''Problems of Strategy in China's Revolutionary War'' that “the phrase ‘if you know your enemies and know yourself, you will not be imperiled in a hundred battles in the book of Sun Tzu, a great military man of ancient China, includes two stages: learning and using. It includes knowing the objective laws of development and deciding how to act according to these laws to defeat the current enemy, and we should not look down on this phrase.” ''The Art of War by Sun Tzu'' points out that “a victorious army is first sure of a win before seeking war, while a defeated army first fights before seeking victory” (胜兵先胜而后求战，败兵先战而后求胜). Mao Zedong absorbed and developed this idea from Sun Tzu and attached great importance to war preparation, stressing that one must have the certainty of victory before going to war. (Wang Xiaoxue 2011, 100-101)

China's long-standing traditional military culture has given extensive and in-depth consideration and summary to many issues of national defense and military. The military scholars in the Pre-Qin period always emphasized that fighting for justice and peace is the only way to win the hearts and minds of the people. Today we continue to adhere to the military strategy of active defense, putting national sovereignty and security in the first place. We adhere to the rule of law and strict military, and constantly improve the level of the military. Another outstanding feature of Pre-Qin military science is that it considers many factors such as politics, economy, and military together with national defense construction from a holistic perspective. Contemporary China has inherited the ancient traditional military culture and formed a national defense theory system with Chinese characteristics. (Wang Xiaoxue 2011, 102-103)

===Conclusion===
This paper first reviews the history of the development of traditional Chinese philosophy by dividing it into seven stages and gives a brief overview of Chinese philosophy at each stage. Subsequently, this paper distills five representative schools of thought in traditional Chinese philosophy, namely Confucianism, Taoism, Mohism, Legalism, and the School of Military Strategists, and briefly summarizes their respective characteristics. Finally, the paper explores the contemporary influences of these five schools of thought, which relate to environmental protection, the formation of the Chinese national spirit, international exchange, national defense construction, etc.
Overall, the author’s purpose in writing this paper is to make the reader aware of the appeal of traditional Chinese philosophy. Although these ancient philosophical ideas seem to be very distant from this era, they still have an invisible and great influence on the world we live in today. As Chinese people, we should pay more attention to the wealth of ideas left to us by our ancestors and learn the best parts of traditional Chinese philosophy to establish a correct outlook on life, worldview, and values.

===References===
*Wang Jie王杰. (2020). 中国传统哲学的发展脉络[The Development of Traditional Chinese Philosophy]. 新华文摘 Xinhua News Digest (24) 45.
*Miao Xinlei 苗新蕾. (2021). 先秦儒家思想与道家思想的对比研究[A Comparative Study of Confucianism and Taoism in the Pre-Qin Period]. 汉字文化 Sinogram Culture (16) 187.
*Hu Lu 胡璐. (2019). 儒家思想与道家思想的互补作用[The Complementarity of Confucianism and Taoism]. 文学教育 Literature Education (05) 141.
*Lu Jianlin 陆建林. (2019). 学习墨子思想培育大医精神[To Cultivate the Spirit of Doctors by Studying Mozi's Thought]. 广东职业技术教育与研究Guangdong Vocational Technical Education and Research (04) 196.
*Ren Jiaying 任珈莹. (2021). 中国传统文化之儒家思想的当代价值[The Contemporary Value of Confucianism in Chinese Traditional Culture]. 科技资讯 Science & Technology Information (04) 199.
*Niu Yufei 牛宇飞. (2022). 新世界主义中的“和而不同”["Harmony in Diversity" in New Cosmopolitanism]. 公关世界 PR World (04) 8.
*Liu Bangfan 刘邦凡. (2003). 墨家思想的当代价值[The Modern Significance of Mohist School of Thought]. 燕山大学学报(哲学社会科学版) Journal of Yanshan University(Philosophy and Social Science Edition) (01) 24-25.
*Xu Nanzhi 徐楠芝. (2018). 先秦法家思想对当代法治的价值[The Value of Pre-Qin Legalist Thought to Contemporary Rule of Law]. 黑龙江省政法管理干部学院学报 Journal of Heilongjiang Administrative Cadre College of Politics and Law (02) 3-4.
*Wang Xiaoxue 王晓雪. (2011). 先秦兵家治国思想研究 ——以先秦六本兵书为中心[Study on State Affairs of the Military Strategists in Pre-Qin Period – Focused on Six Military Books in Pre-Qin Period]. 南开大学 Nankai University.

===Terms and Expressions===
the Pre-Qin philosophy 先秦哲学

the Study of Confucian Classics in the Han Dynasty 汉代经学

the Metaphysics of the Wei and Jin Dynasties 魏晋玄学

the Buddhist philosophy during the Sui and Tang Dynasties 隋唐佛学

Neo-Confucianism in the Song and Ming Dynasties 宋明理学

the Practical Thought in the Ming and Qing Dynasties 明清实学

Textual Studies in the late Qing Dynasty 乾嘉朴学

the School of Legalists 法家

the School of Logicians 名家

the School of Military Strategists 战略家

the Yin-Yang School 阴阳家

the School of Political Strategists 纵横家

the Eclectics 杂家

the School of Agriculturists 农家

"Universal Love" 兼爱

"Against Aggression" 非攻

"Respecting the Virtuous" 尚贤

“Identifying with the Superior” 尚同

"The Will of Heaven" 天志

"On Ghosts" 明鬼

"Against Fatalism" 非命

"Against Music" 非乐

"Simplicity in Funerals" 节葬

"Saving Expenditures" 节用

===Questions===
1. When did traditional Chinese philosophy take shape?

2. What are the most influential schools of thought in the Pre-Qin period?

3. What is the core of Mozi's thought?

===Answers===
1. At the end of the Spring and Autumn Period.

2. The most influential ones are the Confucian School, Taoist School, Mohist School, the School of Legalists, and the School of Military Strategists.

3. Universal Love.

==英语笔译童略雅 Tong Lueya 202170081595==

<center>'''A Brief Analysis of the Influence of Artificial Intelligence on Translators'''</center>

<center>Tong Lueya</center>

===Abstract===
The Internet, big data, artificial intelligence and other information technologies in the digital age have brought profound changes to the development of human society. Of course, translation is also affected without exception. Artificial intelligence is quietly changing the process of translation and the identity of the translator. Over recent decades, AI has developed rapidly and has been widely used in various fields. It has become the inevitable trend of social development. As a special human activity, translation has developed from the early mechanical machine translation to the current computer-aided translation (CAT), which is the embodiment of the integration of artificial intelligence technology and translation, and more and more people hold that this technology will replace manual translation. Based on the current development of AI and translation technology, this paper will explore the influence of the AI on translators, and then attempt to give some suggestions to them, so as to make full use of artificial intelligence to lead the development of translation and form a good situation of complementary advantages and mutual benefit.

===Key words===
Artificial intelligence; translator; influence; machine translation

===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.

==英语笔译庹树梅 Tuo Shumei 202170081596==
<center>'''Translation and Dissemination of Chinese Fairy Tales in the English-speaking World'''</center>

<center>Tuo Shumei</center>

===Abstract===

Chinese fairy tales are a literary style created by ancient Chinese people in the process of working life through long-term social practice. It is a literary style with a strong and distinctive national character, and is a bright and dazzling pearl in the treasury of Chinese culture. Internally, it is a source of cultural confidence, and externally, it is a channel for overseas readers to understand Chinese history, culture and society. Nowadays, with the increasingly frequent cultural exchanges between China and foreign countries, the English translation of Chinese mythological stories can help foreign readers better understand Chinese customs and traditions, and deepen their understanding of Chinese culture. Therefore, in order to tell Chinese stories and spread Chinese voices well, it is indispensable to tell Chinese Fairy Tales, spread Chinese mythological imagination and explain Chinese mythological wisdom.
The first chapter of this paper analyzes Chinese Fairy Tales from the perspective of its translation status and strategies in the English-speaking world. The second chapter analyzes Chinese Fairy Tales from the perspective of its dissemination in the English-speaking world and their dissemination strategies. Chapter 3 analyzes Chinese Fairy Tales from the perspective of how to improve its translation and dissemination in the English-speaking world. Chapter 5 analyzes Chinese Fairy Taliesin the English-speaking world from the point of view of its translation and dissemination significance.
===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.

==英语笔译王思琪 Wang Siqi 202170081597==

<center>'''A Study on Chinese Dialects'''</center>

<center>Wang Siqi</center>

===Abstract===
Dialect, a variety of a language that is distinguished from other varieties of the same language by features of phonology, grammar, and vocabulary, and by its use by a group of speakers who are set off from others geographically or socially. Generally speaking, regions with a long history, a large population and a broad territory tend to have more dialects. There are many factors that form dialects, from the migration of people in ancient times to the cultural exchanges with diverse ethnic groups, to the division of a society and the uneven development of various languages, etc., which allow them to derive a variety of different languages, so that dialects are characterized by its diversity. As an intangible cultural heritage, dialects should be transmitted in a more effective way, rather than stagnating abruptly in an era and disappearing without any signs. This paper will study the origin and development of Chinese dialects, the classifications and characteristics of Chinese dialects, the challenges faced by Chinese dialects in modern times, and how to protect and promote the dying Chinese dialects.
===Key words===
Regional Dialects; Social Dialects; Transmission of Chinese Dialects
===Introduction===
Dialects can be classified into regional dialects and social dialects. Regional dialect is a distinct form of a language spoken in a particular geographical area, it prevails in specific regions and are distinctly different from other local languages. While social dialects are social variants of language, People who use the same language will have different accents, wording, and speech for their different ages, genders, occupations, and classes within a society. The differences between regional dialects and social dialects manly reflect on three fronts: First, social dialects are different due to class discrepancies and other social factors, while regional dialects are different due to geographical discrepancies. Second, the distinction between social dialects is vague, while the distinction between regional dialects is clear for its geographical boundary; Third, social dialect can be easily influenced by external factors such as age, education, and professions, and the regional dialect has a relatively stable development.
As a carrier for cultural exchange, Chinese dialect has a time-honored and colorful history, it plays an unique role in promoting Chinese culture and boosting a more inclusive and united society. This paper will deeply study the Chinese dialects, in the first part, the paper will introduce the evolution of Chinese Dialects; In the second part, the paper will clarify the classifications of Chinese dialects and their respective features; In the third part, the paper will analyze the challenges that the Chinese dialects are facing and illustrate the response to these challenges.
===The Evolution of Chinese Dialects===
The northern dialects are the direct result of the long development of the languages used by the Han Chinese living in the central plains in ancient times and the influence of the surrounding minority languages. The other dialects of Chinese spoken in southern China have their origins in the historical migration of people from the middle and lower reaches of the Yellow River to the south. Migration in Chinese history has taken place from the early Qin dynasty to modern times. There are probably two types of migration, one is the automatic migration of people and the other is the planned migration by the government. The former is often caused by war, famine, famine or population explosion, while the latter is for some political, military or economic purpose. Throughout Chinese history, the general direction of migration has been mainly from north to south, and from east to west. This important feature gave rise to the original origins of the southern dialects of Chinese and formed the geographical pattern of Chinese dialects today.

'''(1) The origins of the seven major dialects'''

The Wu dialect has the most ancient origins. According to the Records of the Grand Historian, three thousand years ago, during the Pre-Zhou period, a group of immigrants moved from the Weishui valley in Shaanxi to the Taihu valley in Jiangnan after a political change. They founded the state of Wu, whose language may have been the earliest source of the later Wu dialect.(Ai Jun,2020)

The Xiang dialect is derived from the ancient Chu language, which no longer exists today. During the turmoil in the Central Plains at the end of the Shang dynasty, the Chu people moved south to the Jianghan basin, and so the Chu language was brought to the Hubei region. During the Warring States period, the state of Chu moved south to take possession of the Xiang River valley, so the ancient Chu language spread again to Hunan.(Ai Jun,2020)

After the Qin unified the six kingdoms, they crossed the Five Ridges to the south and took possession of the two regions of Canton. The area was originally inhabited by the Baiyue people, and the Qin emperor sent 500,000 troops to station there to prevent them from rebelling. The language used by these soldiers became the precursor to the Cantonese dialect of today.(Ai Jun,2020)

Fujian was originally the home of the Min Yue people, and during the Western Han Dynasty there was only one county here. In the late Eastern Han Dynasty, when warlords were at war, a large number of migrants from the north entered Fujian by land and sea, and the original Min dialect would have sprung from this period.(Lin lunlun,2020)

The Gan and Hakka dialects were the latest to emerge. Jiangxi was a crossroads between the ancient Wu and Chu languages, so there was no original Gan language before the Han Dynasty. During the great migration of Han Chinese people southwards that took place after the Yongjia period of the Western Jin Dynasty (307-312), some of the migrants from the north arrived in northern Jiangxi, and the languages they brought with them were the precursors of the Gan and Hakka dialects.(Wang Xiyuan,2013)

The southern dialects of Chinese are the result of the above-mentioned origins and the constant impact of new dialects brought by the many migrations over the centuries, which have led to substitution, intermingling, infiltration and mixing.

'''(2) Three great migratory movements to the south'''

Before the Jin Dynasty, the Huai Shui and Qin Ling lines could be regarded as the general boundary between the northern and southern dialects, but it was only after the Western Jin Dynasty that three major migrations from the south took place, allowing the northern dialects to cross this line into the south on a large scale, thus gradually changing the geographical layout of southern dialects. The basic pattern of Chinese dialects is the result of three major southward migrations of Han Chinese and a number of small and medium-scale migrations throughout history.
The first great wave of Han migration occurred during the period from the Western Jin to the Southern Dynasties (307 - 466). The Eight Kings' Rebellion at the end of the Western Jin Dynasty led to the invasion of minority groups on the frontier, thus forcing a large number of Han Chinese from the Middle Kingdom to migrate southwards. This number represented about one-eighth of the population of the northern Western Jin Dynasty and another sixth of the population of the Southern Song Dynasty.(Zhan Boyan,2015)

The second wave of migration was triggered by the An-shi Rebellion, which took place during the Tang Dynasty (755). The eight-year war spread across the middle and lower reaches of the Yellow River, causing a renewed exodus of people from the Central Plains to the south. Not only was the migration caused by the An-shi Rebellion large, but this time it went further than the previous one, reaching south of Dongting Lake and Poyang Lake, and even to Lingnan and Fujian. As a result, the northern dialects once again impacted on the southern dialects and played a key role in shaping their geographical pattern.
In Hubei, the northern dialects accelerated the assimilation of the Hubei dialect and laid the foundation for the Southwestern official dialects of this region. In the Changsha-Hengyang area, the Xiang dialect was eroded by the northern dialects, weakening its inherent characteristics. At the same time, the Cantonese dialect has been influenced to some extent by the immigrant dialects.In northern and central Jiangxi, the languages brought by immigrants from the north formed the main basis of the present-day Gan language and prepared the ground for the formation of the later Hakka dialect. The immigrant languages entering Jiangxi permanently separated the Wu and Xiang speaking areas and confined the Min languages to the Fujian region.After the An Shi Rebellion, the Tang dynasty saw the emergence of clans and towns. These clans were nominally under the central government, but in reality were small independent kingdoms. After the fall of the Tang dynasty, five dynasties emerged in the Central Plains, known as the Five Dynasties, and a dozen other local feudal regimes emerged, collectively known as the Ten Kingdoms. During the two hundred years before and after this period, the people lived in a long period of fragmentation, reinforcing the geographical pattern of dialects. The Wu-Yue, Wu (Southern Tang), Chu, Min and Southern Han regimes played a significant role in the formation of the Wu, Gan, Xiang, Min and Yue dialect regions.(Zhan Boyan,2015)

The third great southward migration occurred at the time of the two Song dynasties (1126-1142) for similar reasons and southward routes to the first and second great migrations, with the southern part of present-day Jiangsu and Zhejiang receiving the greatest number of migrants, and the migrants reaching further south, with Fujian, Guangdong and Guangxi all having migrant footprints. As the immigrants were more evenly distributed, except in the area of Jiangsu and Zhejiang, the northern dialects did not have as much influence on the southern dialects as the first two migrations.
After the fall of the Northern Song Dynasty, a large number of civil and military officials, monks, nuns and merchants from the old capital of Bianjing (now Kaifeng) came south to the Southern Song capital of Lin'an (now Hangzhou).The Hakka dialect also gradually took shape during this period. As a result of the southern invasion of the Jin and Mongols, a large number of descendants of immigrants who had moved to Jiangnan after the Middle Tang Dynasty and people who had moved to western Fujian and southern Gan at the end of the Tang Dynasty moved again to the border area of Fujian, Guangdong and Gan. The geographical isolation of this area caused the immigrant dialects to finally separate themselves completely from the northern dialects, forming a distinctive Hakka dialect and making the area around Meizhou in Guangdong the core of the Hakka dialect.(Zhan Boyan,2015)

The process of migration from Jiangxi to Hunan lasted for seven or eight hundred years, starting from the Five Dynasties until the Ming and Qing Dynasties. The reasons for the migration were spontaneous economic requirements. The middle and lower reaches of the Gan River in Jiangxi were more developed than Hunan due to the large number of immigrants they received after the Middle Tang Dynasty. As a result, the Xiang language changed qualitatively and took on Gan characteristics.The migration from Fujian to Guangdong also began roughly during the Five Dynasties. Fujian had many mountains and few fields, and the population saturation became more pronounced. As a result, Fujianese immigrants entered the south-eastern coast of Guangdong and gradually spread westwards, mostly across the sea, spreading the Min dialect along the coastal areas in the eastern and western ends of Guangdong and leaving some Min islands in the Pearl River Delta.

===Chinese Regional Dialects and Social Dialects===

'''(1)Classifications and phonetic features of Chinese Regional Dialects'''

In general, Chinese dialects can be roughly classified into seven large groups: the Northern dialect (Mandarin), Gan, Kejia (Hakka), Min, Wu, Xiang, and Yue (Cantonese). The seven large dialectal groups were defined by regional factors.

The Northern dialect, also known as the Mandarin, is the basic dialect of modern Chinese Mandarin, represented by Beijing dialect, which is the most widely used. The main feature of northern dialects in terms of pronunciation is that there is no voiced stopper and voiced syllable vowel, and there are four tones, including level tone, the rising tone, the falling-rising tone, and the falling tone. According to its characteristics, the northern dialect is generally divided into four sub-dialects: North China dialect, Northwest dialect, Southwest dialect and Jianghuai dialect. The internal consistency of northern dialects is relatively strong, the difference in its grammatical structure is small, and the difference in pronunciation is not very large.

The Gan dialect is mainly spoken in the central and northern parts of Jiangxi Province, as well as parts of eastern Hunan, southeastern Hubei, southwestern Anhui, and northwestern Fujian. There are about 100 counties (cities), with a population of more than 30 million. Nanchang dialect is typical. From a dialect map, the Gan dialect is surrounded by northern dialects, Wu dialects, Fujian dialects, Hakka dialects, and Hunan dialects. This geographical location is the most unique among all dialects of Chinese. Because of this, the Gan dialect is greatly influenced by other dialects, and the boundaries on all sides are very indistinct.One of the most prominent features of the Gan dialect pronunciation is that the ancient voiced stopper and the voiced vowel all become the same pronunciation part of the air-sending clear vowel (Liu Lunxin, 2003:34)

Kejia, or Hakka, is mainly spoken in the eastern and northern regions of Guangdong, Guangxi and southern Jiangxi, western Fujian, and parts of Hunan, Sichuan, and Taiwan Provinces. The main phonetic characteristics are: Most of the ancient voiced stopper and voiced vowels become the same part of the air-sending clear vowel, which is consistent with the Gan dialect; g, k, h and z, c, s can be spelled with the homonymous vowel;

Min is spoken in China's southern coastal province—Fujian, it is also spoken by the descendants of Min speaking colonists on Leizhou peninsula and Hainan, or assimilated natives of Chaoshan, parts of Zhongshan, three counties in southern Wenzhou, Zhoushan archipelago, and Taiwan.The name is derived from the Min River in Fujian, which is also the abbreviated name of Fujian Province. It is the most diverse dialect, meaning within the dialect group there are still many different variations on word pronunciation. There is no labiodental fricative f in the pronunciation of the Min dialect. In Mandarin, all words that pronounce f vowels are pronounced b or p vowels in Min dialect; In Mandarin, the word with zh and ch vowel are pronounced d or t in Min dialect.

The Wu dialect spoken primarily in Shanghai, Zhejiang Province and the part of Jiangsu Province south of the Yangtze River, which makes up the cultural region of Wu.

Xiang is a southern dialect concentrated in Hunan province. The two major varieties of Xiang are New Xiang and Old Xiang. New Xiang, which is spoken predominantly around Changsha, the capital of Hunan, has been strongly influenced by Mandarin Chinese. Old Xiang, which is spoken in other areas of the province. Old Xiang has a greater number of different initial consonants than does any other major Chinese language. Xiang uses five tones to distinguish meaning between words or word elements that have the same series of consonants and vowels.

Cantonese, or Yue, is also a southern dialect. It is spoken in Guangdong, Hong Kong, and Macau. At the same time, the Cantonese dialect area is the forefront of China's opening up and reform, every year there attracts millions of migrant workers from all provinces in the interior to pan for gold, so in recent years the influence of Cantonese dialect is getting bigger and bigger. Cantonese dialect words, in recent years, also showed a trend of northward penetration, which reflects the close relationship between language expansion and economic development. The phonetic system of Cantonese dialect is relatively complex, with as many as fifty-three finals, which is the dialect with the most tones among all Chinese dialects.(Tao Huan, 2018)

'''(2)Factors affecting the Social Dialects'''

Social dialect is a variety of speech associated with a particular social class or occupational group within a society. Also known as a sociolect, group idiolect, and class dialect. The term sociolect is a combination of the words 'social' and 'dialect', It includes professional terminology, jargon, cant, etc. Sociolects typically develop among groups of people who share the same social environments or backgrounds. Social factors that influence sociolects include socioeconomic status, age, occupation, and gender and so on.

Socioeconomic status typically refers to a person's class. The language someone uses will likely differ greatly depending on their socioeconomic status. This can all be linked to the education they received, the people they choose to spend time with (or can afford to spend time with), the job they do, and the income they make.

New words are added to the dictionary every year, and many words that were once common fall out of use. This is because language is constantly changing.These changes are often apparent when we examine the different sociolects across ages. Especially grandparents or someone older than you.

Occupation is about the jobs we do. As we learn and develop skills for specific jobs, we also pick up lots of new vocabularies along the way. Take a computer programmer, for example, they probably know and use a lot of technical 'jargon' that a neurosurgeon wouldn't understand, and vice-versa.

Gender is a little more controversial than the others as there is a lot of conflicting research around the differences in men and women's speech. Some researchers suggest that it is due to genetics, whereas others believe that women's lower status in society has impacted their speech.

Sociolect is a variety of language unique to a social group. It is important to remember that most people will use several different sociolects throughout their lives. Our speech will likely change depending on who we talk to and where we are. Think about why your speech differs from when you're at work and when you are hanging out with your friends. Sociolect plays an vital role in your social interactions with others, it can help you leave a good or bad impression for others, even influence you relations with others.(Xie Nana,2015)

===Challenges of Chinese Dialects===
The Chinese regional dialects are shrinking or even dying out at a very rapid rate, and many of the dialects have become completely alien to young people. On the other hand, regional dialects are assimilated by mandarin. On the other hand, the regional dialects have gradually lost their soil and the young people are gradually alienated from the regional culture embedded in the dialects. There are four reasons that can better explain this situation.

First, the increasing development and convenience of transportation have made it possible for the population to move around frequently on a large scale, and people in different regions can break the communication barriers by speaking Mandarin. The promotion results have seen remarkable progress in cities, and in rural areas, the regionalects are local residents’ common communication means, however, since more and more rural immigrants work in the cities, their dialects have been gradually assimilated under a new working and social environment where mandarin is the main language.(Zhuang Chusheng,2017)

Second, television and Internet media that require and promote Mandarin to bolster mutual understandings and exchanges. In most media platform, the host are required to speak fluent Mandarin, and after the audience gradually accepts massive inputs of Mandarin, their dialects are rapidly assimilated.(Zhuang Chusheng,2017)

Third, the promotion of Mandarin has been intensified by Chinese governments. Since the promotion of Putonghua has been carried out extensively, more and more remarkable results have been achieved, dialects are bound to face the dilemma of shrinking. From primary and secondary schools to the whole society, Putonghua has become a leading language in the Chinese society, no matter where you go, you can notice the promotion slogans. In China, there are an important test for your mandarin level, that is The Putonghua Proficiency Test or Putonghua Shuiping Ceshi (PSC), is an official test intended for native speakers of Chinese languages, Candidates who pass the test are given a Certificate of Putonghua Proficiency Level at levels 1, 2 or 3, each of which is subdivided into grades A and B, and the majority of Chinese students will try to get a good grade, this is because they regard the certification as an additional skill when they are seeking jobs, it is conducive to job-seekers especially those working in broadcasting, education and government sectors. (Zhuang Chusheng,2017)

Finally, many young people took pride in speaking Mandarin and felt that the regional dialects are too old-fashioned. Even some young people felt ashamed of speaking their dialects, and they grew up in a Mandarin environment in which parents, teachers, and their friends all speak Mandarin, this has a serious impact on the transmission of regional culture.(Zhuang Chusheng,2017)

===The Transmission and Inheritance of Chinese Dialects===
Firstly, in the perspective of official authority, the language authorities should issue policies to protect the regionalects in the same way as they do for Madarin, so as to raise awareness of speaking regionalect in the community, specific measures such as instruct relevant departments to carry out special publicity on dialect culture, establish relevant regulations for the protection of dialects, and do the academic rescue work of good dialects, to construct a Chinese dialect museum to preserve and display Chinese dialects. The construction of a virtual language museum has also become an important aspect of the protection of language resources, and use advanced technical tools to collect, preserve, display and develop language resources, these efforts will better preserve the dialect culture and make it easier for future generations to do better understand dialect culture and promote the publicity and inheritance of dialect culture.(Zhang Shifang,2017)

Secondly, the mass media have to play its own role in promoting the vernacular language through various modes of communication, to stimulate the interest of the public in learning a regional dialect, the media can also make use of the dialect culture in television programmes wherever appropriate. In addition, diversify the broadcasting form of culture, such as promoting the popularity of Cantonese, spreading the traditional Chinese opera based on local languages, launching the shows to disseminate local culture with the aim of attracting the young people’s sense of belonging and inspiring them to carry forward the regional dialects. Besides, influential local shows can invite indigenous celebrities to promote regional dialects for their hometown.(Zhang Shifang,2017)

Thirdly, It is everyone's duty to preserve our regional dialects. Older people can communicate with younger people in their regional dialects to promote the transmission of it, young people should increase frequency of speaking regional dialects in daily life, and the parents should set a good example for their children and value the significance of regional dialects with an insightful and far-seeing wisdom, these efforts will stimulate a sense of responsibility and enthusiasm for learning regional dialects in youth, and enhance their sense of identity with Chinese culture, fully mobilize social forces, mobilize the enthusiasm of all sectors of society, and carry out long-term protection. (Zhang Shifang,2017)
===Terms and Expressions===
level tone阴平

the rising tone阳平

the falling-rising tone上声

the falling tone去声

sub-dialects次方言

voiced stopper浊塞音

the voiced vowel浊元音

the air-sending clear vowel 送气清元音

fricative唇齿擦音.

===Questions===
1.What’s the differences between regional dialects and social dialects?

2.How many groups of regional dialects in China?

3.How to protect and promote the Chinese regional dialects?

===Answers===
1. First, social dialects are different due to class discrepancies and other social factors, while regional dialects are different due to geographical discrepancies. Second, the distinction between social dialects is vague, while the distinction between regional dialects is clear for its geographical boundary; Third, social dialect can be easily influenced by external factors such as age, education, and professions, and the regional dialect has a relatively stable development.

2.Seven

3.The language authorities should issue policies to protect the regionalects; the mass media have to play its own role in promoting the vernacular language through various modes of communication; It is everyone's duty to preserve our regional dialects.

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*陶寰.吴闽语云、匣母的读音和闽语全浊声母的清化[J].中国语文,2018(03):335-350+384.

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*徐荣. 汉语方言深度接触研究[D].复旦大学,2012.

==英语笔译王亚娟 Wang Yajuan 202170081598==

<center>'''Filial Piety in China'''</center>

<center>Wang Yajuan</center>

===Introduction===
Filial piety has been a tradition of the Chinese nation since ancient times and has been passed down from generation to generation. As the core concept and main feature of traditional Chinese ethics, filial piety has long been priority in the traditional Chinese politics and cultures. (Xiao Longhang 2006: 1)China's unique patriarchal social system determines that filial piety goes through a process from a religious ethic of ancestor worship to a family ethic and then to a political ethic.

Since the pre-Qin period, monarchs have advocated respect for the elderly and used filial piety to educate the people; thinkers from various periods have put forward their ideas about respect for the elderly and have written books to preach it. In feudal society, when the system was thriving, filial piety was closely linked to politics and became a criterion for selecting talents; in modern society, filial piety has also been given a new meaning in the modern era. (Fan Yan 2016;11) This article will focus on the origin and development of filial piety in China, analyze the cultural values and limitations of filial piety of Chinese filial piety, then briefly compare and analyzes Chinese and western filial piety, finally a brief conclusion about filial piety will be given.

===Origin and Basic Meaning of Filial Piety===
The exact origin of the idea of filial piety is still inconclusive in academic circles. Because in the absence of exact archaeological findings and written records, all conclusions drawn by scholars are only speculations, with imaginary approximations but no factual results. Therefore, the origin can only be explored in the ancient literature. (Wang Xiaohu 2014:3 .)

The explanation of filial piety in ''Erya-Shihun''(《尔雅·释训》) is "being nice to parents is filial piety"; the explanation in Relics from South is “The Chinese character ‘孝’(filial piety) is a combination of the Chinese character ‘老’ (old) with the lower right corner omitted, and 子 (son), thus, 孝 means to serve one's parents well, and it means that children respect and support their parents.’’ Today's scholars interpret the Jinwen（金文inscriptions on ancient bronze objects） form of filial piety in much the same way as the above, and the explanation of filial piety in ''the Ci Hai''(《辞海》) is “to be nice to parents well”, which is almost identical to the explanation in the Erya；Tang Yin's ''On the Origin of Characters''《文字源流浅说》 is even more interesting: “Like a '子'（son） walking with his head bearing ‘老’（the old man）, showing ‘孝’（filial piety） by the shape of supporting an old man to walk.’’ It can be seen that the ancient form of the character "孝”（filial piety） and the meaning of "nice to parents" match perfectly, so "filial piety" is regarded as a kind of good deed and virtue of children to their parents. (Yang Jianhai 2017:10)

In history, records of "respect olders" first began with Three Sovereigns and Five Emperors:"昔者，有虞氏贵德而尚齿，夏后氏贵爵而尚齿，殷人贵富而尚齿，周人贵亲而尚齿”（From the time of Yu and Shun, although they respected virtuous people, they did not forget to respect older people; in the Xia Dynasty, although they respected people with titles, they did not forget to respect older people; in the Yin Dynasty, although they respected people with money, they did not forget to respect older people; in the Zhou Dynasty, although they respected people with kinship, they did not forget to respect older people.”）and “有虞氏养国老于上庠，养庶老于下庠；夏后氏养国老于东序，养庶老于西......(Fan Yan 2016:11)(In the era of the yu, the retired senior officials were entertained at the upper school and the retired scholars at the lower school; the offspring of Xia entertained the retired senior officials in the east and the old people in the west...)

From the available information, the Jin dynasty appeared on the "filial piety" records, such as "“天子明哲，观孝与申（神）”(The emperor judged a man's virtue by his filial piety and religious belief) People in Yin Period believed that the ancestors could directly worship God and are the main medium between God and the human world. Since the ancestors were the medium between the human world and the divine world, they naturally became the masters of the earth and thus could bring disasters and blessings. (Yang Jianhai 2017:134)This is the reason why the Yin people attached special importance to heavy burial and had religious worship of their ancestors.

After King Wu of Zhou pacified the world, he redistributed the world and restored the social orders, therefore, Zhou Dynasty not only inherited the traditions of the previous dynasties, but also created customs and festivals to honor and respect the elderly. For example, the "乡饮酒（country drinking ceremony）" was a unique form of village gathering in the Zhou Dynasty, where the younger generation expressed their respect to their elders by making a toast. During the banquet, ancient songs or chapters from ''the Book of Songs''(《诗经》) were played to praise the virtue and prestige of the elderly. (Fan Yan 2016:11)

Filial piety in the sense of ethical norms is not fully highlighted until Confucius: "“夫孝，天之经也，地之义也，民之行也。”(Filial piety, like the operation of heaven, is eternal and unchanging; like the natural growth of all things on earth, it is natural and justified, and is the natural behavior of the people.）and “天地之性，人为贵。人之行，莫大于孝。”"The nature of heaven is valued by man. The conduct of man is no greater than filial piety." Mencius inherited this view and proposed, "“事孰为大？事亲为大“（What is the greatest thing to do? To serve one's parents is the greatest） (Fan Yan 2016:11). Confucianism believes that filial piety and respect for one's elders is a natural and righteous thing to do, and it is the foundation of one's life.

Confucianism has laid the foundation for the most influential part of filial piety in Chinese people for more than two thousand years because Confucian sages, represented by Confucius, completed the transformation of filial piety from religion to philosophy, from "pursuing filial piety" to "nurturing filial piety" during the Spring and Autumn and Warring States periods. As we all know, Confucius created a philosophical system with "benevolence" as the core concept, reinterpreting the Western Zhou "rites" from the viewpoint of "doctrine of benevolence". He also believes that filial piety is no longer due to the external pressure of society and the constraints of gods, but is an emotional demand and moral consciousness from people's heart and he also combined "filial piety" with "rites", saying that one should treat one's parents and elders with "生，事之以礼；死，葬之以礼，祭之以礼’’ (Yang Jianhai 2017:135)(rites in life, rites in burial, and rites in sacrifice) .

===Evolution of the Meaning of Filial Piety===
After the formation of filial piety in the time of Confucius, it continued to develop.

1.The Han and Wei And Jin Period

During the Han Dynasty, there was a more obvious trend of expanding the idea of filial piety, and after the adoption of Dong Zhongshu's proposal of “罢黜百家，独尊儒术（dismissing the hundred schools and respecting only Confucianism）”, the Han Emperor began to promote Confucianism. The idea of "filial piety" was closely related to social politics, and during the Western Han Dynasty, the implementation of filial piety was encouraged through the establishment of an official for filial piety, and the old caring was established as a system, which had extremely severe legal penalties for those who were not provided for their parents - would to be beheaded.(Ma Yaobin 2017:101)Through such external coercive norms, instead of focusing on the internalization of the idea from the heart, the idea of filial piety was heavily colored by politics, making the people's filial behavior more formal.

From the beginning, the rulers of the Wei and Jin periods advocated the rule of the state by filial piety as the basis of governance and he sets an example for all his subjects by serving his own mother personally. The rulers of the Wei and Jin dynasties attached great importance to ''the Classic of Filial Piety'', not only having the great scholars teach it, but also made notes themselves. When the emperor lectured on ''The Classic of Filial Piety''(《孝经》), he had to be accompanied by important ministers, and there was a clear division of labor, including lecturing, reading, reading and extracting sentences. (Fan Yan 2016：12)

2.The Tang Dynasty, Song and Yuan Dynasty

In the Tang dynasty, although filial piety was still not given much attention, the ethics of filial piety was still enriched and developed by the royal family out of the need to rule. First, Emperor Xuanzong of Tang twice annotated ''The Classic of Filial Piety''(《孝经》), which became the common version used today; second, The Classic of Filial Piety became a compulsory subject for the imperial examinations; third, ''Tang Code''（《唐律疏议》）, which is the highest legislative achievement of the Chinese legal system, pays special attention to filial piety, in which there are 58 articles that can reflect "filial piety".（Yang Zhigang 2012：262）

During the Song and Yuan dynasties, the traditional idea of filial piety in China was to a certain extent alienated, for example, the filial sons and acts of filial piety in the book ''24 Stories of Filial Piety''（《二十四孝》） which was written in the Yuan Dynasty, could find their prototypes in the Song Dynasty. ''24 Stories of Filial Piety'' was collected by Guo Juijing of the Yuan Dynasty, with many versions and mostly similar contents, recording the stories of twenty-four filial sons from the ancient times to the Tang and Song dynasties, such as Zhongyu "carrying rice for a hundred miles" and Wang Bao "hearing the thunder and weeping at the grave" and so on,which all reflect the deepest concern and respect of children for their parents, and even after their parents have passed away, they are still able to respect and raise their parents. . (Ma Yaobin 2017:101) However, there are also some foolish acts of filial piety, such as Guo Ju's "burying his son for his mother"and Wang Xiang's "lying on ice for seeking carp for mother", which are either the loss of basic humanity or foolishness, and are not worth promoting.

3.The Ming Dynasty and Qing Dynasty

During the Ming Dynasty, against the backdrop pf reinforced centralization of power and people’s confined minds, filial piety was advocated in a perverse way, and it was the darkest period of feudal culture. Luo Lun said in the Outline of Principle of Feudal Moral Conduct(《扶植纲常疏》): "孝者，天之经也，地之义也。国而非此不可以为国，家而非此不可以为家。’’(Filial piety is unalterable principle. Without it, the country can not be the country and home can not be home ) (Xiao Longhang 2006:9)There were many loyal subjects and many filial sons in the Ming Dynasty, but many of them were foolishly loyal and blind filial people under the dark rituals,which had a profound influence on later generations.

The Qing dynasty, as a foreign regime, after entering the country to inherit the great unity, continuously learn the Han culture and also with the power of "filial piety" to rule, and the Kangxi emperor placed emphasis on the three principles and the five rules in which the "filial piety" was put in the first place. He believed that to rule the world, the emperor should respect the rule of filial piety. At the same time, the folk power also spared no effort to promote and publicize filial piety with the help of popular teaching materials, such as ''The Hundred Filial Piety Charts''(《百孝图》), which were widely disseminated until the late Qing Dynasty and the early Republican period. (Yang Jianhai 2017:137)

4.In Modern Times

In modern times, new reform and revolutionary forces have become increasingly critical of traditional filial piety, and南京临时政府《临时约法》( ''the Provisional Treaty'' enacted by the Nanjing Provisional Government) , completely ousting Confucianism, which had ruled China for a long time, making democratic thought the mainstream ideology of the democratic revolution. (Li Renjun 2010:42)

The New Culture Movement （新文化运动）made an unprecedented rethinking of filial piety. In his essay ''Speaking of Filial Piety''(《说孝》), Wu Yu pointed out that "the original meaning of filial piety is to gratitude." It is a social virtue for children to care for their parents, but it is wrong to derive other morals from it while Chen Duxiu believed that the adverse effect of the patriarchal system, with its emphasis on filial piety was to exacerbate social inequality." Lu Xun, who was a master of ideas in establishing a new type of ethical relationship between parents and children during the New Culture Movement, believed that love and respect was the cornerstone of establishing a new type ideology between families, "To expand this love, one must understand and take the child as the principal; secondly to guide instead of commanding or chastising; and third, to liberate, so that the child becomes an independent person." (Xiao Qunzhong 2001:124)

In short, during the New Culture Movement, these thoughts about the establishment of a new ethic of father-child relationship, which was consistent with the slogan of "democracy, science, advocating new morality and opposing old morality"at that time. (Li Renjun 2010：43)This new concept of "freedom and equality" also laid the ideological foundation for the establishment of new relations in modern times.

5.In Contemporary Times

In contemporary times, people have begun to adhere to the Marxist and rethink the current development of filial piety and its practice in our country. In recent years, when the song "《常回家看看》''Come home often''" has entered thousands of households, filial piety has once again become a hot topic. People are beginning to rethink the idea of filial piety in the context of the new era, and general public is focusing more on the concern and reflection on parents' emotions. (Ma Yaobin 2017:102)

===Influence of Filial Piety on China===
Filial piety has a long history as a traditional Chinese ethical culture and has a universal influence in society. Its strong power has played a great role in consolidating the centralized rule of feudal dynasties and stability of civil families in successive generations. (Li Renjun 2010：45) However, many of these views are feudal dregs that are having a negative impact on society.

1.Negative Influence

In our history, the concept of filial piety has had many shortcomings.

(1)Fool the People

Traditional filial piety emphasizes the "three principles and five rules" to fool the people, just as Confucius said: "民可使由之,不可使知之"(With the people, we can only make them do what we want them to do, not why they want to do it). By propagating the idea of loyalty and filial piety and polarizing it, the people were made obedient and the ministers were made loyal, not thinking of rebellion and rarely rebelling. Wu Yu points out that “China has been turned into a big factory for the production of obedient people. Such is the great role of the word filial piety!" (Zhao Qing, Zheng Cheng 1985)

(2)Inequality

The relationship between ruler and subject, father and son in traditional filial piety and the resulting hierarchical concept lead to the inequality between people. Although it involves the idea of respecting the old and loving the young, it is always the "elders" that is absolutely dominant. (Xiao Longhang 2006:29)

(3)Feudalism

Filial piety that has been transformed by the ruling class and used to rule the people, should be criticized and discarded. The meaning and role of filial piety has been mystified, and myths and legends about filial piety being able to sense heavenly things have spread throughout the world. (Li Chunhua, Yu Dahai 2006:26) As a result, there were some extreme cases and some people did inhumane things, such as hurting themselves to benefit one's parents and kill one's son to support his mother, thus exerting a bad impact on history.

(4)Conservativeness

Persevere and unity can be said to be the basic spirit of Chinese filial piety. Filial piety emphasizes respect for ancestors and treating parents well, "三年无改于父道”（He didn't change his father's ways for three years）, and respect and obedience to their parents and ancestors,and if not, they are regarded as "rebellious sons" and "black sheep" and are severely reprimanded. Moreover, it is very conservative and unequal, as the sons identify with their fathers and submit to them. (Xiao Qunzhong 2001;42 )

2.Positive Influence

Despite the many shortcomings of filial piety, we cannot deny the positive role it has played in our country's history:

(1)Shaping the Character of People.

Filial piety is the basis for establishing one's character. Sima Guang of the Song Dynasty said, "治身莫先于孝”(There is no better way to sahp one's character than by filial piety.) "夫孝，始于事亲，中于事君,终于立身”(Filial piety begins with serving one's relatives and ends with serving the king,Finally, it is the foundation of shaping one’s mind.)" The scope of falial piety no longer limited to the family, but a social cause. (Xiao Longhang 2006：28)The responsibility to parents and family constitutes an inexhaustible motivation for the ancient people to build their career and dedicate themselves to the country and the nation, which promotes social progress.

(2)Promote Family Harmony

Filial piety, that is the core foundation of family harmony. Our parents are the source of our life. The affection between children and parents is deepest, and filial piety is the fundamental of being a human being. "睦于父母之党，可谓孝矣”If you are good to your parents, you can be considered filial" (Shen Shanhong 19895 ). Being filial to parents is conducive to improving family relations, creating a sense of wholeness and harmony in the family, and promoting the development of all members of the family.

(3)Enriching Chinese Culture

As traditional Chinese culture dominated by Confucian culture, with Confucianism, Buddhism and Taoism interlinked, filial piety is the mainstream of Confucianism, and also is found in Shi and Tao, and has contributed to the development of Shi and Tao culture. The Buddhist scriptures such as ''The Anthology of Hong Ming''(《弘明集》) and the Taoist scriptures such as ''Scripture of the Great Peace''（《太平经》）are also rich in filial thoughts. (Xiao Long Hang 2006:33)In addition, with the passage of time, filial piety gradually integrated into the fields of philosophy, literature, art, and folklore, playing an expanding role for the national culture.

(4)Maintaining Social Stability

“其为人也孝弟，而好犯上者鲜矣。不好犯上，而好作乱者，未之有也。”（It is rare to see the kind of person who is filial to his parents and loves his brother but likes to offend his superiors; it is even more rare to see the kind of person who does not like to offend his superiors but likes to rebel.）"“事亲者，居上不骄，为下不乱。”(Ning Yegao 1995)反之，“居上而骄，为下而乱则刑，在丑而争则兵。“（He who serves his parents is not proud when he is in a higher position, not disruptive when he is in a lower position, and not contentious when he is among the people. If you are proud in a higher position, you will perish; if you are disorderly in a lower position, you will be punished; if you are angry among the people, you will be attacked.）This kind of conduct, which has been honored for thousands of years, does have a deep meaning and a realistic role. Moreover, the value of filial piety does not lie only in loving one's relatives, as filial piety begins with loving one's parents and then moves on to love people and love society. Therefore, filial piety is conducive to social harmony.

===Comparison between Chinese and Western Filial Piety===
Filial piety in both China and the West emerged with family, and its initial meaning is basically the same: filial to parents. (Lian Luxia 2012:) However, Chinese and Western filial piety are based on different geographical, political, economic, and cultural conditions, which influence the differences in the Chinese and Western understanding of the meaning of filial piety.

(1) Differences in the Objects
In the feudal society, parents had absolute authority. After entering feudal society, Chinese filial piety culture developed from respect for parents at the family level to loyalty to the ruler at the social level. By promoting filial culture, feudal rulers were able to achieve their political indoctrination and feudal rule. In an environment that preached the combination of loyalty and filial piety, and the integration of family and ruling (Li Xiang, 2010:52), filial piety was even bound to people as a code of conduct in ancient patriarchal societies.

In the West, the meaningful of filial culture at the social level is not significant, and its mainly refers to respect for parents. Unlike China, however, respect does not mean absolute obedience, and the West attaches more importance to the personal independence between parents and children, and it is more often reflected in the religious sphere. (Huang Shujuan 2021:190)

(2)Differences Between Chinese and Western Family Ethics

Confucius said, "事父母几谏，见志不从，又敬不违，劳而不怨。(Serve your parents, and if they are wrong, politely advise them. If you express your own opinion and your parents are unwilling to listen to it, you should still be respectful to them and not disobey them, and work for them without resentment.)" Chinese feudal society took filial piety as the fundamental of feudal rule. Influenced by Confucianism, parents and elders had absolute authority in the family, and filial piety was reflected in the attitude and behavior of children toward their parents.

The West pursues equality and believes that all men are born equal, and that the relationship between children and parents is also equal. According to Rousseau, "The most primitive society, the only natural society, is the family; the son is dependent on the father only when his protection is needed, and once this need ceases, the natural union breaks down. Each becomes equally independent of the other." (Hu Yuanjiang, Chen Haitao, 2007:48)

All in all, the differences between Chinese and Western attitudes to filial piety exist objectively, so in the face of this difference, one cannot simply judge it by good or bad and the two cultures in different countries are valuable treasures for all mankind. (Lian Lu Xia 2012:203) Today, the Chinese and Western cultures of filial piety are influencing each other and learning from each other because Chinese culture of filial piety shines with the light of humanity, while Western pension system is conducive to economic development. With the continuous development of globalization, western societies can learn from Chinese love and care for the elderly while in the face of social problems such as population aging, there should be more equal between Chinese elders and youngers.

===Conclusion===
Filial piety has profoundly influenced the habits, psychological qualities and national spirit of our nation. According to Mr. Wei Yingmin, "filial piety is not only applicable to one society, one class or one era, but it is super-class or cross-era, and it is applicable in several eras" (He Naichuan 2002).

In the study of filial piety culture in China, we analyze the history of filial piety as well as its values and drawbacks. We can have a clearer understanding of filial piety, and then better take its essence and remove its dross. Traditional culture is to be traced and analyzed in order to inherit and innovate.

Filial piety is not only an ethical requirement, but also a tool of the feudal rulers in history and in recent times, people have gained a deeper understanding of filial piety through the inheritance and renewal of traditional culture. Respect for elders is a need for human development, and traditional culture plays an important role in maintaining family relationships. At present, China vigorously promotes the core values of socialism, and a harmonious and stable society needs filial piety to play its positive role, so under the new situation, it is the mission to inherit and carry forward the reasonable part of traditional culture and actively explore a new way to deal with filial culture.

===Terms and Expressions===

===References===

===Questions===

===Answers===

==英语笔译肖冬晴 Xiao Dongqing 202170081599==
<center>'''On Verbal Humour in Chinese Sketch Comedy from the Perspective of Violating Cooperative Principle'''</center>

<center>Xiao Dongqing</center>

===Abstract===
As a common linguistic phenomenon, verbal humour is an important part of our daily communication. Grice’s cooperative principle is one of the major principle of pragmatics which is ubiquitous in people’s daily conversations. Therefore, it could provide a new perspective from which we analyse verbal humour. Chinese sketch comedy, also known as Chinese Xiaopin, is an art commonly performed by a group of comic actors or comedians presenting a series of short, amusing scenes called “sketches”. This thesis intends to work out the mechanisms of verbal humour in Chines sketch comedy from the perspective of violation of cooperative principle. It reveals in this special art form the violation of quantity maxim, quality maxim, relation maxim as well as the manner maxim in the process of analysing and proves that the violation of cooperative principle could avoid taking verbal humour at face value and arouse deeper thinking about this topic.

===Key words===
Verbal humour; Chinese sketch comedy; cooperative principle

===Introduction===
Humour plays an important role in people’s daily conversations. As a kind of lubricant of verbal communication, it creates an easy and comfortable environment, provides a happy and relaxing atmosphere and helps bring interlocutors closer. Researches and studies on this topic at home and abroad could date back to as early as the 4th century B.C. when the ancient Chinese poet Qu Yuan composed “There in front of me remains nothing but vastness and silence(眴兮杳杳，孔静幽默)” in his masterpiece ''The Nine Elegies'', meaning vastness.

However, the “humour” this paper talks about is the one transliterated by Lin Yutang. At home, researches on humour have greatly progress since the 1980s. Li Lanping (2002) believes that there are intrinsic connections between the principles in pragmatics and the triggering of humour. She discussed the relationship between the two parts under the guidance of the basic principles of pragmatics and the theory of conversational implicature. Yang Ting (2020), on the other hand, analysed the linguistic phenomenon of humour to further decipher the mechanism of it from the perspective of phonetics, semantics, pragmatics, contexts, figures of speech and logic of languages respectively. Ge Lingling (2011) focused on the translation of humour texts from the perspective of verbal humour so as to figure out the translation pattern of texts of this kind.

Abroad, researches on humour are multidisciplinary, involving anthropology, psychology, sociology, linguistics, semiotics and artificial intelligence which are ultimately centred on superiority theory, release theory and incongruity theory. For instance, Charles Gruner explained that wonder is an essential element of humour and that there is always a “winner” and a “loser” in humourous contexts. Freud the representative figure of release theory analysed the mechanism of humour from the perspective of psychoanalysis and divided jokes into intentional ones and unintentional ones(Cai Hui, Yin Xing, 2005:5). Kant was said to be the first to denote humour from the perspective of incongruity theory who pointed out that humour comes from a sudden twist from expectation and the inaccessibility of it(Cai Hui, Yin Xing, 2005:5).

There are studies concentrating on the mechanism of humour in comedy. For example, Dang Fengxiao and Cheng Xiongyong(2021) studied on the humourous language in sketch comedy from the perspective of speech act theory while Wei Ya'e studied the sketch comedy presented by Mahua Funage using logic rules. Looking across the border, Adesoye Ronke Eunice (2018) investigated humour and how it is achieved using phonological processes. Parashar Poorva and Tewari Paul (2020) analysed the humour in The Lonely Island and tried to work out its essence as well as how absurdism and stupid comedy provides insight into millennial and internet psychology. Alex Clayton (2020) studied humour from the perspective of rhetoric through vivid, highly readable analyses of individual sketches.

From all the above, it’s clear that the studies on humour are basically centred around linguistics, literature and figures of speech while researches abroad are involved with more disciplines ranging from anthropology to AI. What’s worth mentioning is that although humour was first brought forward in China, researches on this topic went through a far longer history in the west which could date back to the ancient Greek times. Meanwhile, researches on verbal humour in Chinese sketches are rare. Therefore, it’s necessary to work further on this subject. This thesis will adopt the cooperative principle to analyse the relationship between verbal humour in Chinese sketches and the violation of the principle in which the theoretical basis of cooperative theory, its classification as well as the detailed analysis of its four kinds of violation in Chinese sketch comedy will be covered.

===Cooperative Principle===
Conversational implicature as the core principle of pragmatics theory was first proposed by Oxford philosopher Herbert Paul Grice. Grice noticed that in daily conversations people do not say thing directly but tend to imply them. He believes that there is some regularity in conversation. “Our talk exchanges do not normally consist of a succession of disconnected remarks, and would not be rational if they did. They are characteristically, to some degree at least, cooperative efforts; and each participant recognizes in them, to some extent, a common purpose or set of purposes, or at least a mutually accepted direction.”(Herbert Paul Grice, 1975:45) In other words, we seem to follow some principle like the following: “make your conversational contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of the talk exchange in which you are engaged.”(ibid.) And this principle is known as COOPERATIVE PRINCIPLE, or CP for short.

To further specify the CP, Grice introduced four key categories of maxims, namely quantity maxim, quality maxim, relation maxim and manner maxim, each of which contains several specific maxims and sub-maxims. In simple terms, quantity maxim is to be informative, quality maxim is to be truthful, relation maxim is to be relevant and manner maxim is to be clear. These describe specific rational principles observed by people who follow the cooperative principle in pursuit of effective communication. Therefore, applying the maxims is a way to explain the link between utterances and what is understood from them.

Yet the use of terms such as “principle” and “maxims” does not mean that the CP and its maxims will be followed everywhere. Despite the wide use of CP in daily conversations, people would more often than not violate these principles in actual communication. When basic communication is interfered, it’s common for people to notice the violation of CP. As a result, the hearer has to make efforts to figure out the implicature so as to understand what the speaker means. Conversational implicature, in fact, is the direct cause of humour. Speaker only violates CP to achieve a sense of humour when the hearer manages to interpret the conversational implicatures under the surface and enjoys the pleasure brought by humour.

===Chinese Sketch Comedy===
Chinese sketch comedy first gained popularity after the Spring Festival Gala in 1984 when comedian Chen Peisi presented “eating noodles” on stage with his partner Zhu Shimao. Since then, this art form embodying acting and setting on stage sprung up like mushrooms across China and underwent refinement after years of development. Famous sketch comedians include Chen Peisi, Zhao Benshan, Fan Wei, Guo Da, Pan Changjiang, Song Dandan and so forth. The advent of the millennial witnessed the flourishing of this artistic form in which passionate performances of the younger generation, with Shen Teng, Ma Li, and Jia Ling taking the lead, engaged with great enthusiasm and produced a series of humourous yet educational works.

'''3.1 Historical origin'''

Chinese Sketch comedy got its name from art schools and performing groups. In the performing art community, the single or group performance which creates a simple scene through body and language is dubbed as “sketch comedy”, an event originally adopted to examine the basics of students of performing arts when teachers threw a topic during an interview and students were required to respond to that on the spot.

As a form of performance about small things in people's daily lives, Chinese sketch comedy has inherited qualities, and developed from other forms of comedy, such as stage play, xiangsheng, errenzhuan and comic drama and is generally believed to originate in the 1980s. Normally, sketch comedy revolves around just one topic, but with a lot of action and lively language. With the help of the promotion by the annual Spring Festival Gala, Chinese sketch comedy became a very popular artistic form in China. The first sketch comedy in China was“eating noodles” (in 1984) which was performed by Chen Peisi. Classic Chinese sketch comedy includes “Blind Date” performed by Zhao Benshan and Huang Xiaojuan in 1989, “The Adventures of Migrant Worker” led by Gong Hanlin and Zhao Lirong in 1996 and “Selling Crutches” by Zhao Benshan and Fan Wei in 2001, etc. Famous comedy groups in operation are DEYUNSHE initiated by Guo Degang, Mahua FunAge best known for its member Shen Teng, Big Bowl Entertainment led by Jia Ling, Zhao Benshan and his students, and Shanghai Xiaoguo Culture started by Li Dan, in which Mahua FunAge, Big Bowl Entertainment and Xiaoguo are still active on screen taking up sketch comedy, the Zhao’s team play “partially” for its fans in China’s northeast and DEYUNSHE mainly focus on passing on crosstalk to the next generation for the audience.

'''3.2 Features of Chinese Sketch Comedy'''

Chinese sketch comedy is sharp and witty, with simple plots, which represents as the most fundamental character that distinguish itself from other forms of art and performance. It may not be as sophisticated as other stage performances such as drama and opera, but it is able to render to its audience wisdom and thought-provoking perceptions based on its witty dialogue wrapped up in humour.

Chinese sketch comedy is also an art form that is highly narrative. As many of the topics are directly taken from the life of the people living in the grassroot, it appeals to all ages and entertains people from all works of life. Stories are the fundamental part of sketch comedies which are presented by the characters and the development of the plot interwoven with hookers of suspense, surprise and sudden changes.

Laughter is what sketch comedy aims to achieve ultimately. As the embodiment of stage play, xiangsheng, errenzhuan and comic drama, the modern sketch comedy manages to give the strengths of the artistic forms into full play with the help of modern technology, throwing humourous verbal “packages” consecutively and smoothly to the audience in the hope of eliciting ecstasy from them.

After giving a brief explanation of the theoretical basis and development of Chinese sketch comedy, the following chapter is to elaborate and exemplify the mechanism of humour in specific cases from the perspective of violation of CP in its four key categories, namely the violation of quantity maxim, quality maxim, relation maxim and manner maxim.

'''3.3 Classifications of Chinese Sketch Comedy'''

Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.

===An Overview of Cooperative Principle Violation in Chinese Sketch Comedy===
As the kind of sketch comedy presented on stage are plenty, the cases this thesis is to select and analyse are mainly to taken from the ones presented by Mahua FunAge and Big Bowl Entertainment. Here is the detailed analysis of the comic dialogues:

'''4.1 Verbal Humour Resulted from Violation of Quantity Maxim'''

Quantity maxim requires that the contribution is as informative as required. In other words, the contribution should not be more informative than is required. However, this maxim is often violated in daily conversation when too much or incomplete contributions are made, which is especially common and humourous when it comes to sketch comedy jokes. For example:

Hao Jian: Oh my god! Are you feeling alright? Where did you hurt?

The old lady (lying on the road groaning): Oh, my elbow! Oh, my kneecaps! And my waist! None of them are painful!

The example above is taken from “To Help or not to Help”(《扶不扶》) in the Spring Festival Gala in 2014. In the opening part of the comedy, Hao the biker was intended to get his broken bike repaired after a car accident. On the way to the repair shop, an old lady with memory problems accidentally slipped on the ice and fell at the back of his bicycle, mistaking him to be the one who knocked her down. In this dialogue, the old lady was expected to answer where was painful. However, she adopted a funny “elimination” method carrying a bunch of irrelevant body parts as her reply. By creating a surprise contrary to what most of the audience would tend to presume, conversations of this kind produce a comic effect by violating quantity maxim.

Here is another case taken from “Making Friends”(《投其所好》) played in 2015:

Official: Is it true that you loved playing ping-pong in your spare time at your department?

Hao Jian(interrupts): I apologise. It was me being too playful. I now see that I was wrong and I swear that I’ll never play ping-pong again! If I were to commit it again, I would have my hands cut……

This satirical sketch comedy focused on the social phenomenon of “making friends” through bribery in order to get things done. In the part mentioned, what the official intended to do was to persuade Hao to practise more and try to be proficient in table tennis so as to flatter the new boss. However, Hao misunderstood the official. Instead of giving a “yes” or “no” to the question, he added up many remarks and even made an oath. It was the violation of quantity maxim in his clumsiness that made this part of acting hilarious.

'''4.2 Verbal Humour Resulted from Violation of Quality Maxim'''

Quality maxim requires the interlocutors to be sincere and talk about true things. It has two sub-maxims, namely “do not say what you believe is false” and “do not say that for which you lack adequate evidence.” But in real life, this maxim is also often violated by people who tries not to hurt other people’s feelings or who with special intensions. Here is an example from “The Real and Fake Teacher”(《真假老师》) made its debut on the stage of the Spring Festival Gala in 2018:

Teacher: Nice to meet you, Madam, I’m Xiaoming’s head teacher, Ms Jia.

Cleaner: You too! I’m Xiaoming’s mother, Jia (the surname ‘Jia’ and fake are homophones in Chinese. Here the cleaner accidentally blurted it out).

Teacher: Excuse me?

Cleaner: I mean, my family name’s also Jia.

Teacher: But I remember Xiaoming’s parent is called Wang Guixiang(apparently a girl’s name)…

Cleaner: And that’s his father.

Teacher: Zhang Xiaoming actually had a father named Wang Guixiang?

Cleaner: You see, we are from a quite complicated family…

In China, it is a tradition to name the child after the surname of one of the parents, normally that of the father. In this example, the cleaner tried to make a cover-up for her accident alleging the girlish name Wang Guixiang(meaning the fragrance of sweet-scented osmanthus) which has nothing to do with Xiaoming’s last name, belongs to the boy’s father. By stating consciously something fake one after another, the cleaner created a sense of humour.

Here is another example violating quality maxim from “Happiness of Today”(《今天的幸福》):

Wife: Tell me a little bit about your father please, baby.

Hao Jian: My dad is a huge success in the future! You know what, he even gets his name on the ''Fordes'' list!

Husband (poking Hao, whispering): It’s Forbes!

Hao Jian: Oh, right! Forbes made it later, too. Yet he still can’t hold a handle to my dad…

"Happiness of Today" was a sketch comedy inspired by the time-travelling drama and TV series such as “Palace”(《宫》) and “Treading on Thin Ice”(《步步惊心》). In this scene, Hao Jian was asked to play the son of the wife of his friend who travelled all along from the future back to the present to reassure the “mother” who’s in labour and mitigate her prenatal syndrome. In this example, Hao Jian was making up something that was clearly not true to humour his pregnant “mother”. What made this dialogue even more funny was his lack of knowledge about the “Forbes list” and the clumsy cover-up he made after correct hints from his partner.

'''4.3 Verbal Humour Resulted from Violation of Relation Maxim'''

Relation maxim is not only one of the most important maxims of the pragmatics theory, but also a protocol with which should be complied by all. It requires speakers to talk about things which are relevant to the topics. Violation of this maxim could bring about humour as well. The following examples are also taken from the sketch comedy “The Real and Fake Teacher”:

Xiaoming: You see, I am a high school student. Recently I have made some mistakes at school and my teacher is about to conduct a home visit. But the thing is, my parents are currently working abroad and I’m afraid my teacher be here at any minute, so I was wondering if you could, er, wow, that’s a little embarrassing…

Cleaner: Oh, I see. When will she arrive?

Xiaoming: She’ll be here at 10:00.

Cleaner: I’ll finish my job at 9:50 sharp.

In this example, what the student meant was to ask the cleaner to pretend as his mother so that there would be a parent present for the coming home visit. However, the cleaner misunderstood him and gave an irrelevant reply to the request. In this way, humour was generated.

Here is another example taken from this episode concerning the violation of relation maxim:

Teacher: You see, school education won’t do without the help of family education. After all, family is the place where goodness starts. These are the words of the famous educator Sukhomlynsky. I’m sure you must know about him, don’t you?

Cleaner: Eat… eat an apple, please.

In this case, the teacher quoted a motto from Sukhomlynsky, an influential educator from the Soviet Union to remind the “mother” the important role family and family education plays in a child’s development. However, the cleaner obviously had no idea of the educator and didn’t know how to respond. To avoid awkwardness and break the silence, she had only to hand the teacher an apple and divert her attention. In doing so, laughter was elicited from her irrelevant behaviour.

'''4.4 Verbal Humour Resulted from Violation of Manner Maxim'''

Unlike the three maxims above which focus on the contents conveyed in the process of talking, manner maxim mainly concentrates on the way how things are expressed. Its sub-maxims include to avoid obscurity of expression, to avoid ambiguity, to be brief and to be orderly. But this maxim is often violated in real life, too. Below is an example taken form the comedy “Happiness of Today” (《今天的幸福》) presented in the Spring Festival Gala in 2012:

Wife: My dear, what do you do then?

Hao Jian: (to the husband, whispering) Ah? Daddy, I don’t think we talked about this before …

Husband: Never mind. Just make up one! As if your mother were a master of the names of jobs.

Hao Jian: I scrub (the husband poking him)…wash…bathe…I study the epidermis of human beings!

Wife: Oh, you are a doctor then!

Hao Jian: You see, I specialise on ''dirt-ology''.

In this comedy, Hao was actually a bather whose main job was to help scrub and wash the dirt off the customers in a public bathhouse. When his “mother” asked him about his job, he described it in an obscure way and even coined a term to sound more professional. His words apparently violated the manner maxim, yet it is the obscurity that made the dialogue funny.

The second example in this section is another one taken from “The Real and Fake Teacher” about job inquiry:

Xiaoming’s father: What on earth do you do, Miss?

Teacher: Well, I can tell you with great proud that I am a gardener!

Xiaoming’s father: Gardener? Then why don’t you water the flowers outside right away?

The mechanism of humour in this example works a little bit differently from the one mentioned in the first place. Instead of using some obscure term to explain what she does, the real teacher Ms Jia selected the word “gardener” with dual meanings to make a self-introduction. Apparently, the package proved to be a success regarding Xiaoming’s father’s misunderstanding.

Here is another example taken from Jia Ling’s autobiographical sketch comedy “Hi, mom!” (《你好，李焕英》)debuted on the stage of “Comedy General Mobilisation”(《喜剧总动员》) in 2016. “Hi, mom!” was a play in which the heroine Jia Ling travelled through space and time to the 1980s to spend some time with her mother who had passed away in a car accident in the 21st century. In the prologue where the two heroines made their first appearance, here comes their dialogue:

Li Huangying: Come on, go inside and stay a while with your grandma!

Jia Ling: I can’t!

Li Huanying: What do you mean you can’t? She loves you a lot! How could you say such hurtful things?

Jia Ling: Because she can’t stop sewing my ripped trousers!

In the example above, Jia used ambiguity in her reply to her mother’s question. It was not until the viewers watch further that they found out why the granddaughter would be so reluctant when it comes to her grandma’s sewing trousers, an act that was supposed to seem loving and caring----it was about the contradiction in aesthetic taste between generations. In this way, Humour comes along with the explanation.

===Conclusion===
Humour plays an important part in people’s daily conversation which conveys abundant cultural connotations. Grice’s cooperative principle as the core of pragmatics, is also a guiding principle according to which people converse. Once CP is violated, pleasure in humour which comes along with it could be felt. As an artistic form playing an important role in modern China, Chinese sketch comedy has been entertaining its audience of all ages with its funny plots and packages embedded in verbal humour. This thesis selected the sketch comedy performed by Mahua FunAge and Big Bowl Entertainment on the stage of Spring Festival Gala as its corpus and studied the mechanism of verbal humour under the guidance of Cooperative Principle. It has been found that to a large extent, it is the violation of quantity maxim, quality maxim, relation maxim and manner maxim that generated the humour in sketch comedy. As an integral part of Chinese sketch comedy, verbal humour was created through constant violation of Cooperative Principle and its maxims.

However, limitations are inevitable as a result of time and the limited knowledge of the writer. Moreover, as the theories on linguistics are becoming increasingly abundant, analysis about verbal humour should be made from different perspectives and with diversified texts as well. Only through this process could verbal humour and its mechanism be further understood and Cooperative Principle further applied in research and studies.

===References===
*Adesoye Ronke Eunice (2018). Phonological distortion as a humorous strategy in Folarin Falana’s comedy skits[J]. The European Journal of Humour Research, 6(4): 60-74.

*Clayton , A. (2020). Funny How? Sketch Comedy and the Art of Humor. Horizons of Cinema, State University of New York Press.

*Dang Fengxiao，Cheng Xiongyong (2021). Analysis of Humorous Speech Act in the Skit Help or Not Help[J]. International Journal of Education and Management, 6(1).

*Grice, H.P.(1975). ''Logic and Conversation''[M]. New York: Academic Press.

*Parashar Poorva, Tewari Parul (2021). Locating humour in Absurdism and comedy in millennial humour[J]. Comedy Studies, 12(1): 65-74.

*Yao Xiaomin, Song Liya.Verbal(2019). Humour in English Jokes from the Perspective of Violation of Cooperative Principle[J]. Harbin: Northeast Forestry University.

*Cai Hui, Yin Xing 蔡辉, 尹星. (2005). 西方幽默理论综述研究[A Review of Western Humour Theory]. 外语研究Foreign Language Research(01):5-8+15.

*Ge Lingling 戈玲玲. (2011). 论幽默文本中本源概念的翻译模式——基于汉英双语平行语料库的研究[On the Pattern of Translating Alien Sources in Humourous Texts—— A Study Based on a Chinese-English Bilingual Parallel Corpus]. 外语学刊Foreign Language Research(01):117-122.

*Hu Zhuanglin 胡壮麟. (2017). 语言学教程[Linguistics: A Course Book]. Beijing: Peking University Press北京: 北京大学出版社.

*Li Lanping 李兰萍. (2002). 语用原则与英语幽默[On Pragmatic Principles and English Humour]. 天津外国语学院学报Journal of Tianjin Foreign Studies University(02):32-36.

*Wei Ya’e 魏亚娥. (2022). 幽默的产生与逻辑规律的违反——以沈腾春晚小品为例[The Generation of Humour and the Violation of Logic Law -- A case Study of Shen Teng's Spring Festival Gala]. 今古文创 JinGu Creative Literature(02): 95-97.

*Xu Jie, Zeng Xianmo 徐洁, 曾贤模. (2020). 以言致笑——从言语行为理论视角解析小品《扰民了您》中的幽默[Laughter through Words -- An Analysis of Humour in You Are Disturbing from the Perspective of Speech Act Theory]. 汉字文化Sinogram Culture(23):22-24.

*Yang Ting 杨婷. (2020). 认知视角下的言语幽默分析——以“生活大爆炸”为例[An Analysis of Verbal Humour from a Cognitive Perspective: A Case Study of ''The Big Bang Theory'']. Shaanxi: Shaanxi Normal University陕西师范大学.

===Terms and expressions===
Chinese sketch comedy 小品

Cooperative Principle 合作原则

quantity maxim 数量原则

quality maxim 质量原则

relation maxim 关系原则

manner maxim 方式原则

Spring Festival Gala 春节联欢晚会

packages “包袱”

sweet-scented osmanthus 桂花

===Questions===
1. What are the maxims of Cooperative Principle?

2. What’s the name of the first sketch comedy in China?

3. How do you categorise Chinese sketch comedy?

===Answers===
1. There are four maxims in total, namely quantity maxim, quality maxim, relation maxim and manner maxim.

2. The first sketch comedy in China is “eating noodles” played by Chen Peisi and Zhu Shimao in 1984.

3. Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.

==英语笔译肖佳莉 Xiao Jiali 202170081600==
<center>'''The Various Schools of Thought and Their Exponents During the Period from Pre-Qin Times'''</center>

<center>Xiao Jiali</center>

===1.Abstract===
The hundred schools of thought are the general name of various academic schools in the pre-Qin period. Among them, the three most influential schools are Laozi, Confucius and Shang Yang, and their views are different. The period from the sixth century BC to the third century BC, that is, the Spring and Autumn and warring States period, was the rejuvenation period of all schools of thought in the pre-Qin period. This period basically laid the foundation of Chinese traditional culture or Sinology, and there has been almost no major breakthrough since then. In this article, we divide the content of the paper into three parts, and respectively discuss the thought and background of Laozi, Confucius and Shang Yang, as well as their characters, and compare the differences and reasons between them. Through the above analysis to emulate the predecessors to face the reality, put forward new problems, put forward new ideas, and open up a channel for our future survival.

===Key words===
The Various Schools of Thought; The Period from Pre-Qin Times; Laozi; Confucius; Shang Yang

===2.Introduction===
There is an interesting phenomenon that between the sixth century BC and the third century BC, a group of thinkers who established early human civilization appeared in various parts of the world. For example, Confucius and Laozi in China, such as Sakyamuni in India, and a group of scholars represented by Isaiah who created the text of the Bible in the ancient Jewish state, such as ancient Greece from Thales to Aristotle. We will find that around the sixth century BC, the birth of human civilization in various parts of the world coincided with the emergence of a group of thinkers, known as the Axis Age.

Why did this happen?

The writing purpose of this paper is not only to review the path of the development of ancient ideas, but also to let everyone know that when you are faced with a social transformation, a major social confusion is constantly spreading and the amount of information is increasing，how do you follow the example of your predecessors to face the reality, ask new questions and put forward new ideas.

===3.Background of the genesis of the hundred schools of thought===
The pre-Qin period is the first great social transformation of Chinese society, we open our horizons, it is actually the first great social transformation of all mankind. How to transform? It took a long time to transform from the way of gathering and hunting to the civilized way of agriculture and animal husbandry. The early days of agricultural civilization was only a marginal supplement to the hunting way of life. By around 600 BC, the civilization of agriculture and animal husbandry was fully mature, and the semi-agricultural and semi-industrial and commercial civilization of ancient Greece around the Mediterranean was also mature.

Therefore, the axis age of the world has three major characteristics. First, the first great social transformation of Chinese society took place in this period; second, this is the mature period of the first civilization of all mankind; third, this is the dazzling period of the sprout of industry and commerce in ancient Greece, and these three come together into an axis era. The pre-Qin era in China is the branch and manifestation of this axis era in East Asia.

So why has this era become a platform for many thinkers to think? There are three reasons.

First, there are a lot of problems in social transformation, which is a confused exploration and inquiry. As we all know, in the period of human social transformation, the complexity of social structure presents many social and survival problems that human beings have never seen and never happened before, and these problems will make human beings face great confusion at that time. Thinkers seek answers on the basis of this confusion. Therefore, the perplexity period is a hotbed for the birth of a new culture. Therefore, when faith is broken and confused, we should not think that it is just a bad thing, it indicates that another crop of new culture and new ideas is about to happen.

Second, the complexity of survival increases, which is characterized by the increase of the cost of survival, the more difficult and dangerous survival, and the more complex survival structure. In this case, the amount of information is soaring, so people have to face the new survival structure and living environment, which is the second feature of the axis era and the pre-Qin era.

Third, the fragmented feudal system provides a relatively free and relaxed atmosphere. In the pre-Qin period, China was typical and the only feudal era. At this time, ancient Greece was a city-state culture, that is, a small political bloc. The feudal states were also common in Europe until the Middle Ages. Therefore, it provides some social conditions for freedom of thought. For example, Confucius, if he could not stay in Lu, he could travel around the world; In modern times, Descartes and Voltaire, if he could not stay in France, he could go into exile to other countries and develop his own thoughts. So the fragmented political structure of that era provided a relatively free and relatively relaxed cultural atmosphere.

As for the cultural differences between the East and the West. Ancient Greek philosophers and Chinese sages faced different problems.Because East Asia is a closed landform, and it is one of the three primitive farming bases of human beings, it is unable to exchange in industry and commerce, so it is the most typical and concentrated agricultural civilization in the world. Agricultural civilization immediately brought about a hundred-fold surge in population, so interpersonal and resource relations were particularly tense.

So people in the pre-Qin period in China had to apply their wisdom to the discussion of human relations and social issues.

And ancient Greece, because it was faced with a small Mediterranean, could obtain food through commercial exchange in North Africa and the near East, while the geographical conditions of ancient Greece were very poor, which forced them to develop a semi-agricultural and semi-industrial way of life. In addition, industrial and commercial civilization obtained resources across regions, so their interpersonal and resource relationships were less tense than in East Asia. Moreover, its social structure is relatively simple, and its social problems are not prominent enough. At the same time, industrial and commercial civilization needs innovation and the computing power of equipment manufacturing. It makes the ancient Greek philosophers devote their main energy to natural problems and logic in geometry.

Therefore, in the face of a social transformation, it is inevitable to solve many problems, thus giving birth to great ideas.

===4.Different schools of thoughts===

===4.1The thought of Laozi===

===4.1.1The introduction of Laozi===
The foundation of the whole thought of Sinology in China all took place in the pre-Qin period, that is, before Qin Shihuang unified China. Since then, China has hardly made any great achievements in the development of ideology and culture. With one exception, Indian Buddhism was introduced into China in the middle of the Eastern Han Dynasty. In the pre-Qin period, the person with the highest thought was Laozi, the first ancestor of pre-Qin thought. Laozi and Confucius have a teacher-apprentice relationship. Confucius left a comment on this teacher: "I see Laozi today, just like seeing a dragon." This is the famous saying of Yulong. When I saw Laozi today, I finally knew what the dragon looked like.

At that time, Laozi kept the history books in the Zhou Dynasty, which was equivalent to the “National Division”. He was the consultant of all the knowledge of the royal family and princes of the Zhou Dynasty, and he was the highest representative of the national culture. It is said that in the 22nd year of Lu Zhaogong, that is, 520 BC, a major event happened. Due to the issue of succession to the throne, more than a dozen children fought for the throne and serious royal infighting broke out. The civil war lasted for more than a decade, and the prince finally failed.

It is said that he fled to the State of Chu with a large number of Zhou royal books. And Laozi, a historian of the Zhou royal family, is equivalent to the current director of the National Archives Library. If all books and documents are taken away, Laozi will naturally lose his job, so Laozi resigned to travel around the world. This is what we say. It is recorded in the history books that Laozi is sometimes in Chu, sometimes in the State of Chen, and sometimes in the State of Song. Finally, Laozi returned to Qin and died in Shaanxi. This is the historical relics of Laozi.

In order to understand Laozi's thought, we can only start with his Tao Te Ching. The morality of Laozi is very different from our literal meaning today. The book is divided into two volumes, the Tao volume, the outlook on the universe and nature, the moral volume, and the social outlook and outlook on life. Tao is the general law of the operation of heaven and earth, and virtue conforms to the Tao of heaven. The core of Taoism is weakness, and the core of moral theory is inaction. Laozi constantly criticizes that the development of human civilization is a process of deviating from the way of heaven and losing material morality.

===4.1.2The interpretation of Tao===
Laozi said, "Tao gives birth to one, one to two, two to three, and three to all things." This sentence means that Tao derives a chaotic state that even heaven and earth does not appear, chaotic state derives heaven and earth, heaven and earth derives animals, plants and people, animals and plants and people finally derive all things in the world, and all things refer to life and matter. This shows that Laozi believes that all things in heaven and earth evolved gradually. The concept of evolution existed until the 18th century, and it is unusual for Laozi to hold the idea that everything evolved from a family of things 2600 years ago.

"Heaven is Tao, Tao is long" also expresses the difference between persistence and stability in this evolutionary sequence. Tao is persistent and stable. Therefore, Laozi believes that the stability of matter is gradually lost in the process of evolution.

Then he said, "Heaven and earth are not benevolent, and we regard all things as ruminant dogs. If saints are not benevolent, they will treat people as ruminant dogs. " The ruminant dog here is a dog that is only sacrificed with grass, referring to lowly things. It means that heaven and earth are not as fastidious as human civilization, and he treats all things equally and will not give special care to anyone. As a result, all things follow the trend and exist forever. Then the way of man should conform to the way of heaven, so the people who manage the world should do nothing, do not use civilization to derive too many tricks, this is against the way of heaven, it will only destroy the state of human existence.

"it is as good as water, so it is like the way." Laozi uses figurative water to describe the natural way in which Heaven operates, and the best state is like water. Nourish all things without competing with them, and flow downward, in the lowest position and hated by all, which is closest to the Tao.As Liu Xiao dared to say: "the topic of 'Tao and nature' clearly marks the status of nature as the highest principle and the highest value, so its spirit permeates all aspects of Laozi's thought, without mentioning the word 'nature' everywhere.”（刘笑敢，1995）

Laozi is criticizing that the competition pattern of human civilized society is contrary to the way of heaven. In the primitive gentile society, there was public ownership of property, and no private property, and there was no competition. After privatization, a fierce competition pattern was formed, and everyone strived for the top, so the world was in disorder and life was restless. But there is no such competitive pattern in the operation of heaven and earth.

"Heaven and Earth can not be long, and people are even less likely.” The most primitive derivative of heaven and earth can not be eternal, and how weak people are. ”the softest thing in the world can control the hardest thing in the world.”To be gentle, the weakest of course refers to human beings, but people can control things that are much stronger than we are. He found that the weakest human beings with a very low degree of existence have the ability to control objects with a very high degree of existence.

Finally, the Taoist scroll summed up the word "weak", which appeared as many as 11 times in Laozi's text of 5000 words.

===4.1.3The interpretation of Te===
The original word of Te's oracle bone inscription is a person walking on a road with a fork , staring only at the front and moving forward wholeheartedly. In other words, to act in accordance with the way of heaven is virtue. Therefore, the morality mentioned by Laozi is not the same thing as the morality we are talking about. The general law of the operation of heaven and earth is Tao, and it is virtue to comply with the Tao of heaven.Virtue is a part of Tao.（张岱年，1982，24）

He added: “Follow the way all things run, do not have any superfluous action, means morality." He continued to criticize human beings: "when the Tao is lost, people attach importance to the promotion of virtue, when virtue is lost, people attach importance to the promotion of benevolence, then righteousness, and finally propriety." When we advocated virtue（means Te）, we had already lost the Tao, so we began to talk about benevolence, and then we could not even protect the heart of benevolence, so we could only give handouts, and finally lost all Tao, virtue, benevolence and righteousness, and could only give etiquette. Etiquette is the summation of national political law and folk etiquette. It was only when we discarded all these that human civilization began the violent control of severe punishment and draconian laws.In other words, the rulers regulate the world with benevolence and righteousness, and people all over the world run for benevolence and righteousness, abandon their own nature and disguise themselves with benevolence and righteousness.（陈霞，2017）

Another sentence is also very clear: "A person with deep moral self-cultivation is like a newborn baby." only a baby born within 7 days is virtuous. Civilized people develop their own wisdom, form a highly intelligent group, release their greed, and constitute a competitive society. In fact, this is a process of deviating from the way of heaven and losing material morality.

So what are we supposed to do? Laozi said: "to wear away people's sharpness, sharpness and edges, to extricate themselves from disputes, to blend into all phenomena of light, and to mix with the dust of the earth, the greatest is also the smallest. This is called subtle unity." It means that we should close our channels of facial features, do not accept too much external information, close the door of the spiritual world, and frustrate the great aspirations of civilization. Only in this way can we resolve disputes in civilized society.

Therefore, the center of Laozi's theory of morality(means Te) is this sentence: “There is nothing to do ." Virtue means walking along the way, and nothing else is needed. It can be summed up as the word "inaction". Inaction means opposing all civilized actions.If you do nothing, there is nothing that cannot be done. “有为”（means action） means that they cannot practice "Tao". Although they are always inseparable from virtue and fame, they are purposeful, purposeful, camouflage and deceptive.(陈霞，2010)

His ideal is to return to the primitive gentile society, the country is small and the people are few, even if they have advanced tools, the people value life and death and do not leave their hometown, and they are not bound by beliefs such as brave sacrifice. Even if there are cars, boats and weapons, no one uses them. People return to the simple state and enjoy the simplest happiness of life. Countries also return to the animal kinship society, wolves will eat sheep, but wolves will never eat wolves, the same kind will divide the territory of life, there will never be slaughter. To return to the uncivilized state of existence. “The country is smaller, the people are more stupid, the things are simpler, and the things are simpler." This is Laozi's real ideal.

We all have a forward-looking perspective, and thinkers can make up for the backward perspective and mobilize our thinking to know the facts. The most important thinkers in the history of human thought, such as Laozi, Confucius, Plato and Rousseau, all expressed the tendency of anti-civilization.

===4.1.4The cause of the thought of Laozi===
Why did Laozi have such a reactionary moral theory and social view?

At that time, East Asian civilization was limited to the Central Plains, which was called the Central Plains civilization. He is surrounded by uncivilized people who don't have to reason logically. In the civilized Central Plains, interpersonal relations are tense, intrigues and wars are everywhere. Shang destroyed Xia, Zhou destroyed Shang, to the Spring and Autumn period, more than 180 vassal states became one, while looking around the primitive clan society, the uncivilized and uncivilized society was peaceful.

Therefore, by comparison, Laozi can find that civilization is a disaster and the trend of civilization is bad. Laozi believes that all things in heaven and earth originally developed harmoniously like Tao, but human beings gradually deviated from Tao because of their pursuit of selfish desires, resulting in conflicts between man and nature, man and society, man's body and mind and so on.（黎千驹，2022：93-101）In Laozi's text, his view of reactionary society is expressed very clearly. Many ancient thinkers held a critical attitude towards civilization, because civilization was only a small seedling at that time, they could see the whole picture and development trend of civilization, and they could see that it was a process of disaster. This is the basic social view of the Chinese sages in the pre-Qin period. This was also the cause of the tone of conservatism in Chinese culture at that time, in which there was a far-reaching vision, which laid an important foundation for China's stable survival for more than 2000 years.

===4.2The thought of Confucius===
Confucius and Laozi, although they are masters and apprentices, their cultural characters are diametrically opposed.Confucius is best reflected by a sentence in the Analects of Confucius, "knowing that it cannot be done". I know full well that I cannot do it, but I will still try my best to do it, expressing a cultural attitude of actively participating in social activities, which is summed up as "joining the world”.

And what about Laozi? His cultural character is extremely negative. The most representative are the words "do nothing but do nothing" in the Tao Te Cing, which means that tough I did nothing but I have done everything, which is ridiculous. In fact, it means that Tao derives all things from heaven and earth, but does not see any superfluous action. Laozi is extremely negative , summed up as "born", born out of the world. This is why Sima Qian added a special sentence in the Biography of Laozi in Historical Records, calling for different ways to conspire against each other. It means that the Tao between Confucius and Laozi is different, although the two are master-apprentice.

===4.2.1The characteristic of Confucius' theory: insipid===
Confucius and his Confucianism are almost the soul and benchmark of Chinese traditional ideology and culture, leading Chinese mainstream ideology for more than two thousand years. This is a situation that we can hardly see anywhere else in the world except religion. However, compared with Laozi, Confucius' theory is shallow and straightforward. Because Confucius is concerned with the real social and political problems, while Laozi is concerned with the ultimate problem. Therefore, Confucius' theory is very insipid.

In fact, the core of Confucius theory is that monarch and subjects, father and son. The first word is a noun and the second word is a verb. What he means is that the king should be like a gentleman, the minister should be like a minister, the father should be like a father, and the son should be like a son. The doctrine of Confucius is such a straightforward statement. Hegel said, he said, "Confucius' books are just full of old moral lessons." These are his exact words. He even said that it would be better not to translate his books, which would damage his glorious image. Obviously, there is a gap in Hegel's expectations of Confucius. The West was in a state of religious repression at that time. At that time, Westerners knew that there was an empire governing the country by virtue in the East, and its management model established social order on the basis of human ethics and morality, which was much milder than the suppression of human nature by the theocracy in the West. Therefore, they were extremely envious of the East, coupled with some untrue legends at that time, they thought that the East was extremely rich. Therefore, the western philosophers and academic and cultural circles at that time regarded China as the paradise of the East.

===4.2.2The features of Confucius' time===
1. Confucius was born at the end of the Spring and Autumn period, the phenomenon of national destruction occurred constantly, and the monarch was killed constantly. Only 43 cases were recorded in the history books in the past 255 years. And everything went haywire. There is no war between human beings and animals before civilization, and the struggle within the animal species only occurs during estrus for reproductive resources, and this is also an individual struggle. As soon as the outcome is divided, the struggle stops immediately. You don't want to kill each other, let alone a collectivized war. It is only after human civilization that brutal internal killings occur.

2. In ancient times, there was no severe punishment and severe law, and the country was ruled by virtue. The clan tribal society has always maintained social stability with a soft moral system. Confucius said: "if we govern the people with government decrees and restrict them with penalties, they will be free from sins, but they will not feel it shameful to disobey the rule; if we rule the people with morality and bind them with etiquette, the people will not only have a sense of shame, but will correct their mistakes." If the society is managed by penalty, people will not touch the bottom line of the law in order to evade the punishment of the law, but there will be people to do anything that is not prohibited by law and no matter how immoral it is. Moral ties are no longer enough to maintain social stability, so they have to be regulated in a violent way. Confucius called it the collapse of etiquette and music. The more civilization develops, the more complex the society becomes, and it becomes extremely difficult to survive only with a simple heart in a highly complex society.

3. The characteristics of this period:Let's take a look at how the first great social transformation was carried out in the pre-Qin period from the economic, political and cultural aspects. Economically, with the rapid development of productive forces in the pre-Qin period, agricultural civilization tends to be stabilized, farming techniques are widely used, bronzes are widely used, and iron has appeared in farming tools. As we all know, in the early years of mankind, although agricultural civilization took place 8,000 or even 10,000 years ago, in the early thousands of years of agricultural civilization, the way of life of hunting was still dominant. Agricultural farming is still only an auxiliary part of human means of livelihood and food and food materials.

When agriculture develops to a certain scale, the scope of land reclamation becomes larger and larger, and forest vegetation is pushed far away, human beings will completely return to agricultural civilization from the way of life of hunting and gathering civilization. Therefore, the full maturity of agricultural civilization requires large-scale population development, large-scale land reclamation, large-scale destruction of trees, and then people can not reach the forest. Only at this time can agricultural civilization be completely stable. Therefore, after thousands of years, China's agricultural civilization did not take shape until the Zhou Dynasty, and hunting and gathering became a secondary source of feed for life. Not only that, in the Spring and Autumn period, the sprout of industrial and commercial civilization appeared in China's agricultural civilization. With the development of agricultural civilization to a certain extent, due to the gradual complexity of agricultural production tools, a considerable number of products are made of non-agricultural products. The early production of non-agricultural products was done by the farmers themselves. Such as building houses, weaving cloth, and even making pottery, but with the further development of the division of labor, with the further complexity of people's lives, a large number of things cannot be completed by farmers, such as more complex and diverse pottery production, the smelting of bronze, the production of tools, all these things will cause the division of labor to appear in agricultural civilization.

With the emergence of the division of labor, some people no longer work in agriculture, but only make certain products for use by others. We do not use this for our own use, but make it for use by others in exchange for goods. This product is called a commodity. As soon as the commodity appears, the exchange takes place. The exchange activity in the early years of mankind was barter, because there were very few kinds of goods. So if the variety of goods continues to increase, the other party does not need what you want to exchange, and you do not often have what the other party needs. Therefore, there is a need for some kind of unified scale of exchange and medium of exchange, also known as general equivalents, that is, such a commodity in which it can measure the value of any commodity, which is money. Therefore, the emergence of money marks the emergence of human exchange, or division of labor, or commodity economy, to a considerable extent. But in the pre-Qin period of China, money had already appeared. It indicates that China's agricultural economy matured on a large scale and the sprout of commodity economy has generally occurred in the pre-Qin period.

Let's take a look at the political form. The authority of the emperor of the Zhou Dynasty has fallen, and the original feudal social ties have been lax. Not only that, the vassal states grew up, the activities of annexation of the world continued to occur, national annihilation events emerged one after another, international wars continued to occur, not only that, it unexpectedly appeared a major change in the form of social class. As we all know, the king of Jin in the Spring and Autumn period was rebelled by four important courtiers, namely, the famous Han, Zhao, Wei and Zhi families. At this time, a famous political figure named Zhao Wut appeared in the Zhao family. He announced the liberation of all slaves in Zhao and gave away 30 mu of land. at the same time, he announced to all countries in the Central Plains that if any slaves fled to Zhao from other countries, they would liberate their lives and give away land. Zhao Xiangzi's move led to the instant collapse of slavery in the land of China. Why? Because the idea that the people are precious is a typical feudal thought. That is, for any feudal lord, his best interest lies not in the size of his fief, but in the population of his fief. Because the greater the number of families and population, the greater his tax benefits. Therefore, Zhao Xiangzi liberated the slaves and he got the people. He got two major benefits. First, labor resources, the number of people; the second soldier. Therefore, this led to the liberation of slaves all over the surrounding countries, his citizens would flee, and slavery quickly disintegrated on the land of China.

The pre-Qin period is the era in which Chinese traditional culture was fully formed.

===4.2.3Confucius theory===
The core of Confucius' theory is "monarchs and subjects, father and son". That is to say, Confucius used the most primitive blood social button to rectify the social structure of the super-blood unstable society. In rebuilding the order of the rule of etiquette, Confucius "did not extroversion to heaven and earth but introverted to the hearts of the people, and finally settled on 'benevolence’.”（余英时，2014）

And what is the consanguinity society? It means there is a difference in love. It has something to do with sociobiology. In the middle of the last century, biologists found that all living things and all animals live in social groups. Social biologists have found that the emotions and love of all animals are different. For example, parents love their children most strongly, followed by brothers and sisters. The cub state of any creature needs to be cared for by its elders, otherwise he will not survive. So emotionally, the relationship between parents and children is the heaviest, and then between children, followed by brothers and sisters.

Human agricultural civilization took place in the era of consanguinity society. On every mu of land, we must work together and cultivate carefully in order to get enough food and clothing. This is the basic feature of agricultural civilization. The structure of consanguineous ethnic groups is the most readily available and favorable way to form this stable cooperation.Here we talk about benevolence at most, more than a hundred times.（李泽厚，2008）

===4.3The thought of Shang Yang===
===4.3.1The introduction of Shang Yang===
The emergence of Legalism marks the retreat of Confucianism. With the high development of agricultural civilization to the pre-Qin and Spring and Autumn periods, the population has soared, class society has been divided, interpersonal relations and resource relations have gradually become tense, and the competition in human society has become increasingly fierce. It can even be said to be getting worse and worse, so the Legalists began to emerge, and the soft Confucianism withdrew. Legalist doctrine shows the darkness of human nature.

Shang Yang was the most representative figure of the Legalists, and he did a very successful thing. It was Shang Yang's reform that helped Qin realize the reform from the rule of virtue to the rule of law. Shang Yang was able to reform in the State of Qin, of course, the main credit went to Qin Xiaogong. At that time Shang Yang is only a guest minister, and he does not have any political influence in the State of Qin. And any reform must touch the interests of the original aristocratic interest groups in the State of Qin and cause the counterattack of the aristocratic groups. He relied entirely on Qin Xiaogong to bear it, so that Shang Yang could continue to reform.

Shang Yang was very lucky. although Xiaogong was under great pressure and died of illness at the age of 44, he accompanied Shang Yang's reform for more than 20 years. As soon as Xiaogong died, Shang Yang was immediately retaliated by aristocrats. Although King Qin Huiwen, the next king, killed Shang Yang, it was not easy to solve the long-term accumulation of reform for Shang Yang. And King Huiwen of Qin was well aware of the effectiveness of the reform of Shang Yang, and continued the reform of Shang Yang. After the implementation of the later six kings, the government of the king of Qin finally unified the world, and from then on he was known as the first emperor. So we can say that thanks to the reform of Shang Yan, the king of Qin unified the world and became Qin Shihuang.

Shang Yang's reform has two characteristics. First, it is determined to reform without regard for personal safety. Second, he pays no attention to the outside world. As we all know, the average politician must first be able to deal with personnel, but this is not the case with Shang Yang. Liang Qichao, the most famous scholar in the era of the Republic of China, once said that only six people in Chinese history could be called politicians, in other words, other people could only be called politicians, and one of these six politicians was Shang Yang.

===4.3.2Shang Yang's reform===
In the early days of the reform, he set up a large piece of wood at its south gate in the then temporary capital of the State of Qin, called Yueyang. Then tell anyone in the public that if you carry this wooden rafter from the south gate to the north gate, you will reward ten gold. Gold in the pre-Qin period was not gold but bronze, but a jin of wealth was equivalent to the total harvest of a peasant family in a year, and ten gold was equivalent to the total harvest of a thousand years of farmers, which was a great opportunity to make a fortune. However, all the people watched and laughed, thinking that the official words could not be trusted, because it was too strange, and it also showed that the credibility of the Qin government was not high. As soon as Shang Yang saw that no one was involved, he raised 50 gold. At this time, a young man came out. He said that I carried this piece of wood to the north gate. Even if the government lied to me, there would be no great loss. I would try to carry it over. So carrying the wood to the north gate, Shang Yang immediately rewarded fifty gold, and this man became rich instantly, which is the famous allusion of Qianmu Lixin. What is Shang Yang doing? he is telling the people of the Qin Dynasty that Shang Yang's reform is true. The fundamental spirit of Legalism is that the law is absolutely sacred and the government is not allowed to act outside the scope of the law.（梁启超，2015）Please abide by the law.We can see the wisdom of Shang Yang in practicing the law from this very small matter.

With regard to the detailed rules of Shang Yang's reform, we give a brief account of the main items.

First, to force people to learn the lowest level of etiquette, this etiquette is not a Confucian culture, but to get rid of the barbaric wind and establish a modern social configuration at that time.

Second, every citizen should be forced to have a legitimate job, and no one should be idle. What is the national occupation? Take measures to attach importance to agriculture, that is, to develop all the wasteland of Qin. Just like today's British princes are going to serve in the army for some time. Shang Yang stipulated that anyone, including the children of aristocrats and rich businessmen, who were idle, should be sent to the frontier to open up wasteland. From this we can see that Shang Yang's reform is the same as Wu Qi. If he wants to change the national policy, he must deal with the original political structure formed by the original aristocracy, which is of course a serious violation of the interests of the aristocracy.

Third, he also stipulated that a family with two adult men must be separated. There are two benefits: increasing labor enthusiasm and taxes. The reason is that in the big family system in ancient China, everyone ate in a big pot, and because communism was practiced within the family, everyone had no enthusiasm for labor. No matter how much I put in, I will share it equally with everyone and distribute it according to needs, so my enthusiasm for labor is not high. When it comes to a legal society, we should establish a tax system. Tax is based on the family, if the family is large, the tax base is very weak. For these two reasons, Shang Yang's reform requires that any man must be separated once he is married as an adult.

Fourth, reward farming. Qin people banned business, that is, the people of Qin were not allowed to do business, but only allowed to engage in agriculture. The income of commercial activities is much higher than that of agriculture, so China has adopted the national policy of emphasizing agriculture and suppressing commerce since ancient times to suppress businessmen, so where to deploy resources? Preferential treatment for foreign businessmen. That is, businessmen from other countries around the world will give preferential policies if they come to do business in the State of Qin. It is a bit like the situation in the early days of Deng Xiaoping's reform, which does not mean that we are advanced, but that we are similar to those of more than 2,000 years ago. Foreign businessmen went to Qin to do business to solve the problem of resource allocation, so they gave preferential policies to foreign businessmen, so the Qin people engaged in agriculture and foreign businessmen did business, forming an extremely reasonable national economic structure.

Looking at Shang Yang's reform, the degree of Shang Yang's reform is no less than any revolution. It carries out reforms not only in the economic field, but also in the political field, and it even changes the state system, which used to be a feudal system and has since been an autocratic monarchy. It is not a general political reform, it is a fundamental change of the state system. This kind of thing can usually be accomplished only through revolution. Shang Yang's reform basically adopted the way of no bloodshed and non-violence, and completed this revolutionary reform. This is very rare in history, which is why Liang Qichao said that Shang Yang is one of the only six major politicians in China.Liang Qichao spoke highly of the theory of "rule of law" of ancient Chinese legalists represented by Shang Yang, and thought that "the theory of Legalists means that no matter whether they are wise or wise, they must act within the scope of the law. This is the essence of the theory. “（梁启超，2012)

===5.Conclusion===
With regard to the hundred schools of thought, we discussed in detail the three major factions: Laozi, Confucius and Shang Yang. The writing purpose of this paper is not only to review the path of the ancients' thoughts, but also to let everyone know that when we are faced with a social transformation, a major social confusion and an increasing amount of information, how do we imitate our predecessors to face reality, put forward new problems and put forward new ideas? In this way, human beings will open up a channel for their future survival, which is the most important enlightening significance of this paper.

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===Terms and expressions===
*孔子 Confucius

*轴心时代 The axial age

*几何学 Geometry

*国学思想 Sinology thought

*道德经 Tao Te Ching

*财产公有制 Public ownership of property

*儒学 Confucianism

*青铜器 Bronze Ware

===Questions===
*1.What is the relationship between Confucius and Laozi？
*2.Which school does Shang Yang belong to?
*3.Is the thought of Laozi very positive?

===Answers===
*1.Confucius is a student of Laozi.
*2.Legalists.
*3.No，the thought of him is negative.

==英语笔译谢晓莹 Xie Xiaoying 202170081601==
<center>'''The Acrobatic Fighting in Peking Opera'''</center>

<center>Xie Xiaoying</center>

===Abstract===
Known as the quintessence of Chinese culture, Peking Opera is an intangible cultural heritage of China and the world with profound cultural heritage. Among the four basic skills of "singing, speaking, acting and combating" that Peking Opera emphasizes, "combating" is the highly artistic refinement of fighting scenes in daily life. The acrobatic fighting in Peking Opera have made great contributions to shaping the characters and enriching the plots, which has become a highly expressive and infectious dance language in Peking Opera performances. With a long history, it draws nourishment from the chivalry culture of ancient China, puts the traditional Chinese martial art culture on the stage, and develops distinguished artistic skills and aesthetic characteristics. Starting from the martial spirit and chivalrous culture of ancient China, this paper expounds the origin and development of acrobatic fighting in Beijing Opera, analyses the reasons of its significant place in Peking Opera based on its artistic techniques, and explores the development path of it in new era, so as to deepen people's understanding of the Peking Opera and carry forward the traditional culture of the Chinese nation.
===Key words===
acrobatic fighting; Peking Opera; martial spirit; chivalry culture; artistic techniques; inheritance and development
===Introduction===
Peking Opera is the most influential opera in China, with its center in Beijing and spread throughout the country. During its long artistic history, Peking Opera has continuously absorbed nutrients from the traditional Chinese culture and people’s daily life and developed into a magnificent flower in the opera garden (Zhang Yinhe 2013, 15). As the product of the merging in Peking of Anhui and Hubei opera styles in the late 18th and early 19th centuries, Peking Opera has a set of standardized forms of artistic expression in literature, performance, music, stage art and other aspects. There are four character roles in Peking Opera, that is, Sheng, Dan, Jing and Chou, each with a set of performance procedures and distinctive skills in singing, speaking, acting and combating. Historical stories are the main content of Peking Opera. There are more than 1300 traditional operas, of which more than 300 are often performed. As an important form of expression of traditional Chinese culture, Peking Opera has a wide influence all over the country, and various artistic elements of it are regarded as symbols of traditional Chinese culture.

"Combating", one of the four basic skills of Peking Opera, is not only an indispensable means of expression, but also clearly reflects the important position of martial arts in Peking Opera performance. As a traditional Chinese national art, acrobatic fighting is a kind of stage art that borrows offensive and defensive movements of martial arts as a means of physical expression. It absorbs action materials from martial arts and enriches performance skills. In Beijing Opera, the entertainment of acrobatic fighting comes from the acrobatic nature of martial arts. In performance of acrobatic fighting, there are often combat with knives, guns, sticks and other instruments, as well as pair combat and hand-to-hand combat performances, which are so intense that they can always attract the audience and give them associations and resonance. Therefore, although some acrobatic fighting performers are not excellent in singing and speaking, they are able to create distinctive characters with their excellent martial art skills and win great reputation (Liu Haikuan 2005, 58).

The acrobatic fighting represented by Peking Opera was an inexhaustible artistic treasure house for other art forms at that time in terms of costumes, martial arts, instruments, Qupai, performances and choreography, providing rich creative space for directors, scriptwriters and actors from generation to generation. However, the decline of the Peking Opera and the operas with both singing and martial characteristics in the current society is a cause for concern, and it is necessary to have a comprehensive understanding of Peking Opera and explore ways to continue its development in the contemporary society.

This paper consists of three chapters. Chapter one gives a brief overview of the origin of the acrobatic fighting in Peking Opera, including the inheritance of the martial spirit of the Chinese nation and the influence of ancient chivalry culture. Chapter two introduces the artistic skills of the acrobatic fighting in Peking Opera and analyzes the character of Zhao Yun and the performance Crossroads based on this skills. Chapter three discusses the inheritance and development of the acrobatic fighting in Peking Opera, such as digging out the lost plays by seeking experience from the predecessors and collecting drama notes from the veteran fans.
===Literature Review===
Peking Opera has a history of more than 150 years since its formal formation in the Tongguang Period in the late Qing Dynasty. Although it is impossible to give a standard answer to the question of the repertoire of acrobatic fighting in Peking opera, it is still possible to find almost all the repertoire in many books that record the repertoire of Peking opera. However, throughout the research on the artistic theory of Peking Opera for more than one hundred years, the research on the martial drama is relatively weak compared with the research on singing drama. On the one hand, the research results on the martial drama are fewer and more difficult than that on the singing drama. On the other hand, among the few articles and treatises on acrobatic fighting, most of them are about famous performers, repertoire, and techniques, while few of them are about the origins, development, current situation, and solutions of problems of acrobatic fighting in Peking opera, and few of them are about a comprehensive study of acrobatic fighting in the context of Chinese history and national psychology (Du Peng 2014, 5).

Over the past hundred years, the research works related to the acrobatic fighting can be roughly divided into the following categories: (1) The discussion of the performing skills of the acrobatic fighting. Most of the articles and books about it are summaries and records of technical skills, while some of them also have the requirements and explanations of famous artists for skills of acrobatic fighting, such as ''The Role of Acrobatic Fighting in Traditional Chinese Opera'' by He Jinhai. (2) Repertoire statistics and script compilation. As for the acrobatic fighting repertory in Peking Opera, one can find it in many books recording Peking Opera repertory, such as ''A Compilation of Traditional Peking Opera Scripts''. (3) Collection of art criticism by famous performers. These books contain both the actors' own experience of performing acrobatic fighting and memories of fans and the drama critics who have watched the performances of these famous artists, such as ''The Collection of Art Criticism about Yang Xiaolou'' edited by Dai Shujuan et al. (4) Treatises on memory of famous artists. Most of these works were written by famous Peking Opera masters and recorded by others, which are regarded as important first-hand materials, such as ''A Miscellany on the Performing Arts of Peking Opera'' narrated orally by Qian Baosen and compiled by Pan Xiaofeng . (5) The works of the drama critics. These works not only have a good account of some of the Peking Opera's acrobatic fighting and famous schools, but also have a great contribution to the study of the aesthetics and theories of Peking Opera, such as Qi Rushan's ''The Art of Chinese Opera''. (6) Biographies of famous performers. These works include the memory and summary of the life of the predecessors by later generations. Among them, there are performance materials of famous artists about acrobatic fighting and operas with both singing and martial characteristics, such as Song Danju's ''Stage Art of Song Dezhu''. (7) Dictionaries related to Peking Opera. Such books summarize the expression of special nouns of acrobatic fighting in Peking Opera, such as ''Dictionary of Peking Opera Culture'' by Huang Jun and Xu Xibo.
===Methods and Theories===
Based on the research method of discovering problems, studying them, and solving them, this paper takes the development of acrobatic fighting in Peking Opera as the main clue, involving the study and analysis of its origin, characteristics, current situation, and future development, and seeks effective methods and approaches for the rise and prosperity of acrobatic fighting in Peking Opera while exploring the inner artistic characteristics of it.

This paper starts from the origin of acrobatic fighting, which involves social culture, social psychology, national psychology and other aspects, aiming at the analysis of performance skills of acrobatic fighting in Peking Opera with justification and evidence, and also focuses on the practicality of the theory of the article with the research method of theory in practice. In addition, the breadth of the material requires a more sophisticated research method to be effective. The study of acrobatic fighting in Peking Opera involves a variety of knowledge, including social psychology, history, theater and operatic studies, and Peking Opera performance studies. Only after reading and inquiring enough literature information related to acrobatic fighting in Peking Opera can we have a more comprehensive understanding of it.
===Origin of the Acrobatic Fighting in Peking Opera===
'''1.Inheritance of the Martial Spirit of the Chinese Nation'''

Throughout the five thousand years of Chinese civilization, the Chinese nation has always been characterized by the endless worship of literature and active martial spirit. They influence each other, depend on each other, and cannot be separated from each other. It is the consistent requirement of the Chinese nation for social talents to be both civil and military. Just as Liang Qichao said, " The martial spirit of the Chinese nation is its original nature" (Liang Qichao 2006, 21).

The ancient Chinese people lived in the Yellow River basin with harsh natural environment, men hunting and women picking fruits, accompanied by inter-tribal strife, resulting in the worship of the primitive ancestors of force to the extreme. In following dynasties, in order to defend the country, the martial spirit continued: During the Spring and Autumn Period and the Warring States Period, the oftenness of war led to a great number of warriors; In the Western Han Dynasty, when the Hsiung-nu came south to invade the people, Wei Qing and Huo Qubing, two brave generals who were good at fighting defeated them; In the Tang Dynasty, during the Wu Zetian period, The system of selecting scholars for martial arts examinations inspired the poets to join the army and go to the frontier; At the end of the Qing Dynasty, when the western powers invaded China, many famous boxers, such as Huo Yuanjia, defeated the foreigners with martial arts and got rid of the title of “Sick Man of East Asia”... During these wars, the cohesion of the Chinese nation increased and the lives of the common people were greatly affected. Aggression inevitably leads to resistance. Force is the most direct and effective way of wage war of aggression, and it’s also the most advocated way of anti-aggression. With the outbreak, development and end of war of aggression, the military culture has infiltrated into the traditional culture of the Chinese nation stealthily (Du Peng 2014, 20). The social environment provides a strong accumulation of social psychology and national psychology for the generation of war culture, so it can be found in every corner of the traditional Chinese culture. It is not difficult to find the existence of war culture and martial spirit in characters, poems, novels, paintings, operas and dramas.

"Once the traditional thinking mode of a nation is formed, it will have the tendency to constrain the nation's mental activities, which some people call psychological stereotypes in psychology" (Jia Zhigang 1996,129). The martial spirit, which has been existing in the blood of the Chinese nation for thousands of years, has a great influence on the heroes on the stage of Peking Opera and the production of acrobatic fighting plays. The national heroes and heroines emerging in various dynasties have provided prototype materials for the characters of martial arts in Peking Opera. Out of the desire for the description of fighting and war between gods and ghosts, and the call for punishing evil and praising national heroes, a large number of acrobatic fighting elements appear in Chinese operas. Among them, the creation and expression of characters of famous generals like Ban Chao, Han Xin, Xue Rengui and Yue Fei are all from real characters in Chinese history, rather than mythological characters and stories. Although there are exaggerations, they are generally based on historical evidence, different from a large number of ethereal characters in ''Journey to the West''.

'''2.Influence of Ancient Chivalry Culture'''

The various schools of thought and folk customs have a profound influence on the martial spirit of the state. Conversely, the martial spirit of the state also acts on the courageous characteristics of the people. In a cultural environment with orderly royal control and distinct social hierarchy, it is very unlikely to challenge the traditional social norms including royal power by force (Li Xiaojing 2013, 23). Since the middle of the Spring and Autumn period, with the profound economic, political, social and cultural upheavals, a series of unprecedented new factors constantly emerging, the chivalry culture was born.

"Chivalry" contains three characteristics: commitment, righteousness, and lightness of life and death. Life is inevitably critical, coupled with social injustice and not all-inclusive law, "chivalrous justice" is indispensable. And these chivalrous and righteous people always put other people instead of themselves first, strive to solve other people's difficulties and match their words with their deeds. During the Three Kingdoms period, Liu Bei was fond of making friends with chivalrous men when he was young; In the Eastern Jin Dynasty, Zu Ti got up upon hearing the crow of a rooster and practised with the sword day by day only to serve his country; In Tang Dynasty, many poets wrote to praise the quality of chivalrous men; In the Ming Dynasty, famous novels such as Water Margin enriched the image of chivalrous men...

With the gradual enrichment of martial novels, a large number of commentary artists changed them into various versions of sung commentaries and preached them around to popularize them. Later, the storytelling artist Deng Guangdou even created a new style of comment which added the boxing skills in storytelling. In other words, he showed the boxing skills when commenting on Wu Song, making the audience not only feel like seeing Wu Song, but also marvel at the storytellers' excellent boxing skills. This style of performance, in which the chivalry of the book is expressed in the real kung fu of the storyteller, fully demonstrates the brilliance of the chivalrous characters depicted in the novel and the richness of the storyteller's own performance techniques, and promotes the development of the book review (Du Peng 2014, 34). And these novels and book reviews depicting chivalry had a huge impact on the emergence and development of acrobatic fighting repertoire in the art of opera: The chivalrous characters in the books provided a rich cast of characters for Peking Opera; The novel reviews were interpreted into acrobatic fighting repertoire in Peking Opera; The depiction of characters in the novel reviews permeated Peking Opera costumes; Many of the language and customs from the book reviews were directly inherited from Peking Opera... Thus it can be seen that chivalry culture and crime novels of Ming and Qing Dynasties have a profound psychological impact on Chinese people, and have a direct impact on opera art, especially the acrobatic fighting in Peking Opera.
===Artistic Skills of the Acrobatic Fighting in Peking Opera===
'''1.Aesthetic Techniques'''

Nourished by traditional aesthetic thought, the acrobatic fighting in Peking Opera originates from traditional Chinese culture and have a consistent aesthetic sense of it. As the embodiment of the characters' valor happening in the fierce battle scenes, acrobatic fighting in Peking Opera is characterized by being absolute aesthetic, which is also the feature of the art of Peking Opera. Turning martial art into dance and then turn it into beauty, acrobatic fighting in Peking Opera makes what is originally a cruel and bloody scene into aesthetic stage art, showing the charm of Peking Opera. Therefore, whether it is a tumble or a move, it is possible to find their common characteristics in the traditional aesthetic thought of "observing objects and taking images", "integrating movement and stillness", and "combining both form and spirit". (Du Peng 2014, 60).

Due to the characteristics of the means of expression, the plot of the acrobatic fighting is relatively simple, and the psychology of the characters is not so delicate, which makes it more difficult to reflect the ideological content that makes people recall repeatedly and think deeply. The audience understands and recognizes these limitations, and even needs and appreciates them out of preference. The requirements of acrobatic fighting are different from those of singing operas. While acrobatic fighting should certainly teach people patriotism, noble virtues and historical knowledge, the direct manifestation of its value lies in its aesthetic role, i.e., to give the audience its unique healthy aesthetic enjoyment and beauty, and to enrich and enhance the appreciation of the public (Liu Haikuan 2005, 58).

The formal beauty of acrobatic fighting is typical of masculine beauty. What it generally reflects is either military hardware and magnificent battle scenes, or fierce and hand-to-hand combat, or fearless heroes with lofty ideals. These characters are brave and tenacious with superb martial power, moving forward under the fierce music on stage. They have a kind of majestic beauty without decadent and depressing mood, inspiring people to move on. And it is a reflection of the traditional moral concepts and aesthetic requirements of the Chinese people in the art of opera, which has the charm crossing time and space.

The formal beauty of acrobatic fighting has three characteristics: Firstly, the performer's skilled and exquisite somersault skills and kung fu; Secondly, the performer's shapely and beautiful bodies; Thirdly, the beauty of composition formed by the collective cooperation on the stage. The performers combine these three characteristics in a integrated manner, presenting a gorgeous picture of acrobatic fighting. They present a magnificent ancient war scene or a fierce fight in a specific situation in a limited stage space, which reflects the high artistic wisdom of the Chinese people (Liu Haikuan 2005, 58). The acrobatic fighting in Peking Opera generalizes, refines, exaggerates and beautifies life. Not only the actions of the characters are completely choreized, but also the emotions are transformed into the forms of martial arts skills. Everything is unified under the premise of paying attention to the depiction of the inner world of the characters and the authenticity of their thoughts and feelings, and is subject to the overall requirements of formal beauty.

'''2.Typical Characters and Performances'''

The martial spirit of the Chinese nation has a profound influence on Chinese culture. During the two thousand years of feudal rule, most of the warriors and generals carried the martial culture. The military generals and swordsmen of all dynasties exerted significant influence on Chinese society and culture, among which famous military generals include: Sun Wu in the Spring and Autumn Period, Bai Qi in the Warring States Period, Chen Qingzhi in the Northern and Southern Dynasties, Huo Qubing and Han Xin in the Western Han Dynasty, Ban Chao in the Eastern Han Dynasty, Li Jing and Gao Xianzhi in the Tang Dynasty, Yue Fei in the Song Dynasty, and Xu Da in the Ming Dynasty. Famous swordsmen include: Zhuan Zhu and Yu Rang in the Spring and Autumn Period, Nie Zheng, Lu Zhonglian, Hou Ying and Jing Ke in the Warring States Period, etc. While inheriting the martial spirit, they make the chivalry spirit and heroic integrity known to the extreme. These characters are the common archetypes of roles of acrobatic fighting in Peking Opera and the operas with both singing and martial plays. They are also the heroes that people are interested in talking about, playwrights constantly create and artists try their best to show. Among them, Zhao Yun in the Three Kingdoms Period was one of the most special, resourceful and brilliant general characters in Peking Opera. He was brave and courageous with wisdom. His rescue of the master on Steepslope Bridge was recorded and praised by later generations and presented in numerous literary and operatic works. Among the existing drama in the Yuan Dynasty, there are 21 kinds of drama of the Three Kingdoms, among which 8 are about Zhao Yun; In the Ming and Qing Dynasties, there are more than 20 kinds of drama of the Three Kingdoms, of which 7 are about Zhao Yun. The performances of Yang Xiaolou, Gao Shenglin and Li Huiliang have always been praised.

In addition to the image of Zhao Yun, the Peking Opera "Crossroads" is also a representative of acrobatic fighting performances. The play is about Jiao Zan, who escorted the prisoners and stayed in a hotel at crossroads in the border of Song and Liao areas, only to find it’s a ganster inn, where Ren Huitang was also there and saved Jiao Zan after fierce fights. On the one hand, this play combines Chinese martial arts and acrobatic movements into opera performances: It’s easy to find that these martial actors have outstanding martial arts skills. For example, the actor who plays the role of Ren Tanghui, strives to achieve unity and integrity from character personality, spiritual outlook to internal temperament and external image. When he appears on the scene, he raises his legs, leaves his feet and falls to the ground quickly, being light and steady. The first three flexible steps, the slight swaying of the upper body, together with the face looking around and observing the movement, show the resourcefulness and heroic spirit of this battle-hardened general. On the other hand, the play perfectly combines silent action with artistic beauty: With martial skills reaching a certain level, short-distance martial actors can perform with their bodies as light as swallow’s. The play "Crossroads" takes place in a specific place and environment, whose performance requires the actors to have such tumbling skills as "cheating legs", "seven feet". All these require the performer to go through hard exercises and profound kung fu, turning the body into a tool to reflect artistic beauty, in order to win the artistic effect of lightness of body (Fan Qiying Li Guanghui 2008, 50). When appreciating the play "Crossroads", we are often feeling the artistic perception brought by Chinese opera, which is expressiveness. In artistic creation, expressiveness is higher than reproducibility. It has long been recognized that our traditional art has incorporated expressiveness into our performance system. So it's no surprise that "Crossroads" has been so popular.
===Inheritance and Development of the Acrobatic Fighting in Peking Opera===
'''1.Current Situation of Acrobatic Fighting'''

In the mid-twentieth century, Chinese opera schools had rich performances of martial arts repertoire. At that time, there were hundreds of outstanding actors performing different operas. However, after the impact of the Cultural Revolution and the reform and opening up, new art forms emerged endlessly, and people no longer took the opera as a regular entertainment and leisure activity as before. The popular singing repertoire of Peking Opera has been greatly affected, and the acrobatic fighting has suffered a very obvious decline. It is very difficult to see the wonderful acrobatic fighting repertoire on the Peking Opera stage today as it was in the past. Even if there is, the quality of the performances is hardly guaranteed. And in the new performance of Peking Opera, it is hard to see any form of new repertoire that involves Wudan, Daomadan, or even Peking Opera martial arts. The shrinkage of traditional repertoire and the absence of new repertoire in Peking Opera have put the current comprehensive inheritance and development of Peking Opera and even the art of opera in a disadvantageous situation (Zhang Xiaocui 2017, 132).

The decline of acrobatic fighting in Peking Opera and the repertoire emphasizing both literary and military arts in the current society is worrying, which is caused by various reasons, both from the practitioners themselves and from the society. From the performer's point of view, the foundation of the martial arts actors is not good enough and the performance id not so authentic, so the audience is not really satisfied; Some singing actors do not pay attention to the overall development, blindly pursuing the progress of singing skills, so that a lot of operas both with singing and martial skills can not be well preserved, resulting in the shrinkage of the repertoire; The old and new inheritance system bear some difference, so many practitioners today do not practice can also get paid due to the monthly salary system, lacking the perseverance of their predecessors. In terms of the social environment, some plays were lost in the 1930s and 1940s; After liberation, some policies for maintaining unity had an impact on the repertoire of martial arts; The traditional acrobatic fighting ceased during the Cultural Revolution; There were few acrobatic fighting in the new repertoire; The number of actors of acrobatic fighting has decreased (Du Peng 2014, 108).

The disappearance of a large number of acrobatic fighting and the opera with both singing and martial skills has led to the serious division of singing and martial skills in Peking Opera performance, the loss of many acrobatic fighting plays, the deterioration of the performers' comprehensive ability of singing, speaking, acting and combating, and the serious tendency of "emphasizing the singing skills and neglecting the martial arts" in opera innovation. The innovation of Peking Opera should be a comprehensive innovation, rather than a single level of development. It can be said that such unbalanced development hinders the benign and comprehensive development of Peking Opera (Zhang Xiaocui 2017, 132).

'''2.The Innovative Ways of Development of Acrobatic Fighting in Contemporary Era'''
The analysis and concern about the current situation of Peking Opera is not pure criticism, but to raise and solve problems. The cultural environment of a particular era is complicated, and the acrobatic fighting in Peking Opera can not be easily recovered by shouting out a few words of revitalization. Here we try to propose some solutions for practitioners to think about.

First of all, opera schools should be the main body of the inheritance of acrobatic fighting and related repertoire. It is a realistic problem that the teaching repertoire of Peking Opera at all levels is in disorder nowadays, which restricts the development of Peking Opera and even the whole teaching of Peking Opera. Schools should increase acrobatic fighting in the teaching repertoire and standardize it. Secondly, it is necessary to restore the endangered or already lost acrobatic fighting repertoire. Some plays are performed repeatedly in various Peking Opera troupes, easily making the audience get bored. So for the sake of the troupes' future and the obligation of inheritance, it is necessary to restore the lost acrobatic fighting repertoire.

As for how to explore the lost repertoire, we can start from the following aspects :(1) ask the living predecessors for relevant performance skills and stage experience; (2) Make full use of the recordings and videos left by the seniors; (3) Collect notes from experienced theater fans. With the precious resources of the acrobatic fighting, the recovery of these plays can be considered from the following three aspects: Firstly, start restoring the repertoire from the traditional seasonal repertoire, that is, to find appropriate unpopular plays from each season of the year to resume the performance, so that the audience can not only watch the repertoire rarely seen on the stage, but also inherit and enrich the acrobatic fighting in Peking Opera. Secondly, restore the repertoire from the perspective of characters: It is also a good way to restore it from point to point as time goes by until the repertoire is serialized. Thirdly, select a specific kind of repertoire for recovery: In the process of recovering traditional repertoire, we should not only do it in a solemn and stirring mood, but also learn how to use effective methods and promote acrobatic fighting to the market, believing that they can be accepted and welcomed by audiences (Du Peng 2014, 116).
===Conclusion===
Since the end of the Qing Dynasty and the beginning of the Republic of China, all the artists who became masters of Peking Opera were able to perform both singing skills and martial skills in the martial arts. They were able to break through the limitations of their own lineage, which really pushed the art of Peking Opera to a whole new peak and developed each lineage comprehensively, making the art of Peking Opera of that era wonderful and brilliant. Now, in the twenty-first century, some aspects of Peking Opera seem to have returned to the situation that existed before the masters of Peking Opera, i.e., the singing skills and martial arts are divided, and there is an unprecedented dilemma that the acrobatic fighting repertoire may be lost. There are many reasons for this situation, but the result is the degradation of the ability of actors in various roles, the loss of plays, the fragmentation of plays, the homogenization of skills and so on.

As the younger generation, we should not only have reverence for the older masters and the heights they have promoted the art of Peking Opera, but also do our best to carry forward the opera skills. The Peking Opera troupes and actors of acrobatic fighting are hoped to spare no efforts to pass on the skills through constantly improving the level of business, modestly consulting and learning from the predecessors and strengthening the theoretical accomplishment, so as to inherit acrobatic skills through traditional martial plays. They’re also supposed to explore new ways of innovating acrobatic fighting according to the troupe's actual situation, to "revitalize" the acrobatic fighting in Peking Opera, so that they can be inherited, developed and innovated in the tradition, thus comprehensively promoting the prosperity of the Peking Opera performance market and better serving the socialist cultural market.
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*Zhang Xiaocui 张晓翠. (2017). 浅议京剧武戏的传承与发展 [On the Inheritance and Development of Peking Opera]. ''剧作家'' Playwright (9) 132.
*Zhang Yinhe 张银河. (2013). 试析武术与京剧武戏文化 [On the Martial Art and Culture of Acrobatic Fighting in Peking Opera]. ''武魂'' Kung Fu (12) 15.
===Terms and expressions===
acrobatic fighting 武戏

singing, speaking, acting and combating 唱念做打

Sheng, Dan, Jing and Chou 生旦净丑

''Crossroads'' 《三岔口》

Hsiung-nu 匈奴

Sick Man of East Asia 东亚病夫

''Journey to the West'' 《西游记》

''Water Margin'' 《水浒传》

Wudan 武旦

Daomadan 刀马旦
===Questions===
1.What's the significance of Peking Opera in Chinese history?

2.What are the three characteristics of "Chivalry"?

3.What are the three characteristics of formal beauty of acrobatic fighting?

4.How to explore the lost repertoire？

===Answers===
1.Peking Opera is the most influential opera in China, with its center in Beijing and spread throughout the country. During its long artistic history, Peking Opera has continuously absorbed nutrients from the traditional Chinese culture and people’s daily life and developed into a magnificent flower in the opera garden. As an important form of expression of traditional Chinese culture, Peking Opera has a wide influence all over the country, and various artistic elements of it are regarded as symbols of traditional Chinese culture.

2.Commitment, righteousness, and lightness of life and death.

3.1)The performer's skilled and exquisite somersault skills and kung fu;

2)The performer's shapely and beautiful bodies;

3)The beauty of composition formed by the collective cooperation on the stage.

4.1)Ask the living predecessors for relevant performance skills and stage experience;

2)Make full use of the recordings and videos left by the seniors;

3)Collect notes from experienced theater fans.

==英语笔译熊嘉玲 Xiong Jialing 202170081602==
<center>'''Yue Opera'''</center>

<center>Xiong Jialing</center>

===Abstract===
Yue Opera, an important local opera in China, is one of the five types of Chinese opera. From the original "Chinese Folk Rap"（落地唱书）, it has developed into the second most popular opera in China and is one of the first batch of national intangible cultural heritage. Therefore, Yue Opera plays a very important role in China's art field. This article will give a general introduction to Yue Opera. The first is a brief introduction to the general situation of Yue Opera; In the first chapter, the author will introduce the historical origin and development of Yue Opera. In the second chapter, the author will focus on the introduction of the performance characteristics of Yue Opera, including its singing voice, role of business and so on; In the third chapter, the author will talk about the value of Yue Opera, such as its cultural value, social value and so on. The fourth chapter will mention the inheritance and development of Yue Opera. As one of Chinese operas, Yue Opera has a long history and rich cultural connotation. In today's cultural diversity and economic globalization, it can promote the spread of traditional Chinese culture to let the world see and hear Yue Opera.
===Key words===
Yue Opera;traditional Chinese culture;Chinese opera
===Introduction===
Yue Opera (Yueju in Pinyin) is the second largest opera genre in China, and some scholars consider it to be "the largest local opera genre". It is also one of the five major Chinese opera genres (Peking Opera, Huangmei Opera, Yue Opera, Pingju opera and Henan Opera). Originated in Shengzhou, Zhejiang province, prosperity in the whole country, spread to the world, it has experienced a historical evolution from male to female Yue Opera.In the development, it absorbed the elements of kunqu opera, drama, Shaoxing opera and other operas. It is called "Chinese opera" abroad. It is also known as "the most popular local opera".
Yue Opera is long in lyric, mainly singing, beautiful voice, real and moving performance, beautiful and elegant, with the spirit of jiangnan. Most of them are based on the theme of "talents and beauties", and there are various artistic schools. There are as many as 13 recognized schools. It was mainly popular in Shanghai, Zhejiang, Jiangsu, Fujian, Jiangxi, Anhui and other southern regions, as well as most northern regions such as Beijing and Tianjin. In its heyday, professional troupes existed all over the country except xizang, Guangdong, Guangxi and a few other provinces and autonomous regions. (Qian Hong, edited by the editorial board of Chinese Yue Opera Canon，2006)

Yue Opera is also the first batch of national intangible cultural heritage list. Among the modern emerging operas in China, the Yue Opera bred from the regional culture and modern art of the Yangtze River Delta is undoubtedly the most influential. Once upon a time, "Liang Shanbo and Zhu Yingtai" produced by "Shaoxing Women's Literary Opera" and "Shaoxing Women's Opera" were popular in Shanghai. The heroic deeds of the ten Sisters of Yue Opera, represented by Yuan Xuefen, against the bullying of the dark forces shocked the Chinese cultural circle; After the founding of the People's Republic of China, With the help of the movie a Dream of Red Mansions, Yue Opera became a national hit. Premier Zhou Enlai took the film liang Shanbo and Zhu Yingtai as one of new China's diplomatic means to promote the Opera overseas.(Liu,2022)
===The Historical Origin of Yue Opera===
Shengzhou, The Birthplace of Yue Opera

Yue Opera is one of the five major operas in China and the second largest in China at present. Yue Opera is called "the second in China" in terms of the number of performances and social popularity. In terms of its performing arts history and popular areas, it is probably far inferior to kunqu opera and Huangmei Opera. Due to language limitations, it is mainly popular in Jiangsu, Zhejiang and Shanghai. Yue Opera is generally spread in Shanghai, Zhejiang, southern Jiangsu and other places which are usually said wu language area. So Yue Opera is still a typical local opera. It originated from Shengzhou of Shaoxing in Zhejiang Province, which is the shengzhou city of Shaoxing in Zhejiang Province today. It is evolved from local folk songs and formed by absorbing the characteristics of Kunqu opera and Shaoxing opera in the development process. Shengzhou, the birthplace of Shaoxing opera, has been attracting celebrities from all sides to visit with its unique charm since ancient times. The beautiful scenery here, surrounded by beautiful mountains, with a long history, and its unique dynamic temperament, has created a unique charm and beauty in Shengzhou. The enchanting natural scenery has given here the magic charm, attracting the high sages and celebrities in succession to enjoy the scenery, leaving many immortal chapters spread through the ages for the later generations. With the growing popularity of folk poetry and lyrics, shengzhou people who are good at singing have integrated songs into their lives. Versatile shengzhou people thus became the original creator of Yue Opera art, Shengzhou has also become a fertile soil for the birth of Yue Opera art.

The Real Birth of Little Choir, the Predecessor of Yue Opera

From the year of 1906 , Yue Opera entered the stage role playing period. Therefore, it can be regarded as the origin of Yue Opera as the identity of opera. However, the little choir did not come into being suddenly, nor did it start out dressed up for the stage. From the xianfeng period in the 1850s and 1860s, it went through decades of embryonic stages. In terms of art classification, Chinese Folk Rap does not belong to opera, but to quyi. Therefore, it can not be called the "predecessor" of Yue Opera, but its original form of performance.

The origin of Chinese Folk Rap is that when farmers were resting in the fields after work, many people would compose and sing ditty that could reflect the aspirations of the common people, which always aroused the praise of farmers and gradually spread among them. The last few popular songs, everyone can sing. Researchers on the history of Yue Opera generally believe that the sign of the emergence of Chinese Folk Rap is that Jin Qibing and others began to sing Buddhist songs and folk tunes in front of rich households in the nearby countryside in order to make a living.(Pan,2009)

The early Chinese Folk Rap performers did not completely break away from agriculture while singing Chinese Folk Rap. For many performers, farm work is the main thing to support their families and is the job left to them for generations. It is unimaginable for them to completely break away from farm work. Therefore, during the spring ploughing season from January to February and March, the artists went back to their hometown in Sheng County to work on their fields. Qian Jingsong, Li Shiquan, Gao Binghuo and other artists who had been invited to the "stage" in Yuhang and Yuqian (now part of Lin 'an) talked with the villagers about their debut experience, which aroused the interest of many villagers. They urged artists to do the same at home. Guangxu period (1906) on the qingming Festival on the third day of march in the lunar calendar, on the vacant lot of dongwang village in Sheng County, the village civilian used rice barrel, the door panel set up the stage, invited many artists coarsely-dressed up to sing the Chinese Folk Raps, unexpectedly caused a stir in the countryside, attracted people from many villages to watch. The popularity of this form of singing book in the village even exceeded the artists' expectations.(Edited by Cultural and Historical Data Committee of Shengxian CPPCC,1992)

So they began to think about organizing theater groups to put on more scripted performances, and they came up with a low-key and elegant name for the form: Little Choir". In general, such performance formula has met the basic conditions of opera, so many researchers have always regarded this performance as the origin of Yue Opera. Stage at this time, not only clothing is very simple, Musical Instruments are also very simple. Although the form of "Little Choir" is primitive, the singing is monotonous, and the costumes are simple, but this pioneering move alone is enough to leave a brilliant first in the history of Yue Opera.
Since the birth of the "Little Choir" in Sheng County, it has spread quickly to the surrounding areas. As a literature and art originating in country life, it is not surprising that it first established itself in the country. At the same time, it is constantly exploring transformation, slowly infiltrating into the city,
After 1907, the "Little Choir" has been all over Athens County, and gradually to the neighboring Xinchang, Shangyu, Shaoxing, Yuyao, Fenghua and other places spread, both in the village and the town theater, where are warmly welcomed. For example, in Xinchang, only three or five years after the first contact with the "Little Choir", the number of newly established local opera troupe has reached 30 or 40 classes.

Performing in the countryside, the troupe must suffer from displacement. Therefore, it is always the ideal of the troupe to perform in a city with a large population, both male and female. Large and medium-sized cities for "Little Choir", is always tempting. On the one hand, large and medium-sized cities have strong consumption capacity and can obtain higher economic benefits. On the other hand, the fact that "Little Choir" can establish itself in big cities is the recognition of "Little Choir" by higher-level audiences, which is a kind of honor.(Pan,2009)

Shaoxing Civil Opera Period

In 1922, the development of Shaoxing Opera entered a new historical stage, that is, the Period of "Shaoxing Civil Opera". Because "Little Choir" was born in Shengzhou, which is subordinate to Shaoxing Prefecture, and the content of "Little Choir" is more focused on family ethics and love, so it is called "Shaoxing Civil Opera". Shaoxing Civil Opera period is the mature stage of the development of Yue Opera. It can be divided into two periods. In the early stage, there are all male actors, so it is called Shaoxing Civil Opera Male Troupe; in the later stage, there are mixed performances of male and female actors, and the transition to female troupe is called Shaoxing Civil Opera Female Troupe.

The Period of Women's Improvement in Shaoxing Civil Opera

In the history of The development of Yue Opera, the outbreak of the Anti-Japanese War is an important dividing line. Before this, Shaoxing Civil Opera, which was dominated by male classes, was in its heyday, with famous actors concentrated in Shanghai and female classes flourishing, but the activity area was mainly in Zhejiang. Although there were female classes in Shanghai, most of them were mobile, so their status was not high and their influence was limited in the whole Cultural pattern of Shanghai.

In the late 1930s, after the outbreak of the Anti-Japanese War, a large number of female classes came to Shanghai for development and rose rapidly. At the same time, male classes declined sharply and were soon replaced by female classes, gradually forming a kind of operas featuring all-female performances. Almost all the famous actors and drama companies were concentrated in Shanghai. The social and cultural environment of Shanghai has provided rich nutrition for the progress of Yue Opera art, promoted the reform of Yue Opera in the new environment, and provided a rare historical opportunity for its rapid development.

"New Yue Opera" Period

The reform of Yue Opera, which started in October 1942, opened up a new era in the history of Yue Opera and had a profound influence on the establishment of the form and style of Yue Opera. The "new Yue Opera" rising in the wave of reform in this period is obviously different from the original women's Yue Opera in terms of repertoire, music, stage image, deconstruction and operation mechanism of troupe. During the period of "New Yue Opera", Yue Opera achieved rapid development. A group of young actors, such as Yuan Xuefen, Yin Guifang, Fan Ruijuan and Fu Quanxiang, became the representatives of the new generation of Yue Opera.

The Development of Yue Opera After Liberation

After the founding of the People's Republic of China in 1949, under the leadership of the Communist Party of China, opera art began to enter the process of planned, deployed and focused reform, and Yue Opera also began to adapt to the new era of profound reform. In the early 1950s, a drama reform movement was launched nationwide. During this period, professional drama troupes in Shanghai and Zhejiang carried out the work of "Three reforms" to different degrees successively, which brought new changes to the appearance of Yue Opera. In March 1955, Shanghai Theatre was formally established, gathering a large number of professional talents with high artistic quality in the field of yue Opera, such as editing, directing, acting, music, beauty and so on.

The Revival of Yue Opera in the New Period

The "Cultural Revolution" that began in 1966 severely destroyed Yue Opera. After the end of the "Cultural Revolution", especially after the third Plenary Session of the eleventh Central Committee of the Communist Party of China in 1978, Yue Opera began a comprehensive revival in a new period, ushering in a new spring in the development history of Yue Opera

Under the influence of historical conditions, the revival of Yue Opera started from the modern opera performed by men and women. In 1977, the Shanghai Yue Opera reenacted the drama with a co-performance of male and female and was a great success, setting off the wave of the revival of Yue Opera. Soon after that, Shanghai Film Studio made "Xiang Lin's wife" into the first color widescreen style art film of Yue Opera and screened it in the whole country, re-expanding the influence of Yue Opera in the whole country. Traditional and historical operas have also been resumed, and women's Yue Opera has gained recognition and new vitality.
In 2006, on the 100th anniversary of the birth of Yue Opera, it was listed in the first batch of national intangible cultural Heritage list with the approval of The State Council. The future of Yue Opera will be more brilliant.

===The Performance Characteristics of Yue Opera===
First, the selection of materials for the Yue Opera plays is mainly based on the love and marriage stories of ancient talents and beauties. Such as Liang Shanbo and Zhu Yingtai, Jia Baoyu and Lin Daiyu, Fan Li and Xi Shi, Lu You and Tang Wan and so on. These stories have long been written and interpreted into various literary and artistic works and passed down from generation to generation among the people. After these stories were compiled into The Yue Opera, the artistic atmosphere of the story and the tragic color of the characters were enhanced, giving people a more vivid and profound impression.

Second, the music of Yue Opera is good at showing the feelings of young men and women. The singing style is based on the "Chinese Folk Rap" of Wuyue water town in the south of Yangtze River, absorbing the folk music of Sheng County. After Yuan Xuefen and lute zhou Baocai cooperation, so that the opera singing form a gentle lingering lyric style.

Third, the performances of Yue Opera are vivid, natural, elegant and moving. They are full of beauty and talent in the south of the Yangtze River, especially the performances of young girl's role, which combine the scholarliness of scholars with the beauty of young girls. The principle of "virtuality" and "stylization" and the aesthetic pursuit of "symbolism" and "freehand style" formed in the long-term artistic practice of Chinese opera performance have provided a theoretical basis for the formation of the performing art of young women in Yue Opera, so that female actors can play male roles without being restricted by their own gender. Under the guidance of virtual drama and freehand brushwork principle, the female students can not completely imitate the performance of men and force the unity of actors and roles, actors can use stylized performance to look at the male roles in the drama from the perspective of women. What she interprets is not the man in real life, but the man in the woman's mind, that is, the man that the woman idealizes, the man that the woman plays to the audience. This is just like the plum blossom and bamboo painted by Chinese painters in traditional Chinese paintings. They are not plum blossom and bamboo in nature, but plum blossom and bamboo in the artist's mind. Of course, the course of this success is not follow one's inclinations, is not subject to any condition, also need actors themselves have a certain external conditions and mental qualities, such as the tall figure, elegant temperament, generous demeanor, etc., so as to better shape the character image, conveys the verve of male role. Various schools of Yue Opera have blossomed.

Fourth, the stage presentation of the Yue Opera is fresh and elegant, which is often refreshing. The makeup of Yue Opera has absorbed the methods of drama and film, and is characterized by being close to nature, fresh and elegant, rather than exaggerated and colorful. Based on the paintings of ancient ladies in costume, the costumes are changed from complex to simple and gorgeous to clear and beautiful with the characteristics of simplicity and clarity. The scenery is simple and lively, the combination of virtual and real, with the performance of the actors, making full use of modern sound and light technology, giving people an immersive artistic feeling.(Liu,2022)

===The Value of Yue Opera===

Cultural Value

Cultural creation is based on traditional culture and under the influence of modern culture, absorbing new tunes, new choreography, new themes, new talents and new music of modern culture to generate a new round of cultural wave and a "new culture" that is different from the past and more adaptable. Yue Opera is "rich in expressive force, plain and smooth melody, fresh and beautiful with local flavor". It has beautiful melody, graceful and touching pronunciation, beautiful appearance but not coqueness. Both civic and military opera have their own strengths, and it is different from the softness and beauty of Peking Opera. It has a very high viewing value, which is why in recent years, Yue Opera has gained more and more audience's love, causing more and more attention. This is the cultural creation value of Yue Opera.(Jin,2012)

From the point of view of Marx's theory of literature and art, all arts (including literature, calligraphy, architecture, painting, opera, etc.) are the reflection of people's lifestyle and cultural psychology in a particular era and region. In the field investigation, we found that most of the people who adhere to Yue Opera are the older generation, because it used to be a part of their life, carrying their joys and sorrows, and relying on their understanding of life. Yue Opera touches the softest part of the heart of a generation in a casual way at some point. These cultural memories, no matter joyful, sad, beautiful or ugly, will become a kind of cultural nutrition and melt into the bones and blood of the whole regional culture and even the national culture, giving us reasons and directions to move forward. This is the cultural creation value of Yue Opera.This is the cultural inheritance value of Yue Opera.(Yang,2021)

Social value

Yue Opera originated in Shengzhou, Zhejiang province, China, so it is easy to explain why all the people in Shaoxing and Shengzhou can hum it and find pleasure in it. Obviously, in the region where It originated and developed, It has become a topic of conversation among the masses after dinner. In the folk, people are also used to organizing various performances and singing competitions of It to enrich their amateur cultural life. Therefore, in the traditional cultural matrix of Yue Opera, there is a kind of aesthetic value called social value, which has laid a solid foundation for extensive social communication among the masses. Therefore, Yue Opera gradually became a social means, which was of great significance in promoting social harmony and stability. Of course, with the continuous expansion of the overseas market of Yue Opera, it is also playing an important role in developing sino-foreign relations, consolidating sino-foreign friendship and realizing the combination of Chinese and foreign culture and art.(Jin,2012)

The Entertainment Value of Yue Opera.

As a unique type of traditional culture, History and culture have endowed it with a unique development environment, unique artistic charm, which make It a popular art form among the public. From the emergence and development of Yue Opera to its prosperity and growth, its entertainment value has been accompanied by it. Yue Opera can not only give people visual and auditory satisfaction, but also give the audience great psychological satisfaction, so as to relieve the pressure for the masses and delight the masses physically and mentally. A large number of excellent Plays of Chinese traditional Yue Opera, such as Butterfly Lovers and Peony Pavilion, brought people spiritual sustenance and was one of the important ways for people to interest their heart and soul at that time. For example, the twists and turns of the Story, the beautiful love story and the artistic stage design of the Yue Opera Peony Pavilion not only relieved people's living pressure, but also promoted people's self-cultivation.(Ye,2016)

The above research on the value of Yue Opera shows that this local opera has strong charm and development potential. Thus, we can see the reasons behind the "centennial brilliance" and strong influence of Yue Opera. Yue Opera has rich cultural value, including cultural creation value and cultural inheritance value. Shaoxing Opera also has certain social communication value, which can be called a social means. Yue Opera not only promotes social harmony, but even plays a great role in promoting the spread of Chinese culture and cultural exchanges. In addition, Yue Opera has its entertainment value. In daily life, it has enriched the lives of ordinary people and provided them with certain spiritual sustenance, which is of great significance.

===The Inheritance and Development of Yue Opera===
Yue Opera is one of the most important local operas in China. It has developed into the second most popular opera in China from the original Chinese Folk Rap. However, with the popularization of TV, the establishment of cinemas and the continuous expansion of the Internet, the influx of pop songs, European and American blockbusters and the change of modern people's value orientation, the traditional Yue Opera has been plunged into unprecedented crises. In today's era of vigorously protecting intangible cultural heritage and building a new socialist countryside, how to protect, inherit and develop folk Yue Opera is not only related to the survival of the opera itself, but also an important topic of "intangible cultural heritage" protection, as well as an important content to be studied in mass cultural work.(Zhang,2010)

Review the Inheritance Status of Yue Opera

Through visits to local cultural departments and literature review, we know that the performance of Yue Opera is faced with fewer and fewer audiences, and the troupe cannot survive. The number of professional Yue Opera troupes has decreased from more than 260 in the 1950s and 1960s to less than 35 now. Most folk yue troupes mainly cover the rural market, but because the market is small, they can not get a greater development. However, under the influence of various cultural and entertainment activities, the audience is mainly around 40 years old, and the younger generation is less interested in it. It can be seen that the audience of Yue Opera rarely come from the youth group, and the audience of Yue Opera is increasingly aging. Although Shengzhou is the birthplace of Yue Opera, its inheritance and development are not good. In terms of relic buildings, the original buildings about Yue Opera are very rare, and the original birthplace of Yue Opera for women can only be found in the only small village. The exhibition stand protecting the original Yue Opera props is also in disrepair and covered with dust. In terms of museums, most of the objects in the museum are restored by later generations. Props, costumes, Musical Instruments and singing stage are re-made by later generations.(Yang,2021)

Problems Faced by the Development of Yue Opera

From the early 1980s to the present, the significant reduction in the number of Yue Opera troupe is the primary problem facing the development of Yue Opera. In the early 1980s, there were seven professional Yue troupes and two professional folk Yue troupes in Jiaxing, while in the mid-1980s, there were only two professional yue troupes. Secondly, from the city to the countryside, the audience of Yue Opera is getting smaller and smaller, and the performance market is getting smaller and smaller. In the past, a company could put on a new play for two or three months. Now it can only put on two or three performances. The audience's enthusiasm for watching Yue Opera has also declined significantly. The third problem facing the development of folk Yue Opera is talent. The performance of Yue Opera has high requirements for talents. It not only requires actors to have beautiful looks and a loud voice, but also to be able to perform. Generally speaking, a good actor can play a role on the stage, no ten or five years is not out, that is to say, one minute on the stage, ten years of work off the stage. Now there is a shortage of talent in the field of Yue Opera. Fourth, repertoire creation is increasingly contracted. In the mass culture system, Yue Opera also received unprecedented cold. At present, cultural centers and art centers around the country mainly focus on the creation of music, dance and fine arts, and there is little interest in the Yue Opera of traditional Chinese opera. There are also few full-time cadres of Yue Opera of drama. In some cultural centers at the county level, full-time cadres of Yue Opera no longer exist.

The Reason Why Yue Opera Faces Confusion

Confusing in today's Yue Opera face of reason is various, but the main reason is that with the change of society and the continuous improvement of living standards. The broad masses of TV and home theater has been gradually into the people, families, people's interest constantly updated, more diverse cultural needs, and a variety of popular songs have taken young people's life. Culture is diverse, Yue Opera was gradually forgotten; Secondly, the propaganda of Yue Opera is not enough. Although the traditional Yue Opera has been quite popular with the masses, the propaganda is far less than that of Peking Opera in the whole country, which causes the dilution of Yue Opera in people's mind. The third is the lack of new strength of Yue Opera. Since the 1990s, fewer and fewer young people like Yue Opera, even fewer professional Yue Opera actors, and now the children basically do not even know what Yue Opera is; Fourth, the operating mechanism of the troupe is not working. It is far from enough for the professional troupe to rely on the financial allocation from the government alone. They have to perform outside to increase their income. (Zhang,2010)

Thoughts on Inheritance and Innovation of Yue Opera

1. Intensify Efforts to Cultivate Professional Yue Opera Actors

In the early 1950s, the period when Yue Opera flourished and developed was also the period when a large number of Art masters of Yue Opera came out. They internalized the art of Yue Opera into their lives, and their personalities and drama forms reached a harmonious unity, which became the highest condensation mode of Yue Opera art. Even when people at that time recalled the development of Yue Opera, the names of a large number of Yue Opera actors first appeared in their mind. Therefore, training a number of young actors to carry forward the Yue Opera with independent artistic life will be the first condition for Yue Opera to obtain its new development.

2. Intensify the Creation of Scripts for Yue Opera

In particular, the audience should choose the most concerned good subject matter, in the spread of "Butterfly Lovers", "Xianglin Sister-in-law" and other classic bridge based on the new culture and people's appeal, innovation. If shaoxing opera wants to get enough attention and attention in the contemporary era, it must have scripts that can reflect the values of The Times and express the demands of the people as a guarantee. This should give enough care and attention to the playwright, establish a long-term mechanism to stimulate and protect their creative enthusiasm.

3. Innovate the Promotion Method of Yue Opera

In the past, the art of Yue Opera was born as a kind of market culture of residents, but now, as a cultural heritage, Yue Opera is gradually transforming from popular culture to elegant art. Therefore, when it comes to effectively dealing with the cultural watch and spiritual breakout of Yue Opera, the first thing we need is to adjust our mentality towards the cultural phenomenon of Yue Opera. We do not advocate the Yue Opera itself directly to change to become a new culture, but should be advocated through the way of improvement and innovation make Yue Opera culture gradually in the masses of the people has the characteristics of a new era of traditional culture, such as development "Yue Opera" series of gen, create IP with Yue Opera character animation image, using new media communication way, Through a number of new channels, such as "live streaming of Internet celebrities", "school-enterprise cooperation" and "star endorsing", the new culture serves the traditional culture of Shaoxing opera and spreads the melody of Yue Opera among a wider social group. (Yang,2021)

===Conclusion===
As a traditional Chinese culture, Yue Opera has its own unique appreciation value. In today's multicultural world, we cannot abandon our traditional culture. We should try our best to inherit and carry forward our traditional culture, so that they can adapt to the changes of The Times and keep pace with The Times. But at the same time retain the traditional culture, let the world hear the voice of China.
===References===
*Jin Yingzi金英子(2012). 越剧传统文化基质和审美价值研究[Study on Traditional Culture Matrix and Aesthetic Value of Yue Opera]. 音乐探索Explorations in Music(02): 39-41.
*Liu Wenfeng刘文峰(2022). 扬长补短，再创辉煌——关于越剧传承发展的思考[Develop Strengths and Complement Weaknesses to create Brilliance -- Reflections on the Inheritance and Development of Yue Opera]. 中国非物质文化遗产China's Intangible Cultural Heritage(01): 35-39.
*Pan Yuqi潘玉琪(2009). 越剧的诞生、发展及其人文背景研究（1906-1949）[Study on the Birth, Development and Cultural Background of Yue Opera (1906-1949)].复旦大学Fudan University.
*Qian Hong, edited by the editorial board of Chinese Yue Opera Canon钱宏主编，《中国越剧大典》编委会编著(2006)．《中国越剧大典》[The Grand Ceremony of Chinese Yue Opera]．杭州市：浙江文艺出版社、浙江文艺音像出版社Hangzhou: Zhejiang Literature and Art Publishing House, Zhejiang Literature and Art Audio and Video Publishing house.
*Yang Ruyuan杨汝远(2021). 论非遗文化在现代化进程中的守望与传承——以越剧为例[On the Watch and Inheritance of Intangible Cultural Heritage in the Modernization Process -- Taking Yue Opera as An Example]. 汉字文化Sinogram Culture(06): 175-177.
*Ye Haixiong叶海雄(2016). 越剧传统文化基质和审美价值探讨[Discussion on Traditional Culture Matrix and Aesthetic Value of Shaoxing Opera]. 戏剧之家,Home Drama(06): 52.
*Zhang Peiying张配英(2010). 浅论民间越剧的传承与创新[On the Inheritance and Innovation of Folk Yue Opera]. 大舞台Great Stage(10): 79.
*Edited by Cultural and Historical Data Committee of Shengxian CPPCC嵊县政协文史资料委员会编(1992)﹐《越剧溯源》[The Origin of Yue Opera]. 浙江人民出版社Zhejiang People's Publishing House(5): 23

===Terms and expressions===
Yue Opera 越剧

Chinese Folk Rap 落地唱书

Pingju opera 评剧

Little Choir 小歌班

Shaoxing Civil Opera 绍兴文戏

Peony Pavilion 牡丹亭

===Questions===
1.What are the five major Chinese opera genres?

2.Where is the birthplace of Yue Opera?

3.How to inherit and innovate Yue Opera?

===Answers===
1.Peking Opera, Huangmei Opera, Yue Opera, Pingju opera and Henan Opera.

2.Shengzhou

3.Firstly, intensify efforts to cultivate professional Yue Opera actors.Secondly,intensify the creation of scripts for Yue Opera. Thirdly, innovate the promotion method of Yue Opera.

20220630 Culture 4

2022-07-05T03:15:45Z

Xie Xiaoying: /* 英语笔译谢晓莹 Xie Xiaoying 202170081601 */

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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===

===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 Traditional Chinese Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
The word "philosophy" comes from Greece, which means “the study of wisdom”. It is characterized by the ultimate exploration of the universe and the world. As the essence of the spirit of the times, philosophy is the core content of national culture. Before contemporary times, there was no word “philosophy” in China, and naturally, there was no such subject in the ancient academic classification. For a long time in ancient China, literature, history, and philosophy were integrated and inseparable. In contemporary times, after being translated by Japanese scholars, philosophy has become the primary discipline of humanities and social sciences in this country.
Traditional Chinese 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, traditional Chinese 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. The second is the period of feudalism. Third, is 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.

===The Evolution of Chinese Traditional Philosophy===
From another point of view, traditional Chinese philosophy has gone through seven different stages of development, namely, the Pre-Qin philosophy, the study of Confucian Classics in the Han Dynasty, the Metaphysics of the Wei and Jin Dynasties, the Buddhist philosophy during the Sui and Tang Dynasties, Neo-Confucianism in the Song and Ming Dynasties, the Practical Thought in the Ming and Qing Dynasties, and Textual Studies in the late Qing Dynasty. Each stage of development has its distinct ideological characteristics.

(1) the Pre-Qin Philosophy

During the Pre-Qin period, the ideological circle was extremely active, and various ideological theories and academic schools appeared one after another. A large number of prominent thinkers emerged, such as Confucius, Mencius, Xunzi (Hsun Tzu), Laozi (Lao Tzu), Zhuangzi (Chuang Tzu), Sun Tzu, Mozi, Hui Shi, Gongsun Long (Kung-Sun lung), Han Feizi (Han Fei-tzu) and so on. People also call the philosophy of this period “the Pre-Qin study of Zi”. Besides, many schools of thought have been formed, such as Taoism, Confucianism, Mohism, the School of Legalists, the School of Logicians, the School of Military Strategists, the Yin-Yang School, the School of Political Strategists, the Eclectics, the School of Agriculturists, and many others. Among them, the most influential ones are the Confucian School, Taoist School, Mohist School, the School of Legalists, and the School of Military Strategists. The discussion of philosophy during that period focuses on the composition of the universe and social life. For example, what is the universe made of? How did people get here? What is the position of man between heaven and earth? What is the value and significance of living? The Pre-Qin philosophy laid the foundation for the development of philosophy in China and ushered in the real awakening of Chinese philosophy and the spirit of the Chinese nation.

(2) the Study of Confucian Classics in the Han Dynasty

A lesson from the demise of the Qin Dynasty is that a country cannot be well governed only by severe punishment and laws. Therefore, the early Han Dynasty advocated the learning about Emperor Huang and Lao Tzu. Later, Emperor Wu of the Han Dynasty adopted Dong Zhongshu’s proposal to “proscribe all non-Confucian schools of thought and declared Confucianism the state ideology”. Since then, Confucianism has leaped from one of the hundred schools of thought to an official and mainstream ideology. A prominent manifestation of the authoritarianism, institutionalization, and ideologization of Confucianism is the birth of Confucian classics. Confucian scholars expressed their academic views and political opinions based on the Confucian classics in that period through the annotation of these classics.

(3) the Metaphysics of Wei and Jin Dynasties

The Wei and Jin Dynasties are quite different from the Han Dynasty in their style of study, ideology, and mode of thinking. During that period, against the cumbersome Confucian classics and theological teleology of the Han Dynasty, Lao Tzu, Zhuangzi, and ''the book of changes'' were respected, known as “three metaphysics”, and there was a great liberation in thought and mode of thinking. The core issues discussed in the metaphysics of Wei and Jin Dynasties can be summarized as follows: first, the relationship between the Confucian ethical code and nature; Second, the relationship between the original and the end; Third, the relationship between language and thought; Fourth, the relationship between the human body and spirit. These problems discussed in the Wei and Jin Dynasties all have a deep philosophical connotation, marking a big step forward in people’s thinking ability and the ability to understand the world and self.

(4) the Buddhist philosophy during Sui and Tang Dynasties

Buddhism was introduced into China in the Han Dynasty and flourished in the Sui and Tang dynasties after hundreds of years of collision and integration, and many Buddhist schools were formed. On the one hand, the various sects have been in constant strife; On the other hand, they have also absorbed and influenced each other. At the same time, all sects drew nutrients and wisdom from Chinese traditional Confucianism and Taoism to enrich and develop their doctrines. Among all the Buddhist sects in Sui and Tang Dynasties, the Chan sect is the most widespread and influential one. It is the model and mature symbol of the Sinicization and secularization of Buddhism. It is the product of the integration of Buddhism and Chinese inherent philosophy.

(5) Neo-Confucianism in the Song and Ming Dynasties

Neo-Confucianism in the Song and Ming Dynasties is a new philosophy based on Confucianism, combining the ideas of Buddhism and Taoism. The institutionalization and ideologization of Confucianism during the period of the Han Dynasty was the first major turning point in the development of Confucianism, while the emergence and formation of Neo-Confucianism were right the second one. Neo-Confucianism is the guiding ideology of the late feudal society in China for nearly 700 years, which mainly has four schools: Cheng-Zhu Neo-Confucianism (Cheng Hao, Cheng Yi, and Zhu Xi), Lu and Wang’s Philosophy of the Mind (Lu Jiuyuan and Wang Yangming), Zhang and Wang’s Qi theory (Zhangzai and Wang Fuzhi) and Chen and Ye’s Utilitarian Thought (Chen Liang and Ye Shi). It discusses a wide range of content and scope, such as cosmology, ontology, life theory, the theory of mind and nature, the view of knowledge and behavior, cultivation theory, and so on. As an important stage of the development of Confucianism, Neo-Confucianism in the Song and Ming Dynasties raised Chinese philosophy to a new level. Its political purpose is to find the ultimate value basis for feudal ethics.

(6) the Practical Thought in the Ming and Qing Dynasties

In the eyes of thinkers in the Ming and Qing Dynasties, Neo-Confucianism in the Song and Ming Dynasties is nothing but empty talk about the nature of mind and life, which is useless. They also attributed the collapse of the Ming Dynasty to Neo-Confucianism. Therefore, most of the thinkers in that period strongly opposed Neo-Confucianism and feudal autocracy and advocated practical thoughts, which had the nature of early enlightenment. The main representatives of practical thoughts in the Ming and Qing Dynasties were Gu Yanwu, Huang Zongxi, Yan Yuan, and some others. The ideological trend of practical thoughts spread all over the political, economic, scientific, cultural, and artistic fields at that time, which was the concentrated embodiment of the Confucian thought of practical application in the Ming and Qing Dynasties.

(7) Textual Studies in the late Qing Dynasty

Textual Studies in the late Qing Dynasty takes textual research as its main research method and pays more attention to evidence than theory, to distinguish it from the abstract discussion of Neo-Confucianism in the Song and Ming Dynasties. Its most outstanding academic contribution is the systematic arrangement of traditional philology, phonology, exegesis, and bibliography, which has achieved unprecedented development. After the Opium War broke out in 1840, the Western powers opened China’s door with advanced weapons, opium, and cheap commodities, and interrupted the inherent development path of Chinese civilization using armed aggression. At that time, the reformists, represented by Gong Zizhen and Wei Yuan, demanded that academic research should be combined with real politics, and opposed textual studies in the late Qing Dynasty, which were divorced from reality. It can be said that Gong Zizhen and Wei Yuan were both the terminators of the practical learning trend in the Ming and Qing Dynasties and the pioneers of bourgeois reformism in modern China.　

===The Representative Schools of Thought===
(1) the Confucian School

As one of the hundred schools of thought during the Pre-Qin period, Confucianism is an ideological system founded by Confucius and gradually perfected by future generations. It was one of the most influential schools at that time, and it was called the "Famous School of Thought” with Mohism, which is “显学” in Chinese. The Confucianists paid attention to personal cultivation, social ethics, and state governance, which had a far-reaching impact on ancient and modern China. The main content of Confucianism in the Pre-Qin time can be divided into two aspects: “Ren” (仁) and “Li” (礼). In most cases, “Ren” refers to perfect virtue, covering “wisdom”, “courage”, “loyalty”, “filial piety” and other concepts in Confucianism. And “Li” means the rules of propriety in most instances. “Ren” is shown as “be intimate with families” and “be in sympathy with others” in dealing with the world, and “ruling people depending on the moral sentiments” in governing the state. According to Confucianism, “Ren” is seen as a qualification for people to enter society and live, while “be intimate with families” refers to “filial piety” and “virtue” based on the most basic human blood relationship. Confucius believed that in the blood relationship with the family as the basic unit, the concept of “filial piety” is indispensable. In the aspect of governing the state, the Confucian School advocates ruling people depending on moral sentiments, so that the king can be loved by his subjects in this way. “Li” requires people to attach importance to rites and ceremonies and restore the rites of the Zhou Dynasty, including various moral principles and humanistic norms in social life. (Miao Xinlei 2021, 187) The representative work of the Confucian School is ''the Analects''.

(2) Taoist School

During the Spring and Autumn Period, Laozi gathered the great wisdom of ancient sages and summarized the essence of ancient Taoist thought, forming a complete systematic theory of Taoism, marking the formation and formalization of Taoist thought. This thought first originated from the period of the Fuxi and the Yellow Emperor, after the period of Yao, Shun, and Yu and the Xia, Shang, and Zhou Dynasties, the Taoist doctrine was not formed until the time of Laozi, which is the foundation of Chinese civilization. In Taoist thought, Laozi introduced the word “Tao” and used this abstract concept to explain the truth of the universe. “Tao” is the origin of the universe, which was born before the universe, invisible but always existed. According to Laozi, the universe consists of four parts: Heaven, Earth, Man, and the Tao. It is further derived that to survive, man must follow the natural laws of the earth; on the earth, the growth, reproduction, and migration of all things must follow the natural climate changes; the natural climate and celestial changes follow the “Tao”, and the “Tao” is the original appearance of all things in the world. This is the core concept of Taoism: “Tao follows nature”. Taoism advocates following nature and ruling without doing anything. (Hu Lu 2019, 141) This idea has been used by many emperors throughout Chinese history as a method of governing the state. The masterpiece of Taoism is the ''Tao Te Ching''.

(3) Mohist School

Mozi was the founder of the Mohist School, and his ideas are concentrated in the book ''Mozi''. ''Mozi'' was compiled by Mozi's disciples who collected his quotations based on his life story and historical materials. The book Mozi originally contains 75 pieces, of which 53 exist today. The first 31 pieces focus on Mozi's main ideas and doctrines, including the ten major propositions of “Universal Love”, “Against Aggression”, “Respecting the Virtuous”, “Identifying with the Superior”, “The Will of Heaven”, “On Ghosts”, “Against Fatalism”, “Against Music”, “Simplicity in Funerals” and “Saving Expenditures”. The remaining chapters record Mozi’s contributions in the fields of logic, mathematics, and mechanics. “Universal Love” is the core of Mozi’s thought, which refers to undifferentiated love and equal fraternity, which is opposite to the Confucian thought of “Love with Distinctions” (爱有等差). “Against Aggression” means opposing war and demanding peace. “Identifying with the Superior” refers to requiring the upper and lower levels to unite as one and implement a righteous government. “Respecting the Virtuous” means advocating sages, including electing sages as officials and electing sages as monarchs. Heaven has the will, ghosts are gods, and heaven loves the people. If the emperor disobeys the will of heaven, he will be punished by heaven. Otherwise, he will be rewarded by heaven. That means “The Will of Heaven” and “On Ghosts”. Mozi opposed the Confucian saying that “Death and life have been determined appointments. Riches and honor depend upon heaven.” (生死有命，富贵在天). He believed that everything is not determined by “destiny”. As long as people make active efforts, they can achieve their own life goals. This is what “Against Fatalism” means. Mozi believed that although the music was pleasant to hear, it did not conform to the principle of the king and the interests of the people, so he opposed music. He also believed that long mourning and costly funerals were not beneficial to society. Monarchs and nobles should live a frugal life like ancient saints. This is the meaning of “Simplicity in Funerals” and “Saving Expenditures”. (Lu Jian Lin 2019, 196)

(4) the School of Legalists

The School of Legalists, or Legalism, one of the Hundred Schools of Thought, is an important school of thought in Chinese history that advocates the rule of law as its core. The thinking of Legalism is a practical political philosophy, unlike Taoism, which takes the whole universe as its object of study, or Confucianism and Mohism, which takes the whole society as its object of study, but takes politics as its object of study and focuses on governing the state. It has the following main characteristics. First, it opposes the ritual system of Confucianism. The Legalists valued law and opposed the Confucian “Li”. They believed that Confucianism was unfair in upholding the privileges of the nobility, opposing the hereditary privileges of the nobility, which monopolized economic and political interests and demanded private ownership of land and the award of official positions according to merit and talent. Secondly, the theory of human nature of “man tends to pursue interests and avoid harm”. The Legalists believed that human beings have the nature of pursuing profit and hate to be harmed. The rulers could use this to govern the state and the people. Thirdly, is the historical view of “not following the past nor the present”. The Legalists opposed the conservative idea of retrogression and advocated reform. They believe that history is moving forward, and all laws and systems should be developed with the advance of history, neither retrogressive nor conformist. Fourth, the combination of “law”, “managing strategy” and “managing power” is the strategy of ruling the state. The representative figures of Legalism, namely Shang Yang, Shen Tao, and Shen Buhai, advocated the idea of emphasizing law, managing strategy, and power respectively. Han Fei, the master of Legalism, proposed a close combination of the three. “Law” refers to a sound legal system; “managing strategy” refers to the strategies and means to manage the ministers, grasp power, and implement decrees; and “managing power” refers to the power of the monarch, requiring the monarch to be in sole control of the military and political power. The representative works of Legalism include ''Guanzi'', ''the Book of Lord Shang'', ''Hanfeizi'', and so on.

(5) the School of Military Strategists

The School of Military Strategists, one of the Hundred Schools of Thought, refers to a school of thought that studied military theory and engaged in military activities during the Pre-Qin and early Han Dynasties in China. According to this school, everything in the world has its objective law of change and development, and only by following the development of the law and correctly applying the laws of nature can war be won. In addition, warfare must be guided by knowledge of the ways of using the military and by the mastery of flexible strategies and tactics. As a ruler, not only should he know the military, but also master the general laws of war. A ruler should govern the state with both punishment and virtue, with both force and mercy, and regulate society according to the laws of nature to achieve long-term peace and stability.

War is a continuation of politics and is a matter of life and death for a country or a nation. A book on the art of war is both a guide on how to rule a country and develop a national strategy; and a book on how to lead an army into battle and develop a war strategy. ''The Art of War by Sun Tzu'' is the most important work of the School of Military Strategists and the oldest surviving book on warfare in the world. This work summarizes the experience of warfare and military governance of the time puts forward a series of strategic and tactical principles and contains a wealth of ideas on military dialectics. After the 18th century, The Art of War by Sun Tzu was translated into English, French, German, Czech, Russian, and Finnish, and widely appreciated across the world.

===The Influence in Contemporary Times===
(1) the Confucian School

On Environmental Protection

Confucians believe that “man is an integral part of nature” (天人合一), and nature is the common source of man and all things in the world. Confucianism emphasizes that man and nature should live in harmony, and everyone should love and protect nature. (Ren Jiaying 2021,199) Since the time of the industrial civilization, mankind has created massive material wealth. Yet, it has come at a cost of intensified exploitation of natural resources, which disrupted the balance in the Earth's ecosystem, and laid bare the growing tensions in the human-Nature relationship. Influenced by Confucian thought, the Chinese firmly believe that destroying the natural environment is equivalent to self-destruction. Therefore, in recent years, China has begun to take the path of sustainable development, pursuing the purpose of “green mountains are gold mountains”, and protecting the ecological environment while pursuing economic growth.
On the Character of the Chinese Nation

“Harmony in Diversity” (和而不同) is an important concept of Confucianism, which first came from ''the Analects of Confucius''. As philosophical thinking in ancient China, it is a scientific world outlook and methodology, which has given important guiding significance in the development of China’s economy, politics and culture. Ku Hung-Ming (1857-1928) pointed out in his speech at Peking University that the Chinese people have a specific spirit, a spirit that no other nation has, that is, gentleness. Gentleness is not softness, nor weak submissiveness, but a power of compassion. This power of compassion cannot be separated from the guidance of “Harmony in Diversity” as a world outlook for the Chinese people. This principle has cultivated the fine conduct of the Chinese people today and formed the unique temperament of the Chinese nation, which is “gentle”, “modest” and “inclusive”.

On International Communication

Moreover, an important issue in today's world is how different cultural and political communities, each with its particularities, can submit to common normative principles while respecting each other’s differences. The right answer to this question can be found in “Harmony in Diversity”. “Harmony” requires us to insist on harmony in exchanges and dialogues among countries. If cultures do not adopt an open and tolerant attitude but fall into a closed, conservative, and narrow-minded way of thinking, they will surely lose their vitality and go into decay. “Harmony” can also help us avoid conflicts in cultural exchanges, while “Diversity” requires us to respect the differences between cultures and maintain our unique strengths. (Niu Yufei 2022, 8)

(2) Taoist School

On the Economy

The core of Taoist thought is “Inaction” (无为), which is to follow the original law of development and not forcefully interfere with or change the course of things. This idea has a great influence on the participants in economic activities. It inspires people not to interfere too much with normal economic activities and to let economies participate in the reasonable competition in the market, to avoid disturbing the laws of economic activities, and achieve economic prosperity. Likewise, for enterprises, the thought of “Inaction” provides us with a new management model – “soft management” - which is beneficial to the long-term development of enterprises. On the other hand, Taoism advocates “less selfishness and fewer desires” (少私寡欲), which helps people today to abandon individualism and money-worship and establish good morals.

(3) Mohist School

On World Peace

In today's world, peace and development are the two main themes. Undoubtedly, the world economy is booming day by day, but the full realization of the ideal of peace for mankind is still a long way off. Some major powers are pursuing hegemony, power politics, military strikes, interference in internal affairs, economic sanctions, and arms races, which have made the world volatile. To achieve lasting peace for all mankind, it is necessary to establish a concept of peace recognized by all humanity, that is, the Moist idea of “Universal Love” (兼爱). As historian Arnold Joseph Toynbee (1889-1975) said, "The Mozi doctrine of universal love as an obligation is all the more appropriate for the modern world, which has been unified technically, but not emotionally. Only universal love is the only hope for mankind to save themselves. Mozi's love is more needed by modern people than Confucius' love." True human peace can only be achieved if “Universal Love” is realized globally. (Liu Bangfan 2003, 24-25)

(4) the School of Legalists

On Legislation

In the face of intense social unrest, the Legalists advocated an active change of law and believed that reforms were following the natural law, the conditions of the people, and the times. Han Feizi also advocated, “There is no fixed way to manage the people, only to implement management according to law. Only by adapting to the changes of the times, can the society be well governed; Only by adapting social governance to social reality can we achieve results.” (治民无常，唯治为法。法与时转则治，治与世宜则有功。) He intended to emphasize that the law should respond to the changes of the state and adapt to the changes in social life. Influenced by this idea, since 2016, the introduction of laws such as ''Environment Protection Tax Law of the People’s Republic of China'', ''General Rules of the Civil Law of the PRC'', and ''Cyber Security Law of the PRC'' have continued to fill the legislative gaps and promote the realization of the rule of good law. (Xu Nanzhi 2018, 3)

On Administration of Justice

In the implementation of the law, Legalism advocates that “matters are determined by the law and prisoners are punished without regard to their social status” (事断从法，刑无等级). The majesty of the law lies not only in its strict regulations but also in its severe enforcement. Han Feizi further developed the idea of “no difference in punishment” into “the law cannot fawn on the noble”, and pointed the finger of reforms at the nobility, increasing the strength of law enforcement. However, it is not difficult to find that Han Feizi also emphasized the idea of “monarchy”. What he strongly defended is the monarch’s equal treatment in the application of punishment, rather than the modern Western concept of “all men are created equal” in the rule of law. Therefore, the implementation of the law at that time could not achieve the true equality of all people. In today’s society, reflecting on the law enforcement aspects of Pre-Qin Dynasty legalism helps people to understand more deeply the implementation of the law and to better practice the principle of “equality before the law”. (Xu Nanzhi 2018, 3-4)

(5) the School of Military Strategists

On National Defense

After thousands of years of inheritance and development, Chinese military science has formed a valuable treasure. Mao Zedong’s military thought is an outstanding example of inheriting and carrying forward the traditional Chinese military culture. In his military writings, he not only cited a large number of ancient Chinese examples of warfare, but also clarified the ancient Chinese military thinking, including “If you know your enemies and know yourself, you will not be imperiled in a hundred battles” (知彼知己，百战不殆), “Listen to both sides and you will be enlightened” (兼听则明，偏信则暗), and “Avoid the enemy when he is full of vigor, strike when he is fatigued and withdraws” (避其锐气，击其惰归). Then he applied those ideas to the practice of the Chinese revolution and war. Mao Zedong pointed out in ''Problems of Strategy in China's Revolutionary War'' that “the phrase ‘if you know your enemies and know yourself, you will not be imperiled in a hundred battles in the book of Sun Tzu, a great military man of ancient China, includes two stages: learning and using. It includes knowing the objective laws of development and deciding how to act according to these laws to defeat the current enemy, and we should not look down on this phrase.” ''The Art of War by Sun Tzu'' points out that “a victorious army is first sure of a win before seeking war, while a defeated army first fights before seeking victory” (胜兵先胜而后求战，败兵先战而后求胜). Mao Zedong absorbed and developed this idea from Sun Tzu and attached great importance to war preparation, stressing that one must have the certainty of victory before going to war. (Wang Xiaoxue 2011, 100-101)

China's long-standing traditional military culture has given extensive and in-depth consideration and summary to many issues of national defense and military. The military scholars in the Pre-Qin period always emphasized that fighting for justice and peace is the only way to win the hearts and minds of the people. Today we continue to adhere to the military strategy of active defense, putting national sovereignty and security in the first place. We adhere to the rule of law and strict military, and constantly improve the level of the military. Another outstanding feature of Pre-Qin military science is that it considers many factors such as politics, economy, and military together with national defense construction from a holistic perspective. Contemporary China has inherited the ancient traditional military culture and formed a national defense theory system with Chinese characteristics. (Wang Xiaoxue 2011, 102-103)

===Conclusion===
This paper first reviews the history of the development of traditional Chinese philosophy by dividing it into seven stages and gives a brief overview of Chinese philosophy at each stage. Subsequently, this paper distills five representative schools of thought in traditional Chinese philosophy, namely Confucianism, Taoism, Mohism, Legalism, and the School of Military Strategists, and briefly summarizes their respective characteristics. Finally, the paper explores the contemporary influences of these five schools of thought, which relate to environmental protection, the formation of the Chinese national spirit, international exchange, national defense construction, etc.
Overall, the author’s purpose in writing this paper is to make the reader aware of the appeal of traditional Chinese philosophy. Although these ancient philosophical ideas seem to be very distant from this era, they still have an invisible and great influence on the world we live in today. As Chinese people, we should pay more attention to the wealth of ideas left to us by our ancestors and learn the best parts of traditional Chinese philosophy to establish a correct outlook on life, worldview, and values.

===References===
*Wang Jie王杰. (2020). 中国传统哲学的发展脉络[The Development of Traditional Chinese Philosophy]. 新华文摘 Xinhua News Digest (24) 45.
*Miao Xinlei 苗新蕾. (2021). 先秦儒家思想与道家思想的对比研究[A Comparative Study of Confucianism and Taoism in the Pre-Qin Period]. 汉字文化 Sinogram Culture (16) 187.
*Hu Lu 胡璐. (2019). 儒家思想与道家思想的互补作用[The Complementarity of Confucianism and Taoism]. 文学教育 Literature Education (05) 141.
*Lu Jianlin 陆建林. (2019). 学习墨子思想培育大医精神[To Cultivate the Spirit of Doctors by Studying Mozi's Thought]. 广东职业技术教育与研究Guangdong Vocational Technical Education and Research (04) 196.
*Ren Jiaying 任珈莹. (2021). 中国传统文化之儒家思想的当代价值[The Contemporary Value of Confucianism in Chinese Traditional Culture]. 科技资讯 Science & Technology Information (04) 199.
*Niu Yufei 牛宇飞. (2022). 新世界主义中的“和而不同”["Harmony in Diversity" in New Cosmopolitanism]. 公关世界 PR World (04) 8.
*Liu Bangfan 刘邦凡. (2003). 墨家思想的当代价值[The Modern Significance of Mohist School of Thought]. 燕山大学学报(哲学社会科学版) Journal of Yanshan University(Philosophy and Social Science Edition) (01) 24-25.
*Xu Nanzhi 徐楠芝. (2018). 先秦法家思想对当代法治的价值[The Value of Pre-Qin Legalist Thought to Contemporary Rule of Law]. 黑龙江省政法管理干部学院学报 Journal of Heilongjiang Administrative Cadre College of Politics and Law (02) 3-4.
*Wang Xiaoxue 王晓雪. (2011). 先秦兵家治国思想研究 ——以先秦六本兵书为中心[Study on State Affairs of the Military Strategists in Pre-Qin Period – Focused on Six Military Books in Pre-Qin Period]. 南开大学 Nankai University.

===Terms and Expressions===
the Pre-Qin philosophy 先秦哲学

the Study of Confucian Classics in the Han Dynasty 汉代经学

the Metaphysics of the Wei and Jin Dynasties 魏晋玄学

the Buddhist philosophy during the Sui and Tang Dynasties 隋唐佛学

Neo-Confucianism in the Song and Ming Dynasties 宋明理学

the Practical Thought in the Ming and Qing Dynasties 明清实学

Textual Studies in the late Qing Dynasty 乾嘉朴学

the School of Legalists 法家

the School of Logicians 名家

the School of Military Strategists 战略家

the Yin-Yang School 阴阳家

the School of Political Strategists 纵横家

the Eclectics 杂家

the School of Agriculturists 农家

"Universal Love" 兼爱

"Against Aggression" 非攻

"Respecting the Virtuous" 尚贤

“Identifying with the Superior” 尚同

"The Will of Heaven" 天志

"On Ghosts" 明鬼

"Against Fatalism" 非命

"Against Music" 非乐

"Simplicity in Funerals" 节葬

"Saving Expenditures" 节用

===Questions===
1. When did traditional Chinese philosophy take shape?

2. What are the most influential schools of thought in the Pre-Qin period?

3. What is the core of Mozi's thought?

===Answers===
1. At the end of the Spring and Autumn Period.

2. The most influential ones are the Confucian School, Taoist School, Mohist School, the School of Legalists, and the School of Military Strategists.

3. Universal Love.

==英语笔译童略雅 Tong Lueya 202170081595==

<center>'''A Brief Analysis of the Influence of Artificial Intelligence on Translators'''</center>

<center>Tong Lueya</center>

===Abstract===
The Internet, big data, artificial intelligence and other information technologies in the digital age have brought profound changes to the development of human society. Of course, translation is also affected without exception. Artificial intelligence is quietly changing the process of translation and the identity of the translator. Over recent decades, AI has developed rapidly and has been widely used in various fields. It has become the inevitable trend of social development. As a special human activity, translation has developed from the early mechanical machine translation to the current computer-aided translation (CAT), which is the embodiment of the integration of artificial intelligence technology and translation, and more and more people hold that this technology will replace manual translation. Based on the current development of AI and translation technology, this paper will explore the influence of the AI on translators, and then attempt to give some suggestions to them, so as to make full use of artificial intelligence to lead the development of translation and form a good situation of complementary advantages and mutual benefit.

===Key words===
Artificial intelligence; translator; influence; machine translation

===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.

==英语笔译庹树梅 Tuo Shumei 202170081596==
<center>'''Translation and Dissemination of Chinese Fairy Tales in the English-speaking World'''</center>

<center>Tuo Shumei</center>

===Abstract===

Chinese fairy tales are a literary style created by ancient Chinese people in the process of working life through long-term social practice. It is a literary style with a strong and distinctive national character, and is a bright and dazzling pearl in the treasury of Chinese culture. Internally, it is a source of cultural confidence, and externally, it is a channel for overseas readers to understand Chinese history, culture and society. Nowadays, with the increasingly frequent cultural exchanges between China and foreign countries, the English translation of Chinese mythological stories can help foreign readers better understand Chinese customs and traditions, and deepen their understanding of Chinese culture. Therefore, in order to tell Chinese stories and spread Chinese voices well, it is indispensable to tell Chinese Fairy Tales, spread Chinese mythological imagination and explain Chinese mythological wisdom.
The first chapter of this paper analyzes Chinese Fairy Tales from the perspective of its translation status and strategies in the English-speaking world. The second chapter analyzes Chinese Fairy Tales from the perspective of its dissemination in the English-speaking world and their dissemination strategies. Chapter 3 analyzes Chinese Fairy Tales from the perspective of how to improve its translation and dissemination in the English-speaking world. Chapter 5 analyzes Chinese Fairy Taliesin the English-speaking world from the point of view of its translation and dissemination significance.
===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.

==英语笔译王思琪 Wang Siqi 202170081597==

<center>'''A Study on Chinese Dialects'''</center>

<center>Wang Siqi</center>

===Abstract===
Dialect, a variety of a language that is distinguished from other varieties of the same language by features of phonology, grammar, and vocabulary, and by its use by a group of speakers who are set off from others geographically or socially. Generally speaking, regions with a long history, a large population and a broad territory tend to have more dialects. There are many factors that form dialects, from the migration of people in ancient times to the cultural exchanges with diverse ethnic groups, to the division of a society and the uneven development of various languages, etc., which allow them to derive a variety of different languages, so that dialects are characterized by its diversity. As an intangible cultural heritage, dialects should be transmitted in a more effective way, rather than stagnating abruptly in an era and disappearing without any signs. This paper will study the origin and development of Chinese dialects, the classifications and characteristics of Chinese dialects, the challenges faced by Chinese dialects in modern times, and how to protect and promote the dying Chinese dialects.
===Key words===
Regional Dialects; Social Dialects; Transmission of Chinese Dialects
===Introduction===
Dialects can be classified into regional dialects and social dialects. Regional dialect is a distinct form of a language spoken in a particular geographical area, it prevails in specific regions and are distinctly different from other local languages. While social dialects are social variants of language, People who use the same language will have different accents, wording, and speech for their different ages, genders, occupations, and classes within a society. The differences between regional dialects and social dialects manly reflect on three fronts: First, social dialects are different due to class discrepancies and other social factors, while regional dialects are different due to geographical discrepancies. Second, the distinction between social dialects is vague, while the distinction between regional dialects is clear for its geographical boundary; Third, social dialect can be easily influenced by external factors such as age, education, and professions, and the regional dialect has a relatively stable development.
As a carrier for cultural exchange, Chinese dialect has a time-honored and colorful history, it plays an unique role in promoting Chinese culture and boosting a more inclusive and united society. This paper will deeply study the Chinese dialects, in the first part, the paper will introduce the evolution of Chinese Dialects; In the second part, the paper will clarify the classifications of Chinese dialects and their respective features; In the third part, the paper will analyze the challenges that the Chinese dialects are facing and illustrate the response to these challenges.
===The Evolution of Chinese Dialects===
The northern dialects are the direct result of the long development of the languages used by the Han Chinese living in the central plains in ancient times and the influence of the surrounding minority languages. The other dialects of Chinese spoken in southern China have their origins in the historical migration of people from the middle and lower reaches of the Yellow River to the south. Migration in Chinese history has taken place from the early Qin dynasty to modern times. There are probably two types of migration, one is the automatic migration of people and the other is the planned migration by the government. The former is often caused by war, famine, famine or population explosion, while the latter is for some political, military or economic purpose. Throughout Chinese history, the general direction of migration has been mainly from north to south, and from east to west. This important feature gave rise to the original origins of the southern dialects of Chinese and formed the geographical pattern of Chinese dialects today.

'''(1) The origins of the seven major dialects'''

The Wu dialect has the most ancient origins. According to the Records of the Grand Historian, three thousand years ago, during the Pre-Zhou period, a group of immigrants moved from the Weishui valley in Shaanxi to the Taihu valley in Jiangnan after a political change. They founded the state of Wu, whose language may have been the earliest source of the later Wu dialect.(Ai Jun,2020)

The Xiang dialect is derived from the ancient Chu language, which no longer exists today. During the turmoil in the Central Plains at the end of the Shang dynasty, the Chu people moved south to the Jianghan basin, and so the Chu language was brought to the Hubei region. During the Warring States period, the state of Chu moved south to take possession of the Xiang River valley, so the ancient Chu language spread again to Hunan.(Ai Jun,2020)

After the Qin unified the six kingdoms, they crossed the Five Ridges to the south and took possession of the two regions of Canton. The area was originally inhabited by the Baiyue people, and the Qin emperor sent 500,000 troops to station there to prevent them from rebelling. The language used by these soldiers became the precursor to the Cantonese dialect of today.(Ai Jun,2020)

Fujian was originally the home of the Min Yue people, and during the Western Han Dynasty there was only one county here. In the late Eastern Han Dynasty, when warlords were at war, a large number of migrants from the north entered Fujian by land and sea, and the original Min dialect would have sprung from this period.(Lin lunlun,2020)

The Gan and Hakka dialects were the latest to emerge. Jiangxi was a crossroads between the ancient Wu and Chu languages, so there was no original Gan language before the Han Dynasty. During the great migration of Han Chinese people southwards that took place after the Yongjia period of the Western Jin Dynasty (307-312), some of the migrants from the north arrived in northern Jiangxi, and the languages they brought with them were the precursors of the Gan and Hakka dialects.(Wang Xiyuan,2013)

The southern dialects of Chinese are the result of the above-mentioned origins and the constant impact of new dialects brought by the many migrations over the centuries, which have led to substitution, intermingling, infiltration and mixing.

'''(2) Three great migratory movements to the south'''

Before the Jin Dynasty, the Huai Shui and Qin Ling lines could be regarded as the general boundary between the northern and southern dialects, but it was only after the Western Jin Dynasty that three major migrations from the south took place, allowing the northern dialects to cross this line into the south on a large scale, thus gradually changing the geographical layout of southern dialects. The basic pattern of Chinese dialects is the result of three major southward migrations of Han Chinese and a number of small and medium-scale migrations throughout history.
The first great wave of Han migration occurred during the period from the Western Jin to the Southern Dynasties (307 - 466). The Eight Kings' Rebellion at the end of the Western Jin Dynasty led to the invasion of minority groups on the frontier, thus forcing a large number of Han Chinese from the Middle Kingdom to migrate southwards. This number represented about one-eighth of the population of the northern Western Jin Dynasty and another sixth of the population of the Southern Song Dynasty.(Zhan Boyan,2015)

The second wave of migration was triggered by the An-shi Rebellion, which took place during the Tang Dynasty (755). The eight-year war spread across the middle and lower reaches of the Yellow River, causing a renewed exodus of people from the Central Plains to the south. Not only was the migration caused by the An-shi Rebellion large, but this time it went further than the previous one, reaching south of Dongting Lake and Poyang Lake, and even to Lingnan and Fujian. As a result, the northern dialects once again impacted on the southern dialects and played a key role in shaping their geographical pattern.
In Hubei, the northern dialects accelerated the assimilation of the Hubei dialect and laid the foundation for the Southwestern official dialects of this region. In the Changsha-Hengyang area, the Xiang dialect was eroded by the northern dialects, weakening its inherent characteristics. At the same time, the Cantonese dialect has been influenced to some extent by the immigrant dialects.In northern and central Jiangxi, the languages brought by immigrants from the north formed the main basis of the present-day Gan language and prepared the ground for the formation of the later Hakka dialect. The immigrant languages entering Jiangxi permanently separated the Wu and Xiang speaking areas and confined the Min languages to the Fujian region.After the An Shi Rebellion, the Tang dynasty saw the emergence of clans and towns. These clans were nominally under the central government, but in reality were small independent kingdoms. After the fall of the Tang dynasty, five dynasties emerged in the Central Plains, known as the Five Dynasties, and a dozen other local feudal regimes emerged, collectively known as the Ten Kingdoms. During the two hundred years before and after this period, the people lived in a long period of fragmentation, reinforcing the geographical pattern of dialects. The Wu-Yue, Wu (Southern Tang), Chu, Min and Southern Han regimes played a significant role in the formation of the Wu, Gan, Xiang, Min and Yue dialect regions.(Zhan Boyan,2015)

The third great southward migration occurred at the time of the two Song dynasties (1126-1142) for similar reasons and southward routes to the first and second great migrations, with the southern part of present-day Jiangsu and Zhejiang receiving the greatest number of migrants, and the migrants reaching further south, with Fujian, Guangdong and Guangxi all having migrant footprints. As the immigrants were more evenly distributed, except in the area of Jiangsu and Zhejiang, the northern dialects did not have as much influence on the southern dialects as the first two migrations.
After the fall of the Northern Song Dynasty, a large number of civil and military officials, monks, nuns and merchants from the old capital of Bianjing (now Kaifeng) came south to the Southern Song capital of Lin'an (now Hangzhou).The Hakka dialect also gradually took shape during this period. As a result of the southern invasion of the Jin and Mongols, a large number of descendants of immigrants who had moved to Jiangnan after the Middle Tang Dynasty and people who had moved to western Fujian and southern Gan at the end of the Tang Dynasty moved again to the border area of Fujian, Guangdong and Gan. The geographical isolation of this area caused the immigrant dialects to finally separate themselves completely from the northern dialects, forming a distinctive Hakka dialect and making the area around Meizhou in Guangdong the core of the Hakka dialect.(Zhan Boyan,2015)

The process of migration from Jiangxi to Hunan lasted for seven or eight hundred years, starting from the Five Dynasties until the Ming and Qing Dynasties. The reasons for the migration were spontaneous economic requirements. The middle and lower reaches of the Gan River in Jiangxi were more developed than Hunan due to the large number of immigrants they received after the Middle Tang Dynasty. As a result, the Xiang language changed qualitatively and took on Gan characteristics.The migration from Fujian to Guangdong also began roughly during the Five Dynasties. Fujian had many mountains and few fields, and the population saturation became more pronounced. As a result, Fujianese immigrants entered the south-eastern coast of Guangdong and gradually spread westwards, mostly across the sea, spreading the Min dialect along the coastal areas in the eastern and western ends of Guangdong and leaving some Min islands in the Pearl River Delta.

===Chinese Regional Dialects and Social Dialects===

'''(1)Classifications and phonetic features of Chinese Regional Dialects'''

In general, Chinese dialects can be roughly classified into seven large groups: the Northern dialect (Mandarin), Gan, Kejia (Hakka), Min, Wu, Xiang, and Yue (Cantonese). The seven large dialectal groups were defined by regional factors.

The Northern dialect, also known as the Mandarin, is the basic dialect of modern Chinese Mandarin, represented by Beijing dialect, which is the most widely used. The main feature of northern dialects in terms of pronunciation is that there is no voiced stopper and voiced syllable vowel, and there are four tones, including level tone, the rising tone, the falling-rising tone, and the falling tone. According to its characteristics, the northern dialect is generally divided into four sub-dialects: North China dialect, Northwest dialect, Southwest dialect and Jianghuai dialect. The internal consistency of northern dialects is relatively strong, the difference in its grammatical structure is small, and the difference in pronunciation is not very large.

The Gan dialect is mainly spoken in the central and northern parts of Jiangxi Province, as well as parts of eastern Hunan, southeastern Hubei, southwestern Anhui, and northwestern Fujian. There are about 100 counties (cities), with a population of more than 30 million. Nanchang dialect is typical. From a dialect map, the Gan dialect is surrounded by northern dialects, Wu dialects, Fujian dialects, Hakka dialects, and Hunan dialects. This geographical location is the most unique among all dialects of Chinese. Because of this, the Gan dialect is greatly influenced by other dialects, and the boundaries on all sides are very indistinct.One of the most prominent features of the Gan dialect pronunciation is that the ancient voiced stopper and the voiced vowel all become the same pronunciation part of the air-sending clear vowel (Liu Lunxin, 2003:34)

Kejia, or Hakka, is mainly spoken in the eastern and northern regions of Guangdong, Guangxi and southern Jiangxi, western Fujian, and parts of Hunan, Sichuan, and Taiwan Provinces. The main phonetic characteristics are: Most of the ancient voiced stopper and voiced vowels become the same part of the air-sending clear vowel, which is consistent with the Gan dialect; g, k, h and z, c, s can be spelled with the homonymous vowel;

Min is spoken in China's southern coastal province—Fujian, it is also spoken by the descendants of Min speaking colonists on Leizhou peninsula and Hainan, or assimilated natives of Chaoshan, parts of Zhongshan, three counties in southern Wenzhou, Zhoushan archipelago, and Taiwan.The name is derived from the Min River in Fujian, which is also the abbreviated name of Fujian Province. It is the most diverse dialect, meaning within the dialect group there are still many different variations on word pronunciation. There is no labiodental fricative f in the pronunciation of the Min dialect. In Mandarin, all words that pronounce f vowels are pronounced b or p vowels in Min dialect; In Mandarin, the word with zh and ch vowel are pronounced d or t in Min dialect.

The Wu dialect spoken primarily in Shanghai, Zhejiang Province and the part of Jiangsu Province south of the Yangtze River, which makes up the cultural region of Wu.

Xiang is a southern dialect concentrated in Hunan province. The two major varieties of Xiang are New Xiang and Old Xiang. New Xiang, which is spoken predominantly around Changsha, the capital of Hunan, has been strongly influenced by Mandarin Chinese. Old Xiang, which is spoken in other areas of the province. Old Xiang has a greater number of different initial consonants than does any other major Chinese language. Xiang uses five tones to distinguish meaning between words or word elements that have the same series of consonants and vowels.

Cantonese, or Yue, is also a southern dialect. It is spoken in Guangdong, Hong Kong, and Macau. At the same time, the Cantonese dialect area is the forefront of China's opening up and reform, every year there attracts millions of migrant workers from all provinces in the interior to pan for gold, so in recent years the influence of Cantonese dialect is getting bigger and bigger. Cantonese dialect words, in recent years, also showed a trend of northward penetration, which reflects the close relationship between language expansion and economic development. The phonetic system of Cantonese dialect is relatively complex, with as many as fifty-three finals, which is the dialect with the most tones among all Chinese dialects.(Tao Huan, 2018)

'''(2)Factors affecting the Social Dialects'''

Social dialect is a variety of speech associated with a particular social class or occupational group within a society. Also known as a sociolect, group idiolect, and class dialect. The term sociolect is a combination of the words 'social' and 'dialect', It includes professional terminology, jargon, cant, etc. Sociolects typically develop among groups of people who share the same social environments or backgrounds. Social factors that influence sociolects include socioeconomic status, age, occupation, and gender and so on.

Socioeconomic status typically refers to a person's class. The language someone uses will likely differ greatly depending on their socioeconomic status. This can all be linked to the education they received, the people they choose to spend time with (or can afford to spend time with), the job they do, and the income they make.

New words are added to the dictionary every year, and many words that were once common fall out of use. This is because language is constantly changing.These changes are often apparent when we examine the different sociolects across ages. Especially grandparents or someone older than you.

Occupation is about the jobs we do. As we learn and develop skills for specific jobs, we also pick up lots of new vocabularies along the way. Take a computer programmer, for example, they probably know and use a lot of technical 'jargon' that a neurosurgeon wouldn't understand, and vice-versa.

Gender is a little more controversial than the others as there is a lot of conflicting research around the differences in men and women's speech. Some researchers suggest that it is due to genetics, whereas others believe that women's lower status in society has impacted their speech.

Sociolect is a variety of language unique to a social group. It is important to remember that most people will use several different sociolects throughout their lives. Our speech will likely change depending on who we talk to and where we are. Think about why your speech differs from when you're at work and when you are hanging out with your friends. Sociolect plays an vital role in your social interactions with others, it can help you leave a good or bad impression for others, even influence you relations with others.(Xie Nana,2015)

===Challenges of Chinese Dialects===
The Chinese regional dialects are shrinking or even dying out at a very rapid rate, and many of the dialects have become completely alien to young people. On the other hand, regional dialects are assimilated by mandarin. On the other hand, the regional dialects have gradually lost their soil and the young people are gradually alienated from the regional culture embedded in the dialects. There are four reasons that can better explain this situation.

First, the increasing development and convenience of transportation have made it possible for the population to move around frequently on a large scale, and people in different regions can break the communication barriers by speaking Mandarin. The promotion results have seen remarkable progress in cities, and in rural areas, the regionalects are local residents’ common communication means, however, since more and more rural immigrants work in the cities, their dialects have been gradually assimilated under a new working and social environment where mandarin is the main language.(Zhuang Chusheng,2017)

Second, television and Internet media that require and promote Mandarin to bolster mutual understandings and exchanges. In most media platform, the host are required to speak fluent Mandarin, and after the audience gradually accepts massive inputs of Mandarin, their dialects are rapidly assimilated.(Zhuang Chusheng,2017)

Third, the promotion of Mandarin has been intensified by Chinese governments. Since the promotion of Putonghua has been carried out extensively, more and more remarkable results have been achieved, dialects are bound to face the dilemma of shrinking. From primary and secondary schools to the whole society, Putonghua has become a leading language in the Chinese society, no matter where you go, you can notice the promotion slogans. In China, there are an important test for your mandarin level, that is The Putonghua Proficiency Test or Putonghua Shuiping Ceshi (PSC), is an official test intended for native speakers of Chinese languages, Candidates who pass the test are given a Certificate of Putonghua Proficiency Level at levels 1, 2 or 3, each of which is subdivided into grades A and B, and the majority of Chinese students will try to get a good grade, this is because they regard the certification as an additional skill when they are seeking jobs, it is conducive to job-seekers especially those working in broadcasting, education and government sectors. (Zhuang Chusheng,2017)

Finally, many young people took pride in speaking Mandarin and felt that the regional dialects are too old-fashioned. Even some young people felt ashamed of speaking their dialects, and they grew up in a Mandarin environment in which parents, teachers, and their friends all speak Mandarin, this has a serious impact on the transmission of regional culture.(Zhuang Chusheng,2017)

===The Transmission and Inheritance of Chinese Dialects===
Firstly, in the perspective of official authority, the language authorities should issue policies to protect the regionalects in the same way as they do for Madarin, so as to raise awareness of speaking regionalect in the community, specific measures such as instruct relevant departments to carry out special publicity on dialect culture, establish relevant regulations for the protection of dialects, and do the academic rescue work of good dialects, to construct a Chinese dialect museum to preserve and display Chinese dialects. The construction of a virtual language museum has also become an important aspect of the protection of language resources, and use advanced technical tools to collect, preserve, display and develop language resources, these efforts will better preserve the dialect culture and make it easier for future generations to do better understand dialect culture and promote the publicity and inheritance of dialect culture.(Zhang Shifang,2017)

Secondly, the mass media have to play its own role in promoting the vernacular language through various modes of communication, to stimulate the interest of the public in learning a regional dialect, the media can also make use of the dialect culture in television programmes wherever appropriate. In addition, diversify the broadcasting form of culture, such as promoting the popularity of Cantonese, spreading the traditional Chinese opera based on local languages, launching the shows to disseminate local culture with the aim of attracting the young people’s sense of belonging and inspiring them to carry forward the regional dialects. Besides, influential local shows can invite indigenous celebrities to promote regional dialects for their hometown.(Zhang Shifang,2017)

Thirdly, It is everyone's duty to preserve our regional dialects. Older people can communicate with younger people in their regional dialects to promote the transmission of it, young people should increase frequency of speaking regional dialects in daily life, and the parents should set a good example for their children and value the significance of regional dialects with an insightful and far-seeing wisdom, these efforts will stimulate a sense of responsibility and enthusiasm for learning regional dialects in youth, and enhance their sense of identity with Chinese culture, fully mobilize social forces, mobilize the enthusiasm of all sectors of society, and carry out long-term protection. (Zhang Shifang,2017)
===Terms and Expressions===
level tone阴平

the rising tone阳平

the falling-rising tone上声

the falling tone去声

sub-dialects次方言

voiced stopper浊塞音

the voiced vowel浊元音

the air-sending clear vowel 送气清元音

fricative唇齿擦音.

===Questions===
1.What’s the differences between regional dialects and social dialects?

2.How many groups of regional dialects in China?

3.How to protect and promote the Chinese regional dialects?

===Answers===
1. First, social dialects are different due to class discrepancies and other social factors, while regional dialects are different due to geographical discrepancies. Second, the distinction between social dialects is vague, while the distinction between regional dialects is clear for its geographical boundary; Third, social dialect can be easily influenced by external factors such as age, education, and professions, and the regional dialect has a relatively stable development.

2.Seven

3.The language authorities should issue policies to protect the regionalects; the mass media have to play its own role in promoting the vernacular language through various modes of communication; It is everyone's duty to preserve our regional dialects.

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*陶寰.吴闽语云、匣母的读音和闽语全浊声母的清化[J].中国语文,2018(03):335-350+384.

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*徐荣. 汉语方言深度接触研究[D].复旦大学,2012.

==英语笔译王亚娟 Wang Yajuan 202170081598==

<center>'''Filial Piety in China'''</center>

<center>Wang Yajuan</center>

===Introduction===
Filial piety has been a tradition of the Chinese nation since ancient times and has been passed down from generation to generation. As the core concept and main feature of traditional Chinese ethics, filial piety has long been priority in the traditional Chinese politics and cultures. (Xiao Longhang 2006: 1)China's unique patriarchal social system determines that filial piety goes through a process from a religious ethic of ancestor worship to a family ethic and then to a political ethic.

Since the pre-Qin period, monarchs have advocated respect for the elderly and used filial piety to educate the people; thinkers from various periods have put forward their ideas about respect for the elderly and have written books to preach it. In feudal society, when the system was thriving, filial piety was closely linked to politics and became a criterion for selecting talents; in modern society, filial piety has also been given a new meaning in the modern era. (Fan Yan 2016;11) This article will focus on the origin and development of filial piety in China, analyze the cultural values and limitations of filial piety of Chinese filial piety, then briefly compare and analyzes Chinese and western filial piety, finally a brief conclusion about filial piety will be given.

===Origin and Basic Meaning of Filial Piety===
The exact origin of the idea of filial piety is still inconclusive in academic circles. Because in the absence of exact archaeological findings and written records, all conclusions drawn by scholars are only speculations, with imaginary approximations but no factual results. Therefore, the origin can only be explored in the ancient literature. (Wang Xiaohu 2014:3 .)

The explanation of filial piety in ''Erya-Shihun''(《尔雅·释训》) is "being nice to parents is filial piety"; the explanation in Relics from South is “The Chinese character ‘孝’(filial piety) is a combination of the Chinese character ‘老’ (old) with the lower right corner omitted, and 子 (son), thus, 孝 means to serve one's parents well, and it means that children respect and support their parents.’’ Today's scholars interpret the Jinwen（金文inscriptions on ancient bronze objects） form of filial piety in much the same way as the above, and the explanation of filial piety in ''the Ci Hai''(《辞海》) is “to be nice to parents well”, which is almost identical to the explanation in the Erya；Tang Yin's ''On the Origin of Characters''《文字源流浅说》 is even more interesting: “Like a '子'（son） walking with his head bearing ‘老’（the old man）, showing ‘孝’（filial piety） by the shape of supporting an old man to walk.’’ It can be seen that the ancient form of the character "孝”（filial piety） and the meaning of "nice to parents" match perfectly, so "filial piety" is regarded as a kind of good deed and virtue of children to their parents. (Yang Jianhai 2017:10)

In history, records of "respect olders" first began with Three Sovereigns and Five Emperors:"昔者，有虞氏贵德而尚齿，夏后氏贵爵而尚齿，殷人贵富而尚齿，周人贵亲而尚齿”（From the time of Yu and Shun, although they respected virtuous people, they did not forget to respect older people; in the Xia Dynasty, although they respected people with titles, they did not forget to respect older people; in the Yin Dynasty, although they respected people with money, they did not forget to respect older people; in the Zhou Dynasty, although they respected people with kinship, they did not forget to respect older people.”）and “有虞氏养国老于上庠，养庶老于下庠；夏后氏养国老于东序，养庶老于西......(Fan Yan 2016:11)(In the era of the yu, the retired senior officials were entertained at the upper school and the retired scholars at the lower school; the offspring of Xia entertained the retired senior officials in the east and the old people in the west...)

From the available information, the Jin dynasty appeared on the "filial piety" records, such as "“天子明哲，观孝与申（神）”(The emperor judged a man's virtue by his filial piety and religious belief) People in Yin Period believed that the ancestors could directly worship God and are the main medium between God and the human world. Since the ancestors were the medium between the human world and the divine world, they naturally became the masters of the earth and thus could bring disasters and blessings. (Yang Jianhai 2017:134)This is the reason why the Yin people attached special importance to heavy burial and had religious worship of their ancestors.

After King Wu of Zhou pacified the world, he redistributed the world and restored the social orders, therefore, Zhou Dynasty not only inherited the traditions of the previous dynasties, but also created customs and festivals to honor and respect the elderly. For example, the "乡饮酒（country drinking ceremony）" was a unique form of village gathering in the Zhou Dynasty, where the younger generation expressed their respect to their elders by making a toast. During the banquet, ancient songs or chapters from ''the Book of Songs''(《诗经》) were played to praise the virtue and prestige of the elderly. (Fan Yan 2016:11)

Filial piety in the sense of ethical norms is not fully highlighted until Confucius: "“夫孝，天之经也，地之义也，民之行也。”(Filial piety, like the operation of heaven, is eternal and unchanging; like the natural growth of all things on earth, it is natural and justified, and is the natural behavior of the people.）and “天地之性，人为贵。人之行，莫大于孝。”"The nature of heaven is valued by man. The conduct of man is no greater than filial piety." Mencius inherited this view and proposed, "“事孰为大？事亲为大“（What is the greatest thing to do? To serve one's parents is the greatest） (Fan Yan 2016:11). Confucianism believes that filial piety and respect for one's elders is a natural and righteous thing to do, and it is the foundation of one's life.

Confucianism has laid the foundation for the most influential part of filial piety in Chinese people for more than two thousand years because Confucian sages, represented by Confucius, completed the transformation of filial piety from religion to philosophy, from "pursuing filial piety" to "nurturing filial piety" during the Spring and Autumn and Warring States periods. As we all know, Confucius created a philosophical system with "benevolence" as the core concept, reinterpreting the Western Zhou "rites" from the viewpoint of "doctrine of benevolence". He also believes that filial piety is no longer due to the external pressure of society and the constraints of gods, but is an emotional demand and moral consciousness from people's heart and he also combined "filial piety" with "rites", saying that one should treat one's parents and elders with "生，事之以礼；死，葬之以礼，祭之以礼’’ (Yang Jianhai 2017:135)(rites in life, rites in burial, and rites in sacrifice) .

===Evolution of the Meaning of Filial Piety===
After the formation of filial piety in the time of Confucius, it continued to develop.

1.The Han and Wei And Jin Period

During the Han Dynasty, there was a more obvious trend of expanding the idea of filial piety, and after the adoption of Dong Zhongshu's proposal of “罢黜百家，独尊儒术（dismissing the hundred schools and respecting only Confucianism）”, the Han Emperor began to promote Confucianism. The idea of "filial piety" was closely related to social politics, and during the Western Han Dynasty, the implementation of filial piety was encouraged through the establishment of an official for filial piety, and the old caring was established as a system, which had extremely severe legal penalties for those who were not provided for their parents - would to be beheaded.(Ma Yaobin 2017:101)Through such external coercive norms, instead of focusing on the internalization of the idea from the heart, the idea of filial piety was heavily colored by politics, making the people's filial behavior more formal.

From the beginning, the rulers of the Wei and Jin periods advocated the rule of the state by filial piety as the basis of governance and he sets an example for all his subjects by serving his own mother personally. The rulers of the Wei and Jin dynasties attached great importance to ''the Classic of Filial Piety'', not only having the great scholars teach it, but also made notes themselves. When the emperor lectured on ''The Classic of Filial Piety''(《孝经》), he had to be accompanied by important ministers, and there was a clear division of labor, including lecturing, reading, reading and extracting sentences. (Fan Yan 2016：12)

2.The Tang Dynasty, Song and Yuan Dynasty

In the Tang dynasty, although filial piety was still not given much attention, the ethics of filial piety was still enriched and developed by the royal family out of the need to rule. First, Emperor Xuanzong of Tang twice annotated ''The Classic of Filial Piety''(《孝经》), which became the common version used today; second, The Classic of Filial Piety became a compulsory subject for the imperial examinations; third, ''Tang Code''（《唐律疏议》）, which is the highest legislative achievement of the Chinese legal system, pays special attention to filial piety, in which there are 58 articles that can reflect "filial piety".（Yang Zhigang 2012：262）

During the Song and Yuan dynasties, the traditional idea of filial piety in China was to a certain extent alienated, for example, the filial sons and acts of filial piety in the book ''24 Stories of Filial Piety''（《二十四孝》） which was written in the Yuan Dynasty, could find their prototypes in the Song Dynasty. ''24 Stories of Filial Piety'' was collected by Guo Juijing of the Yuan Dynasty, with many versions and mostly similar contents, recording the stories of twenty-four filial sons from the ancient times to the Tang and Song dynasties, such as Zhongyu "carrying rice for a hundred miles" and Wang Bao "hearing the thunder and weeping at the grave" and so on,which all reflect the deepest concern and respect of children for their parents, and even after their parents have passed away, they are still able to respect and raise their parents. . (Ma Yaobin 2017:101) However, there are also some foolish acts of filial piety, such as Guo Ju's "burying his son for his mother"and Wang Xiang's "lying on ice for seeking carp for mother", which are either the loss of basic humanity or foolishness, and are not worth promoting.

3.The Ming Dynasty and Qing Dynasty

During the Ming Dynasty, against the backdrop pf reinforced centralization of power and people’s confined minds, filial piety was advocated in a perverse way, and it was the darkest period of feudal culture. Luo Lun said in the Outline of Principle of Feudal Moral Conduct(《扶植纲常疏》): "孝者，天之经也，地之义也。国而非此不可以为国，家而非此不可以为家。’’(Filial piety is unalterable principle. Without it, the country can not be the country and home can not be home ) (Xiao Longhang 2006:9)There were many loyal subjects and many filial sons in the Ming Dynasty, but many of them were foolishly loyal and blind filial people under the dark rituals,which had a profound influence on later generations.

The Qing dynasty, as a foreign regime, after entering the country to inherit the great unity, continuously learn the Han culture and also with the power of "filial piety" to rule, and the Kangxi emperor placed emphasis on the three principles and the five rules in which the "filial piety" was put in the first place. He believed that to rule the world, the emperor should respect the rule of filial piety. At the same time, the folk power also spared no effort to promote and publicize filial piety with the help of popular teaching materials, such as ''The Hundred Filial Piety Charts''(《百孝图》), which were widely disseminated until the late Qing Dynasty and the early Republican period. (Yang Jianhai 2017:137)

4.In Modern Times

In modern times, new reform and revolutionary forces have become increasingly critical of traditional filial piety, and南京临时政府《临时约法》( ''the Provisional Treaty'' enacted by the Nanjing Provisional Government) , completely ousting Confucianism, which had ruled China for a long time, making democratic thought the mainstream ideology of the democratic revolution. (Li Renjun 2010:42)

The New Culture Movement （新文化运动）made an unprecedented rethinking of filial piety. In his essay ''Speaking of Filial Piety''(《说孝》), Wu Yu pointed out that "the original meaning of filial piety is to gratitude." It is a social virtue for children to care for their parents, but it is wrong to derive other morals from it while Chen Duxiu believed that the adverse effect of the patriarchal system, with its emphasis on filial piety was to exacerbate social inequality." Lu Xun, who was a master of ideas in establishing a new type of ethical relationship between parents and children during the New Culture Movement, believed that love and respect was the cornerstone of establishing a new type ideology between families, "To expand this love, one must understand and take the child as the principal; secondly to guide instead of commanding or chastising; and third, to liberate, so that the child becomes an independent person." (Xiao Qunzhong 2001:124)

In short, during the New Culture Movement, these thoughts about the establishment of a new ethic of father-child relationship, which was consistent with the slogan of "democracy, science, advocating new morality and opposing old morality"at that time. (Li Renjun 2010：43)This new concept of "freedom and equality" also laid the ideological foundation for the establishment of new relations in modern times.

5.In Contemporary Times

In contemporary times, people have begun to adhere to the Marxist and rethink the current development of filial piety and its practice in our country. In recent years, when the song "《常回家看看》''Come home often''" has entered thousands of households, filial piety has once again become a hot topic. People are beginning to rethink the idea of filial piety in the context of the new era, and general public is focusing more on the concern and reflection on parents' emotions. (Ma Yaobin 2017:102)

===Influence of Filial Piety on China===
Filial piety has a long history as a traditional Chinese ethical culture and has a universal influence in society. Its strong power has played a great role in consolidating the centralized rule of feudal dynasties and stability of civil families in successive generations. (Li Renjun 2010：45) However, many of these views are feudal dregs that are having a negative impact on society.

1.Negative Influence

In our history, the concept of filial piety has had many shortcomings.

(1)Fool the People

Traditional filial piety emphasizes the "three principles and five rules" to fool the people, just as Confucius said: "民可使由之,不可使知之"(With the people, we can only make them do what we want them to do, not why they want to do it). By propagating the idea of loyalty and filial piety and polarizing it, the people were made obedient and the ministers were made loyal, not thinking of rebellion and rarely rebelling. Wu Yu points out that “China has been turned into a big factory for the production of obedient people. Such is the great role of the word filial piety!" (Zhao Qing, Zheng Cheng 1985)

(2)Inequality

The relationship between ruler and subject, father and son in traditional filial piety and the resulting hierarchical concept lead to the inequality between people. Although it involves the idea of respecting the old and loving the young, it is always the "elders" that is absolutely dominant. (Xiao Longhang 2006:29)

(3)Feudalism

Filial piety that has been transformed by the ruling class and used to rule the people, should be criticized and discarded. The meaning and role of filial piety has been mystified, and myths and legends about filial piety being able to sense heavenly things have spread throughout the world. (Li Chunhua, Yu Dahai 2006:26) As a result, there were some extreme cases and some people did inhumane things, such as hurting themselves to benefit one's parents and kill one's son to support his mother, thus exerting a bad impact on history.

(4)Conservativeness

Persevere and unity can be said to be the basic spirit of Chinese filial piety. Filial piety emphasizes respect for ancestors and treating parents well, "三年无改于父道”（He didn't change his father's ways for three years）, and respect and obedience to their parents and ancestors,and if not, they are regarded as "rebellious sons" and "black sheep" and are severely reprimanded. Moreover, it is very conservative and unequal, as the sons identify with their fathers and submit to them. (Xiao Qunzhong 2001;42 )

2.Positive Influence

Despite the many shortcomings of filial piety, we cannot deny the positive role it has played in our country's history:

(1)Shaping the Character of People.

Filial piety is the basis for establishing one's character. Sima Guang of the Song Dynasty said, "治身莫先于孝”(There is no better way to sahp one's character than by filial piety.) "夫孝，始于事亲，中于事君,终于立身”(Filial piety begins with serving one's relatives and ends with serving the king,Finally, it is the foundation of shaping one’s mind.)" The scope of falial piety no longer limited to the family, but a social cause. (Xiao Longhang 2006：28)The responsibility to parents and family constitutes an inexhaustible motivation for the ancient people to build their career and dedicate themselves to the country and the nation, which promotes social progress.

(2)Promote Family Harmony

Filial piety, that is the core foundation of family harmony. Our parents are the source of our life. The affection between children and parents is deepest, and filial piety is the fundamental of being a human being. "睦于父母之党，可谓孝矣”If you are good to your parents, you can be considered filial" (Shen Shanhong 19895 ). Being filial to parents is conducive to improving family relations, creating a sense of wholeness and harmony in the family, and promoting the development of all members of the family.

(3)Enriching Chinese Culture

As traditional Chinese culture dominated by Confucian culture, with Confucianism, Buddhism and Taoism interlinked, filial piety is the mainstream of Confucianism, and also is found in Shi and Tao, and has contributed to the development of Shi and Tao culture. The Buddhist scriptures such as ''The Anthology of Hong Ming''(《弘明集》) and the Taoist scriptures such as ''Scripture of the Great Peace''（《太平经》）are also rich in filial thoughts. (Xiao Long Hang 2006:33)In addition, with the passage of time, filial piety gradually integrated into the fields of philosophy, literature, art, and folklore, playing an expanding role for the national culture.

(4)Maintaining Social Stability

“其为人也孝弟，而好犯上者鲜矣。不好犯上，而好作乱者，未之有也。”（It is rare to see the kind of person who is filial to his parents and loves his brother but likes to offend his superiors; it is even more rare to see the kind of person who does not like to offend his superiors but likes to rebel.）"“事亲者，居上不骄，为下不乱。”(Ning Yegao 1995)反之，“居上而骄，为下而乱则刑，在丑而争则兵。“（He who serves his parents is not proud when he is in a higher position, not disruptive when he is in a lower position, and not contentious when he is among the people. If you are proud in a higher position, you will perish; if you are disorderly in a lower position, you will be punished; if you are angry among the people, you will be attacked.）This kind of conduct, which has been honored for thousands of years, does have a deep meaning and a realistic role. Moreover, the value of filial piety does not lie only in loving one's relatives, as filial piety begins with loving one's parents and then moves on to love people and love society. Therefore, filial piety is conducive to social harmony.

===Comparison between Chinese and Western Filial Piety===
Filial piety in both China and the West emerged with family, and its initial meaning is basically the same: filial to parents. (Lian Luxia 2012:) However, Chinese and Western filial piety are based on different geographical, political, economic, and cultural conditions, which influence the differences in the Chinese and Western understanding of the meaning of filial piety.

(1) Differences in the Objects
In the feudal society, parents had absolute authority. After entering feudal society, Chinese filial piety culture developed from respect for parents at the family level to loyalty to the ruler at the social level. By promoting filial culture, feudal rulers were able to achieve their political indoctrination and feudal rule. In an environment that preached the combination of loyalty and filial piety, and the integration of family and ruling (Li Xiang, 2010:52), filial piety was even bound to people as a code of conduct in ancient patriarchal societies.

In the West, the meaningful of filial culture at the social level is not significant, and its mainly refers to respect for parents. Unlike China, however, respect does not mean absolute obedience, and the West attaches more importance to the personal independence between parents and children, and it is more often reflected in the religious sphere. (Huang Shujuan 2021:190)

(2)Differences Between Chinese and Western Family Ethics

Confucius said, "事父母几谏，见志不从，又敬不违，劳而不怨。(Serve your parents, and if they are wrong, politely advise them. If you express your own opinion and your parents are unwilling to listen to it, you should still be respectful to them and not disobey them, and work for them without resentment.)" Chinese feudal society took filial piety as the fundamental of feudal rule. Influenced by Confucianism, parents and elders had absolute authority in the family, and filial piety was reflected in the attitude and behavior of children toward their parents.

The West pursues equality and believes that all men are born equal, and that the relationship between children and parents is also equal. According to Rousseau, "The most primitive society, the only natural society, is the family; the son is dependent on the father only when his protection is needed, and once this need ceases, the natural union breaks down. Each becomes equally independent of the other." (Hu Yuanjiang, Chen Haitao, 2007:48)

All in all, the differences between Chinese and Western attitudes to filial piety exist objectively, so in the face of this difference, one cannot simply judge it by good or bad and the two cultures in different countries are valuable treasures for all mankind. (Lian Lu Xia 2012:203) Today, the Chinese and Western cultures of filial piety are influencing each other and learning from each other because Chinese culture of filial piety shines with the light of humanity, while Western pension system is conducive to economic development. With the continuous development of globalization, western societies can learn from Chinese love and care for the elderly while in the face of social problems such as population aging, there should be more equal between Chinese elders and youngers.

===Conclusion===
Filial piety has profoundly influenced the habits, psychological qualities and national spirit of our nation. According to Mr. Wei Yingmin, "filial piety is not only applicable to one society, one class or one era, but it is super-class or cross-era, and it is applicable in several eras" (He Naichuan 2002).

In the study of filial piety culture in China, we analyze the history of filial piety as well as its values and drawbacks. We can have a clearer understanding of filial piety, and then better take its essence and remove its dross. Traditional culture is to be traced and analyzed in order to inherit and innovate.

Filial piety is not only an ethical requirement, but also a tool of the feudal rulers in history and in recent times, people have gained a deeper understanding of filial piety through the inheritance and renewal of traditional culture. Respect for elders is a need for human development, and traditional culture plays an important role in maintaining family relationships. At present, China vigorously promotes the core values of socialism, and a harmonious and stable society needs filial piety to play its positive role, so under the new situation, it is the mission to inherit and carry forward the reasonable part of traditional culture and actively explore a new way to deal with filial culture.

===Terms and Expressions===

===References===

===Questions===

===Answers===

==英语笔译肖冬晴 Xiao Dongqing 202170081599==
<center>'''On Verbal Humour in Chinese Sketch Comedy from the Perspective of Violating Cooperative Principle'''</center>

<center>Xiao Dongqing</center>

===Abstract===
As a common linguistic phenomenon, verbal humour is an important part of our daily communication. Grice’s cooperative principle is one of the major principle of pragmatics which is ubiquitous in people’s daily conversations. Therefore, it could provide a new perspective from which we analyse verbal humour. Chinese sketch comedy, also known as Chinese Xiaopin, is an art commonly performed by a group of comic actors or comedians presenting a series of short, amusing scenes called “sketches”. This thesis intends to work out the mechanisms of verbal humour in Chines sketch comedy from the perspective of violation of cooperative principle. It reveals in this special art form the violation of quantity maxim, quality maxim, relation maxim as well as the manner maxim in the process of analysing and proves that the violation of cooperative principle could avoid taking verbal humour at face value and arouse deeper thinking about this topic.

===Key words===
Verbal humour; Chinese sketch comedy; cooperative principle

===Introduction===
Humour plays an important role in people’s daily conversations. As a kind of lubricant of verbal communication, it creates an easy and comfortable environment, provides a happy and relaxing atmosphere and helps bring interlocutors closer. Researches and studies on this topic at home and abroad could date back to as early as the 4th century B.C. when the ancient Chinese poet Qu Yuan composed “There in front of me remains nothing but vastness and silence(眴兮杳杳，孔静幽默)” in his masterpiece ''The Nine Elegies'', meaning vastness.

However, the “humour” this paper talks about is the one transliterated by Lin Yutang. At home, researches on humour have greatly progress since the 1980s. Li Lanping (2002) believes that there are intrinsic connections between the principles in pragmatics and the triggering of humour. She discussed the relationship between the two parts under the guidance of the basic principles of pragmatics and the theory of conversational implicature. Yang Ting (2020), on the other hand, analysed the linguistic phenomenon of humour to further decipher the mechanism of it from the perspective of phonetics, semantics, pragmatics, contexts, figures of speech and logic of languages respectively. Ge Lingling (2011) focused on the translation of humour texts from the perspective of verbal humour so as to figure out the translation pattern of texts of this kind.

Abroad, researches on humour are multidisciplinary, involving anthropology, psychology, sociology, linguistics, semiotics and artificial intelligence which are ultimately centred on superiority theory, release theory and incongruity theory. For instance, Charles Gruner explained that wonder is an essential element of humour and that there is always a “winner” and a “loser” in humourous contexts. Freud the representative figure of release theory analysed the mechanism of humour from the perspective of psychoanalysis and divided jokes into intentional ones and unintentional ones(Cai Hui, Yin Xing, 2005:5). Kant was said to be the first to denote humour from the perspective of incongruity theory who pointed out that humour comes from a sudden twist from expectation and the inaccessibility of it(Cai Hui, Yin Xing, 2005:5).

There are studies concentrating on the mechanism of humour in comedy. For example, Dang Fengxiao and Cheng Xiongyong(2021) studied on the humourous language in sketch comedy from the perspective of speech act theory while Wei Ya'e studied the sketch comedy presented by Mahua Funage using logic rules. Looking across the border, Adesoye Ronke Eunice (2018) investigated humour and how it is achieved using phonological processes. Parashar Poorva and Tewari Paul (2020) analysed the humour in The Lonely Island and tried to work out its essence as well as how absurdism and stupid comedy provides insight into millennial and internet psychology. Alex Clayton (2020) studied humour from the perspective of rhetoric through vivid, highly readable analyses of individual sketches.

From all the above, it’s clear that the studies on humour are basically centred around linguistics, literature and figures of speech while researches abroad are involved with more disciplines ranging from anthropology to AI. What’s worth mentioning is that although humour was first brought forward in China, researches on this topic went through a far longer history in the west which could date back to the ancient Greek times. Meanwhile, researches on verbal humour in Chinese sketches are rare. Therefore, it’s necessary to work further on this subject. This thesis will adopt the cooperative principle to analyse the relationship between verbal humour in Chinese sketches and the violation of the principle in which the theoretical basis of cooperative theory, its classification as well as the detailed analysis of its four kinds of violation in Chinese sketch comedy will be covered.

===Cooperative Principle===
Conversational implicature as the core principle of pragmatics theory was first proposed by Oxford philosopher Herbert Paul Grice. Grice noticed that in daily conversations people do not say thing directly but tend to imply them. He believes that there is some regularity in conversation. “Our talk exchanges do not normally consist of a succession of disconnected remarks, and would not be rational if they did. They are characteristically, to some degree at least, cooperative efforts; and each participant recognizes in them, to some extent, a common purpose or set of purposes, or at least a mutually accepted direction.”(Herbert Paul Grice, 1975:45) In other words, we seem to follow some principle like the following: “make your conversational contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of the talk exchange in which you are engaged.”(ibid.) And this principle is known as COOPERATIVE PRINCIPLE, or CP for short.

To further specify the CP, Grice introduced four key categories of maxims, namely quantity maxim, quality maxim, relation maxim and manner maxim, each of which contains several specific maxims and sub-maxims. In simple terms, quantity maxim is to be informative, quality maxim is to be truthful, relation maxim is to be relevant and manner maxim is to be clear. These describe specific rational principles observed by people who follow the cooperative principle in pursuit of effective communication. Therefore, applying the maxims is a way to explain the link between utterances and what is understood from them.

Yet the use of terms such as “principle” and “maxims” does not mean that the CP and its maxims will be followed everywhere. Despite the wide use of CP in daily conversations, people would more often than not violate these principles in actual communication. When basic communication is interfered, it’s common for people to notice the violation of CP. As a result, the hearer has to make efforts to figure out the implicature so as to understand what the speaker means. Conversational implicature, in fact, is the direct cause of humour. Speaker only violates CP to achieve a sense of humour when the hearer manages to interpret the conversational implicatures under the surface and enjoys the pleasure brought by humour.

===Chinese Sketch Comedy===
Chinese sketch comedy first gained popularity after the Spring Festival Gala in 1984 when comedian Chen Peisi presented “eating noodles” on stage with his partner Zhu Shimao. Since then, this art form embodying acting and setting on stage sprung up like mushrooms across China and underwent refinement after years of development. Famous sketch comedians include Chen Peisi, Zhao Benshan, Fan Wei, Guo Da, Pan Changjiang, Song Dandan and so forth. The advent of the millennial witnessed the flourishing of this artistic form in which passionate performances of the younger generation, with Shen Teng, Ma Li, and Jia Ling taking the lead, engaged with great enthusiasm and produced a series of humourous yet educational works.

'''3.1 Historical origin'''

Chinese Sketch comedy got its name from art schools and performing groups. In the performing art community, the single or group performance which creates a simple scene through body and language is dubbed as “sketch comedy”, an event originally adopted to examine the basics of students of performing arts when teachers threw a topic during an interview and students were required to respond to that on the spot.

As a form of performance about small things in people's daily lives, Chinese sketch comedy has inherited qualities, and developed from other forms of comedy, such as stage play, xiangsheng, errenzhuan and comic drama and is generally believed to originate in the 1980s. Normally, sketch comedy revolves around just one topic, but with a lot of action and lively language. With the help of the promotion by the annual Spring Festival Gala, Chinese sketch comedy became a very popular artistic form in China. The first sketch comedy in China was“eating noodles” (in 1984) which was performed by Chen Peisi. Classic Chinese sketch comedy includes “Blind Date” performed by Zhao Benshan and Huang Xiaojuan in 1989, “The Adventures of Migrant Worker” led by Gong Hanlin and Zhao Lirong in 1996 and “Selling Crutches” by Zhao Benshan and Fan Wei in 2001, etc. Famous comedy groups in operation are DEYUNSHE initiated by Guo Degang, Mahua FunAge best known for its member Shen Teng, Big Bowl Entertainment led by Jia Ling, Zhao Benshan and his students, and Shanghai Xiaoguo Culture started by Li Dan, in which Mahua FunAge, Big Bowl Entertainment and Xiaoguo are still active on screen taking up sketch comedy, the Zhao’s team play “partially” for its fans in China’s northeast and DEYUNSHE mainly focus on passing on crosstalk to the next generation for the audience.

'''3.2 Features of Chinese Sketch Comedy'''

Chinese sketch comedy is sharp and witty, with simple plots, which represents as the most fundamental character that distinguish itself from other forms of art and performance. It may not be as sophisticated as other stage performances such as drama and opera, but it is able to render to its audience wisdom and thought-provoking perceptions based on its witty dialogue wrapped up in humour.

Chinese sketch comedy is also an art form that is highly narrative. As many of the topics are directly taken from the life of the people living in the grassroot, it appeals to all ages and entertains people from all works of life. Stories are the fundamental part of sketch comedies which are presented by the characters and the development of the plot interwoven with hookers of suspense, surprise and sudden changes.

Laughter is what sketch comedy aims to achieve ultimately. As the embodiment of stage play, xiangsheng, errenzhuan and comic drama, the modern sketch comedy manages to give the strengths of the artistic forms into full play with the help of modern technology, throwing humourous verbal “packages” consecutively and smoothly to the audience in the hope of eliciting ecstasy from them.

After giving a brief explanation of the theoretical basis and development of Chinese sketch comedy, the following chapter is to elaborate and exemplify the mechanism of humour in specific cases from the perspective of violation of CP in its four key categories, namely the violation of quantity maxim, quality maxim, relation maxim and manner maxim.

'''3.3 Classifications of Chinese Sketch Comedy'''

Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.

===An Overview of Cooperative Principle Violation in Chinese Sketch Comedy===
As the kind of sketch comedy presented on stage are plenty, the cases this thesis is to select and analyse are mainly to taken from the ones presented by Mahua FunAge and Big Bowl Entertainment. Here is the detailed analysis of the comic dialogues:

'''4.1 Verbal Humour Resulted from Violation of Quantity Maxim'''

Quantity maxim requires that the contribution is as informative as required. In other words, the contribution should not be more informative than is required. However, this maxim is often violated in daily conversation when too much or incomplete contributions are made, which is especially common and humourous when it comes to sketch comedy jokes. For example:

Hao Jian: Oh my god! Are you feeling alright? Where did you hurt?

The old lady (lying on the road groaning): Oh, my elbow! Oh, my kneecaps! And my waist! None of them are painful!

The example above is taken from “To Help or not to Help”(《扶不扶》) in the Spring Festival Gala in 2014. In the opening part of the comedy, Hao the biker was intended to get his broken bike repaired after a car accident. On the way to the repair shop, an old lady with memory problems accidentally slipped on the ice and fell at the back of his bicycle, mistaking him to be the one who knocked her down. In this dialogue, the old lady was expected to answer where was painful. However, she adopted a funny “elimination” method carrying a bunch of irrelevant body parts as her reply. By creating a surprise contrary to what most of the audience would tend to presume, conversations of this kind produce a comic effect by violating quantity maxim.

Here is another case taken from “Making Friends”(《投其所好》) played in 2015:

Official: Is it true that you loved playing ping-pong in your spare time at your department?

Hao Jian(interrupts): I apologise. It was me being too playful. I now see that I was wrong and I swear that I’ll never play ping-pong again! If I were to commit it again, I would have my hands cut……

This satirical sketch comedy focused on the social phenomenon of “making friends” through bribery in order to get things done. In the part mentioned, what the official intended to do was to persuade Hao to practise more and try to be proficient in table tennis so as to flatter the new boss. However, Hao misunderstood the official. Instead of giving a “yes” or “no” to the question, he added up many remarks and even made an oath. It was the violation of quantity maxim in his clumsiness that made this part of acting hilarious.

'''4.2 Verbal Humour Resulted from Violation of Quality Maxim'''

Quality maxim requires the interlocutors to be sincere and talk about true things. It has two sub-maxims, namely “do not say what you believe is false” and “do not say that for which you lack adequate evidence.” But in real life, this maxim is also often violated by people who tries not to hurt other people’s feelings or who with special intensions. Here is an example from “The Real and Fake Teacher”(《真假老师》) made its debut on the stage of the Spring Festival Gala in 2018:

Teacher: Nice to meet you, Madam, I’m Xiaoming’s head teacher, Ms Jia.

Cleaner: You too! I’m Xiaoming’s mother, Jia (the surname ‘Jia’ and fake are homophones in Chinese. Here the cleaner accidentally blurted it out).

Teacher: Excuse me?

Cleaner: I mean, my family name’s also Jia.

Teacher: But I remember Xiaoming’s parent is called Wang Guixiang(apparently a girl’s name)…

Cleaner: And that’s his father.

Teacher: Zhang Xiaoming actually had a father named Wang Guixiang?

Cleaner: You see, we are from a quite complicated family…

In China, it is a tradition to name the child after the surname of one of the parents, normally that of the father. In this example, the cleaner tried to make a cover-up for her accident alleging the girlish name Wang Guixiang(meaning the fragrance of sweet-scented osmanthus) which has nothing to do with Xiaoming’s last name, belongs to the boy’s father. By stating consciously something fake one after another, the cleaner created a sense of humour.

Here is another example violating quality maxim from “Happiness of Today”(《今天的幸福》):

Wife: Tell me a little bit about your father please, baby.

Hao Jian: My dad is a huge success in the future! You know what, he even gets his name on the ''Fordes'' list!

Husband (poking Hao, whispering): It’s Forbes!

Hao Jian: Oh, right! Forbes made it later, too. Yet he still can’t hold a handle to my dad…

"Happiness of Today" was a sketch comedy inspired by the time-travelling drama and TV series such as “Palace”(《宫》) and “Treading on Thin Ice”(《步步惊心》). In this scene, Hao Jian was asked to play the son of the wife of his friend who travelled all along from the future back to the present to reassure the “mother” who’s in labour and mitigate her prenatal syndrome. In this example, Hao Jian was making up something that was clearly not true to humour his pregnant “mother”. What made this dialogue even more funny was his lack of knowledge about the “Forbes list” and the clumsy cover-up he made after correct hints from his partner.

'''4.3 Verbal Humour Resulted from Violation of Relation Maxim'''

Relation maxim is not only one of the most important maxims of the pragmatics theory, but also a protocol with which should be complied by all. It requires speakers to talk about things which are relevant to the topics. Violation of this maxim could bring about humour as well. The following examples are also taken from the sketch comedy “The Real and Fake Teacher”:

Xiaoming: You see, I am a high school student. Recently I have made some mistakes at school and my teacher is about to conduct a home visit. But the thing is, my parents are currently working abroad and I’m afraid my teacher be here at any minute, so I was wondering if you could, er, wow, that’s a little embarrassing…

Cleaner: Oh, I see. When will she arrive?

Xiaoming: She’ll be here at 10:00.

Cleaner: I’ll finish my job at 9:50 sharp.

In this example, what the student meant was to ask the cleaner to pretend as his mother so that there would be a parent present for the coming home visit. However, the cleaner misunderstood him and gave an irrelevant reply to the request. In this way, humour was generated.

Here is another example taken from this episode concerning the violation of relation maxim:

Teacher: You see, school education won’t do without the help of family education. After all, family is the place where goodness starts. These are the words of the famous educator Sukhomlynsky. I’m sure you must know about him, don’t you?

Cleaner: Eat… eat an apple, please.

In this case, the teacher quoted a motto from Sukhomlynsky, an influential educator from the Soviet Union to remind the “mother” the important role family and family education plays in a child’s development. However, the cleaner obviously had no idea of the educator and didn’t know how to respond. To avoid awkwardness and break the silence, she had only to hand the teacher an apple and divert her attention. In doing so, laughter was elicited from her irrelevant behaviour.

'''4.4 Verbal Humour Resulted from Violation of Manner Maxim'''

Unlike the three maxims above which focus on the contents conveyed in the process of talking, manner maxim mainly concentrates on the way how things are expressed. Its sub-maxims include to avoid obscurity of expression, to avoid ambiguity, to be brief and to be orderly. But this maxim is often violated in real life, too. Below is an example taken form the comedy “Happiness of Today” (《今天的幸福》) presented in the Spring Festival Gala in 2012:

Wife: My dear, what do you do then?

Hao Jian: (to the husband, whispering) Ah? Daddy, I don’t think we talked about this before …

Husband: Never mind. Just make up one! As if your mother were a master of the names of jobs.

Hao Jian: I scrub (the husband poking him)…wash…bathe…I study the epidermis of human beings!

Wife: Oh, you are a doctor then!

Hao Jian: You see, I specialise on ''dirt-ology''.

In this comedy, Hao was actually a bather whose main job was to help scrub and wash the dirt off the customers in a public bathhouse. When his “mother” asked him about his job, he described it in an obscure way and even coined a term to sound more professional. His words apparently violated the manner maxim, yet it is the obscurity that made the dialogue funny.

The second example in this section is another one taken from “The Real and Fake Teacher” about job inquiry:

Xiaoming’s father: What on earth do you do, Miss?

Teacher: Well, I can tell you with great proud that I am a gardener!

Xiaoming’s father: Gardener? Then why don’t you water the flowers outside right away?

The mechanism of humour in this example works a little bit differently from the one mentioned in the first place. Instead of using some obscure term to explain what she does, the real teacher Ms Jia selected the word “gardener” with dual meanings to make a self-introduction. Apparently, the package proved to be a success regarding Xiaoming’s father’s misunderstanding.

Here is another example taken from Jia Ling’s autobiographical sketch comedy “Hi, mom!” (《你好，李焕英》)debuted on the stage of “Comedy General Mobilisation”(《喜剧总动员》) in 2016. “Hi, mom!” was a play in which the heroine Jia Ling travelled through space and time to the 1980s to spend some time with her mother who had passed away in a car accident in the 21st century. In the prologue where the two heroines made their first appearance, here comes their dialogue:

Li Huangying: Come on, go inside and stay a while with your grandma!

Jia Ling: I can’t!

Li Huanying: What do you mean you can’t? She loves you a lot! How could you say such hurtful things?

Jia Ling: Because she can’t stop sewing my ripped trousers!

In the example above, Jia used ambiguity in her reply to her mother’s question. It was not until the viewers watch further that they found out why the granddaughter would be so reluctant when it comes to her grandma’s sewing trousers, an act that was supposed to seem loving and caring----it was about the contradiction in aesthetic taste between generations. In this way, Humour comes along with the explanation.

===Conclusion===
Humour plays an important part in people’s daily conversation which conveys abundant cultural connotations. Grice’s cooperative principle as the core of pragmatics, is also a guiding principle according to which people converse. Once CP is violated, pleasure in humour which comes along with it could be felt. As an artistic form playing an important role in modern China, Chinese sketch comedy has been entertaining its audience of all ages with its funny plots and packages embedded in verbal humour. This thesis selected the sketch comedy performed by Mahua FunAge and Big Bowl Entertainment on the stage of Spring Festival Gala as its corpus and studied the mechanism of verbal humour under the guidance of Cooperative Principle. It has been found that to a large extent, it is the violation of quantity maxim, quality maxim, relation maxim and manner maxim that generated the humour in sketch comedy. As an integral part of Chinese sketch comedy, verbal humour was created through constant violation of Cooperative Principle and its maxims.

However, limitations are inevitable as a result of time and the limited knowledge of the writer. Moreover, as the theories on linguistics are becoming increasingly abundant, analysis about verbal humour should be made from different perspectives and with diversified texts as well. Only through this process could verbal humour and its mechanism be further understood and Cooperative Principle further applied in research and studies.

===References===
*Adesoye Ronke Eunice (2018). Phonological distortion as a humorous strategy in Folarin Falana’s comedy skits[J]. The European Journal of Humour Research, 6(4): 60-74.

*Clayton , A. (2020). Funny How? Sketch Comedy and the Art of Humor. Horizons of Cinema, State University of New York Press.

*Dang Fengxiao，Cheng Xiongyong (2021). Analysis of Humorous Speech Act in the Skit Help or Not Help[J]. International Journal of Education and Management, 6(1).

*Grice, H.P.(1975). ''Logic and Conversation''[M]. New York: Academic Press.

*Parashar Poorva, Tewari Parul (2021). Locating humour in Absurdism and comedy in millennial humour[J]. Comedy Studies, 12(1): 65-74.

*Yao Xiaomin, Song Liya.Verbal(2019). Humour in English Jokes from the Perspective of Violation of Cooperative Principle[J]. Harbin: Northeast Forestry University.

*Cai Hui, Yin Xing 蔡辉, 尹星. (2005). 西方幽默理论综述研究[A Review of Western Humour Theory]. 外语研究Foreign Language Research(01):5-8+15.

*Ge Lingling 戈玲玲. (2011). 论幽默文本中本源概念的翻译模式——基于汉英双语平行语料库的研究[On the Pattern of Translating Alien Sources in Humourous Texts—— A Study Based on a Chinese-English Bilingual Parallel Corpus]. 外语学刊Foreign Language Research(01):117-122.

*Hu Zhuanglin 胡壮麟. (2017). 语言学教程[Linguistics: A Course Book]. Beijing: Peking University Press北京: 北京大学出版社.

*Li Lanping 李兰萍. (2002). 语用原则与英语幽默[On Pragmatic Principles and English Humour]. 天津外国语学院学报Journal of Tianjin Foreign Studies University(02):32-36.

*Wei Ya’e 魏亚娥. (2022). 幽默的产生与逻辑规律的违反——以沈腾春晚小品为例[The Generation of Humour and the Violation of Logic Law -- A case Study of Shen Teng's Spring Festival Gala]. 今古文创 JinGu Creative Literature(02): 95-97.

*Xu Jie, Zeng Xianmo 徐洁, 曾贤模. (2020). 以言致笑——从言语行为理论视角解析小品《扰民了您》中的幽默[Laughter through Words -- An Analysis of Humour in You Are Disturbing from the Perspective of Speech Act Theory]. 汉字文化Sinogram Culture(23):22-24.

*Yang Ting 杨婷. (2020). 认知视角下的言语幽默分析——以“生活大爆炸”为例[An Analysis of Verbal Humour from a Cognitive Perspective: A Case Study of ''The Big Bang Theory'']. Shaanxi: Shaanxi Normal University陕西师范大学.

===Terms and expressions===
Chinese sketch comedy 小品

Cooperative Principle 合作原则

quantity maxim 数量原则

quality maxim 质量原则

relation maxim 关系原则

manner maxim 方式原则

Spring Festival Gala 春节联欢晚会

packages “包袱”

sweet-scented osmanthus 桂花

===Questions===
1. What are the maxims of Cooperative Principle?

2. What’s the name of the first sketch comedy in China?

3. How do you categorise Chinese sketch comedy?

===Answers===
1. There are four maxims in total, namely quantity maxim, quality maxim, relation maxim and manner maxim.

2. The first sketch comedy in China is “eating noodles” played by Chen Peisi and Zhu Shimao in 1984.

3. Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.

==英语笔译肖佳莉 Xiao Jiali 202170081600==
<center>'''The Various Schools of Thought and Their Exponents During the Period from Pre-Qin Times'''</center>

<center>Xiao Jiali</center>

===1.Abstract===
The hundred schools of thought are the general name of various academic schools in the pre-Qin period. Among them, the three most influential schools are Laozi, Confucius and Shang Yang, and their views are different. The period from the sixth century BC to the third century BC, that is, the Spring and Autumn and warring States period, was the rejuvenation period of all schools of thought in the pre-Qin period. This period basically laid the foundation of Chinese traditional culture or Sinology, and there has been almost no major breakthrough since then. In this article, we divide the content of the paper into three parts, and respectively discuss the thought and background of Laozi, Confucius and Shang Yang, as well as their characters, and compare the differences and reasons between them. Through the above analysis to emulate the predecessors to face the reality, put forward new problems, put forward new ideas, and open up a channel for our future survival.

===Key words===
The Various Schools of Thought; The Period from Pre-Qin Times; Laozi; Confucius; Shang Yang

===2.Introduction===
There is an interesting phenomenon that between the sixth century BC and the third century BC, a group of thinkers who established early human civilization appeared in various parts of the world. For example, Confucius and Laozi in China, such as Sakyamuni in India, and a group of scholars represented by Isaiah who created the text of the Bible in the ancient Jewish state, such as ancient Greece from Thales to Aristotle. We will find that around the sixth century BC, the birth of human civilization in various parts of the world coincided with the emergence of a group of thinkers, known as the Axis Age.

Why did this happen?

The writing purpose of this paper is not only to review the path of the development of ancient ideas, but also to let everyone know that when you are faced with a social transformation, a major social confusion is constantly spreading and the amount of information is increasing，how do you follow the example of your predecessors to face the reality, ask new questions and put forward new ideas.

===3.Background of the genesis of the hundred schools of thought===
The pre-Qin period is the first great social transformation of Chinese society, we open our horizons, it is actually the first great social transformation of all mankind. How to transform? It took a long time to transform from the way of gathering and hunting to the civilized way of agriculture and animal husbandry. The early days of agricultural civilization was only a marginal supplement to the hunting way of life. By around 600 BC, the civilization of agriculture and animal husbandry was fully mature, and the semi-agricultural and semi-industrial and commercial civilization of ancient Greece around the Mediterranean was also mature.

Therefore, the axis age of the world has three major characteristics. First, the first great social transformation of Chinese society took place in this period; second, this is the mature period of the first civilization of all mankind; third, this is the dazzling period of the sprout of industry and commerce in ancient Greece, and these three come together into an axis era. The pre-Qin era in China is the branch and manifestation of this axis era in East Asia.

So why has this era become a platform for many thinkers to think? There are three reasons.

First, there are a lot of problems in social transformation, which is a confused exploration and inquiry. As we all know, in the period of human social transformation, the complexity of social structure presents many social and survival problems that human beings have never seen and never happened before, and these problems will make human beings face great confusion at that time. Thinkers seek answers on the basis of this confusion. Therefore, the perplexity period is a hotbed for the birth of a new culture. Therefore, when faith is broken and confused, we should not think that it is just a bad thing, it indicates that another crop of new culture and new ideas is about to happen.

Second, the complexity of survival increases, which is characterized by the increase of the cost of survival, the more difficult and dangerous survival, and the more complex survival structure. In this case, the amount of information is soaring, so people have to face the new survival structure and living environment, which is the second feature of the axis era and the pre-Qin era.

Third, the fragmented feudal system provides a relatively free and relaxed atmosphere. In the pre-Qin period, China was typical and the only feudal era. At this time, ancient Greece was a city-state culture, that is, a small political bloc. The feudal states were also common in Europe until the Middle Ages. Therefore, it provides some social conditions for freedom of thought. For example, Confucius, if he could not stay in Lu, he could travel around the world; In modern times, Descartes and Voltaire, if he could not stay in France, he could go into exile to other countries and develop his own thoughts. So the fragmented political structure of that era provided a relatively free and relatively relaxed cultural atmosphere.

As for the cultural differences between the East and the West. Ancient Greek philosophers and Chinese sages faced different problems.Because East Asia is a closed landform, and it is one of the three primitive farming bases of human beings, it is unable to exchange in industry and commerce, so it is the most typical and concentrated agricultural civilization in the world. Agricultural civilization immediately brought about a hundred-fold surge in population, so interpersonal and resource relations were particularly tense.

So people in the pre-Qin period in China had to apply their wisdom to the discussion of human relations and social issues.

And ancient Greece, because it was faced with a small Mediterranean, could obtain food through commercial exchange in North Africa and the near East, while the geographical conditions of ancient Greece were very poor, which forced them to develop a semi-agricultural and semi-industrial way of life. In addition, industrial and commercial civilization obtained resources across regions, so their interpersonal and resource relationships were less tense than in East Asia. Moreover, its social structure is relatively simple, and its social problems are not prominent enough. At the same time, industrial and commercial civilization needs innovation and the computing power of equipment manufacturing. It makes the ancient Greek philosophers devote their main energy to natural problems and logic in geometry.

Therefore, in the face of a social transformation, it is inevitable to solve many problems, thus giving birth to great ideas.

===4.Different schools of thoughts===

===4.1The thought of Laozi===

===4.1.1The introduction of Laozi===
The foundation of the whole thought of Sinology in China all took place in the pre-Qin period, that is, before Qin Shihuang unified China. Since then, China has hardly made any great achievements in the development of ideology and culture. With one exception, Indian Buddhism was introduced into China in the middle of the Eastern Han Dynasty. In the pre-Qin period, the person with the highest thought was Laozi, the first ancestor of pre-Qin thought. Laozi and Confucius have a teacher-apprentice relationship. Confucius left a comment on this teacher: "I see Laozi today, just like seeing a dragon." This is the famous saying of Yulong. When I saw Laozi today, I finally knew what the dragon looked like.

At that time, Laozi kept the history books in the Zhou Dynasty, which was equivalent to the “National Division”. He was the consultant of all the knowledge of the royal family and princes of the Zhou Dynasty, and he was the highest representative of the national culture. It is said that in the 22nd year of Lu Zhaogong, that is, 520 BC, a major event happened. Due to the issue of succession to the throne, more than a dozen children fought for the throne and serious royal infighting broke out. The civil war lasted for more than a decade, and the prince finally failed.

It is said that he fled to the State of Chu with a large number of Zhou royal books. And Laozi, a historian of the Zhou royal family, is equivalent to the current director of the National Archives Library. If all books and documents are taken away, Laozi will naturally lose his job, so Laozi resigned to travel around the world. This is what we say. It is recorded in the history books that Laozi is sometimes in Chu, sometimes in the State of Chen, and sometimes in the State of Song. Finally, Laozi returned to Qin and died in Shaanxi. This is the historical relics of Laozi.

In order to understand Laozi's thought, we can only start with his Tao Te Ching. The morality of Laozi is very different from our literal meaning today. The book is divided into two volumes, the Tao volume, the outlook on the universe and nature, the moral volume, and the social outlook and outlook on life. Tao is the general law of the operation of heaven and earth, and virtue conforms to the Tao of heaven. The core of Taoism is weakness, and the core of moral theory is inaction. Laozi constantly criticizes that the development of human civilization is a process of deviating from the way of heaven and losing material morality.

===4.1.2The interpretation of Tao===
Laozi said, "Tao gives birth to one, one to two, two to three, and three to all things." This sentence means that Tao derives a chaotic state that even heaven and earth does not appear, chaotic state derives heaven and earth, heaven and earth derives animals, plants and people, animals and plants and people finally derive all things in the world, and all things refer to life and matter. This shows that Laozi believes that all things in heaven and earth evolved gradually. The concept of evolution existed until the 18th century, and it is unusual for Laozi to hold the idea that everything evolved from a family of things 2600 years ago.

"Heaven is Tao, Tao is long" also expresses the difference between persistence and stability in this evolutionary sequence. Tao is persistent and stable. Therefore, Laozi believes that the stability of matter is gradually lost in the process of evolution.

Then he said, "Heaven and earth are not benevolent, and we regard all things as ruminant dogs. If saints are not benevolent, they will treat people as ruminant dogs. " The ruminant dog here is a dog that is only sacrificed with grass, referring to lowly things. It means that heaven and earth are not as fastidious as human civilization, and he treats all things equally and will not give special care to anyone. As a result, all things follow the trend and exist forever. Then the way of man should conform to the way of heaven, so the people who manage the world should do nothing, do not use civilization to derive too many tricks, this is against the way of heaven, it will only destroy the state of human existence.

"it is as good as water, so it is like the way." Laozi uses figurative water to describe the natural way in which Heaven operates, and the best state is like water. Nourish all things without competing with them, and flow downward, in the lowest position and hated by all, which is closest to the Tao.As Liu Xiao dared to say: "the topic of 'Tao and nature' clearly marks the status of nature as the highest principle and the highest value, so its spirit permeates all aspects of Laozi's thought, without mentioning the word 'nature' everywhere.”（刘笑敢，1995）

Laozi is criticizing that the competition pattern of human civilized society is contrary to the way of heaven. In the primitive gentile society, there was public ownership of property, and no private property, and there was no competition. After privatization, a fierce competition pattern was formed, and everyone strived for the top, so the world was in disorder and life was restless. But there is no such competitive pattern in the operation of heaven and earth.

"Heaven and Earth can not be long, and people are even less likely.” The most primitive derivative of heaven and earth can not be eternal, and how weak people are. ”the softest thing in the world can control the hardest thing in the world.”To be gentle, the weakest of course refers to human beings, but people can control things that are much stronger than we are. He found that the weakest human beings with a very low degree of existence have the ability to control objects with a very high degree of existence.

Finally, the Taoist scroll summed up the word "weak", which appeared as many as 11 times in Laozi's text of 5000 words.

===4.1.3The interpretation of Te===
The original word of Te's oracle bone inscription is a person walking on a road with a fork , staring only at the front and moving forward wholeheartedly. In other words, to act in accordance with the way of heaven is virtue. Therefore, the morality mentioned by Laozi is not the same thing as the morality we are talking about. The general law of the operation of heaven and earth is Tao, and it is virtue to comply with the Tao of heaven.Virtue is a part of Tao.（张岱年，1982，24）

He added: “Follow the way all things run, do not have any superfluous action, means morality." He continued to criticize human beings: "when the Tao is lost, people attach importance to the promotion of virtue, when virtue is lost, people attach importance to the promotion of benevolence, then righteousness, and finally propriety." When we advocated virtue（means Te）, we had already lost the Tao, so we began to talk about benevolence, and then we could not even protect the heart of benevolence, so we could only give handouts, and finally lost all Tao, virtue, benevolence and righteousness, and could only give etiquette. Etiquette is the summation of national political law and folk etiquette. It was only when we discarded all these that human civilization began the violent control of severe punishment and draconian laws.In other words, the rulers regulate the world with benevolence and righteousness, and people all over the world run for benevolence and righteousness, abandon their own nature and disguise themselves with benevolence and righteousness.（陈霞，2017）

Another sentence is also very clear: "A person with deep moral self-cultivation is like a newborn baby." only a baby born within 7 days is virtuous. Civilized people develop their own wisdom, form a highly intelligent group, release their greed, and constitute a competitive society. In fact, this is a process of deviating from the way of heaven and losing material morality.

So what are we supposed to do? Laozi said: "to wear away people's sharpness, sharpness and edges, to extricate themselves from disputes, to blend into all phenomena of light, and to mix with the dust of the earth, the greatest is also the smallest. This is called subtle unity." It means that we should close our channels of facial features, do not accept too much external information, close the door of the spiritual world, and frustrate the great aspirations of civilization. Only in this way can we resolve disputes in civilized society.

Therefore, the center of Laozi's theory of morality(means Te) is this sentence: “There is nothing to do ." Virtue means walking along the way, and nothing else is needed. It can be summed up as the word "inaction". Inaction means opposing all civilized actions.If you do nothing, there is nothing that cannot be done. “有为”（means action） means that they cannot practice "Tao". Although they are always inseparable from virtue and fame, they are purposeful, purposeful, camouflage and deceptive.(陈霞，2010)

His ideal is to return to the primitive gentile society, the country is small and the people are few, even if they have advanced tools, the people value life and death and do not leave their hometown, and they are not bound by beliefs such as brave sacrifice. Even if there are cars, boats and weapons, no one uses them. People return to the simple state and enjoy the simplest happiness of life. Countries also return to the animal kinship society, wolves will eat sheep, but wolves will never eat wolves, the same kind will divide the territory of life, there will never be slaughter. To return to the uncivilized state of existence. “The country is smaller, the people are more stupid, the things are simpler, and the things are simpler." This is Laozi's real ideal.

We all have a forward-looking perspective, and thinkers can make up for the backward perspective and mobilize our thinking to know the facts. The most important thinkers in the history of human thought, such as Laozi, Confucius, Plato and Rousseau, all expressed the tendency of anti-civilization.

===4.1.4The cause of the thought of Laozi===
Why did Laozi have such a reactionary moral theory and social view?

At that time, East Asian civilization was limited to the Central Plains, which was called the Central Plains civilization. He is surrounded by uncivilized people who don't have to reason logically. In the civilized Central Plains, interpersonal relations are tense, intrigues and wars are everywhere. Shang destroyed Xia, Zhou destroyed Shang, to the Spring and Autumn period, more than 180 vassal states became one, while looking around the primitive clan society, the uncivilized and uncivilized society was peaceful.

Therefore, by comparison, Laozi can find that civilization is a disaster and the trend of civilization is bad. Laozi believes that all things in heaven and earth originally developed harmoniously like Tao, but human beings gradually deviated from Tao because of their pursuit of selfish desires, resulting in conflicts between man and nature, man and society, man's body and mind and so on.（黎千驹，2022：93-101）In Laozi's text, his view of reactionary society is expressed very clearly. Many ancient thinkers held a critical attitude towards civilization, because civilization was only a small seedling at that time, they could see the whole picture and development trend of civilization, and they could see that it was a process of disaster. This is the basic social view of the Chinese sages in the pre-Qin period. This was also the cause of the tone of conservatism in Chinese culture at that time, in which there was a far-reaching vision, which laid an important foundation for China's stable survival for more than 2000 years.

===4.2The thought of Confucius===
Confucius and Laozi, although they are masters and apprentices, their cultural characters are diametrically opposed.Confucius is best reflected by a sentence in the Analects of Confucius, "knowing that it cannot be done". I know full well that I cannot do it, but I will still try my best to do it, expressing a cultural attitude of actively participating in social activities, which is summed up as "joining the world”.

And what about Laozi? His cultural character is extremely negative. The most representative are the words "do nothing but do nothing" in the Tao Te Cing, which means that tough I did nothing but I have done everything, which is ridiculous. In fact, it means that Tao derives all things from heaven and earth, but does not see any superfluous action. Laozi is extremely negative , summed up as "born", born out of the world. This is why Sima Qian added a special sentence in the Biography of Laozi in Historical Records, calling for different ways to conspire against each other. It means that the Tao between Confucius and Laozi is different, although the two are master-apprentice.

===4.2.1The characteristic of Confucius' theory: insipid===
Confucius and his Confucianism are almost the soul and benchmark of Chinese traditional ideology and culture, leading Chinese mainstream ideology for more than two thousand years. This is a situation that we can hardly see anywhere else in the world except religion. However, compared with Laozi, Confucius' theory is shallow and straightforward. Because Confucius is concerned with the real social and political problems, while Laozi is concerned with the ultimate problem. Therefore, Confucius' theory is very insipid.

In fact, the core of Confucius theory is that monarch and subjects, father and son. The first word is a noun and the second word is a verb. What he means is that the king should be like a gentleman, the minister should be like a minister, the father should be like a father, and the son should be like a son. The doctrine of Confucius is such a straightforward statement. Hegel said, he said, "Confucius' books are just full of old moral lessons." These are his exact words. He even said that it would be better not to translate his books, which would damage his glorious image. Obviously, there is a gap in Hegel's expectations of Confucius. The West was in a state of religious repression at that time. At that time, Westerners knew that there was an empire governing the country by virtue in the East, and its management model established social order on the basis of human ethics and morality, which was much milder than the suppression of human nature by the theocracy in the West. Therefore, they were extremely envious of the East, coupled with some untrue legends at that time, they thought that the East was extremely rich. Therefore, the western philosophers and academic and cultural circles at that time regarded China as the paradise of the East.

===4.2.2The features of Confucius' time===
1. Confucius was born at the end of the Spring and Autumn period, the phenomenon of national destruction occurred constantly, and the monarch was killed constantly. Only 43 cases were recorded in the history books in the past 255 years. And everything went haywire. There is no war between human beings and animals before civilization, and the struggle within the animal species only occurs during estrus for reproductive resources, and this is also an individual struggle. As soon as the outcome is divided, the struggle stops immediately. You don't want to kill each other, let alone a collectivized war. It is only after human civilization that brutal internal killings occur.

2. In ancient times, there was no severe punishment and severe law, and the country was ruled by virtue. The clan tribal society has always maintained social stability with a soft moral system. Confucius said: "if we govern the people with government decrees and restrict them with penalties, they will be free from sins, but they will not feel it shameful to disobey the rule; if we rule the people with morality and bind them with etiquette, the people will not only have a sense of shame, but will correct their mistakes." If the society is managed by penalty, people will not touch the bottom line of the law in order to evade the punishment of the law, but there will be people to do anything that is not prohibited by law and no matter how immoral it is. Moral ties are no longer enough to maintain social stability, so they have to be regulated in a violent way. Confucius called it the collapse of etiquette and music. The more civilization develops, the more complex the society becomes, and it becomes extremely difficult to survive only with a simple heart in a highly complex society.

3. The characteristics of this period:Let's take a look at how the first great social transformation was carried out in the pre-Qin period from the economic, political and cultural aspects. Economically, with the rapid development of productive forces in the pre-Qin period, agricultural civilization tends to be stabilized, farming techniques are widely used, bronzes are widely used, and iron has appeared in farming tools. As we all know, in the early years of mankind, although agricultural civilization took place 8,000 or even 10,000 years ago, in the early thousands of years of agricultural civilization, the way of life of hunting was still dominant. Agricultural farming is still only an auxiliary part of human means of livelihood and food and food materials.

When agriculture develops to a certain scale, the scope of land reclamation becomes larger and larger, and forest vegetation is pushed far away, human beings will completely return to agricultural civilization from the way of life of hunting and gathering civilization. Therefore, the full maturity of agricultural civilization requires large-scale population development, large-scale land reclamation, large-scale destruction of trees, and then people can not reach the forest. Only at this time can agricultural civilization be completely stable. Therefore, after thousands of years, China's agricultural civilization did not take shape until the Zhou Dynasty, and hunting and gathering became a secondary source of feed for life. Not only that, in the Spring and Autumn period, the sprout of industrial and commercial civilization appeared in China's agricultural civilization. With the development of agricultural civilization to a certain extent, due to the gradual complexity of agricultural production tools, a considerable number of products are made of non-agricultural products. The early production of non-agricultural products was done by the farmers themselves. Such as building houses, weaving cloth, and even making pottery, but with the further development of the division of labor, with the further complexity of people's lives, a large number of things cannot be completed by farmers, such as more complex and diverse pottery production, the smelting of bronze, the production of tools, all these things will cause the division of labor to appear in agricultural civilization.

With the emergence of the division of labor, some people no longer work in agriculture, but only make certain products for use by others. We do not use this for our own use, but make it for use by others in exchange for goods. This product is called a commodity. As soon as the commodity appears, the exchange takes place. The exchange activity in the early years of mankind was barter, because there were very few kinds of goods. So if the variety of goods continues to increase, the other party does not need what you want to exchange, and you do not often have what the other party needs. Therefore, there is a need for some kind of unified scale of exchange and medium of exchange, also known as general equivalents, that is, such a commodity in which it can measure the value of any commodity, which is money. Therefore, the emergence of money marks the emergence of human exchange, or division of labor, or commodity economy, to a considerable extent. But in the pre-Qin period of China, money had already appeared. It indicates that China's agricultural economy matured on a large scale and the sprout of commodity economy has generally occurred in the pre-Qin period.

Let's take a look at the political form. The authority of the emperor of the Zhou Dynasty has fallen, and the original feudal social ties have been lax. Not only that, the vassal states grew up, the activities of annexation of the world continued to occur, national annihilation events emerged one after another, international wars continued to occur, not only that, it unexpectedly appeared a major change in the form of social class. As we all know, the king of Jin in the Spring and Autumn period was rebelled by four important courtiers, namely, the famous Han, Zhao, Wei and Zhi families. At this time, a famous political figure named Zhao Wut appeared in the Zhao family. He announced the liberation of all slaves in Zhao and gave away 30 mu of land. at the same time, he announced to all countries in the Central Plains that if any slaves fled to Zhao from other countries, they would liberate their lives and give away land. Zhao Xiangzi's move led to the instant collapse of slavery in the land of China. Why? Because the idea that the people are precious is a typical feudal thought. That is, for any feudal lord, his best interest lies not in the size of his fief, but in the population of his fief. Because the greater the number of families and population, the greater his tax benefits. Therefore, Zhao Xiangzi liberated the slaves and he got the people. He got two major benefits. First, labor resources, the number of people; the second soldier. Therefore, this led to the liberation of slaves all over the surrounding countries, his citizens would flee, and slavery quickly disintegrated on the land of China.

The pre-Qin period is the era in which Chinese traditional culture was fully formed.

===4.2.3Confucius theory===
The core of Confucius' theory is "monarchs and subjects, father and son". That is to say, Confucius used the most primitive blood social button to rectify the social structure of the super-blood unstable society. In rebuilding the order of the rule of etiquette, Confucius "did not extroversion to heaven and earth but introverted to the hearts of the people, and finally settled on 'benevolence’.”（余英时，2014）

And what is the consanguinity society? It means there is a difference in love. It has something to do with sociobiology. In the middle of the last century, biologists found that all living things and all animals live in social groups. Social biologists have found that the emotions and love of all animals are different. For example, parents love their children most strongly, followed by brothers and sisters. The cub state of any creature needs to be cared for by its elders, otherwise he will not survive. So emotionally, the relationship between parents and children is the heaviest, and then between children, followed by brothers and sisters.

Human agricultural civilization took place in the era of consanguinity society. On every mu of land, we must work together and cultivate carefully in order to get enough food and clothing. This is the basic feature of agricultural civilization. The structure of consanguineous ethnic groups is the most readily available and favorable way to form this stable cooperation.Here we talk about benevolence at most, more than a hundred times.（李泽厚，2008）

===4.3The thought of Shang Yang===
===4.3.1The introduction of Shang Yang===
The emergence of Legalism marks the retreat of Confucianism. With the high development of agricultural civilization to the pre-Qin and Spring and Autumn periods, the population has soared, class society has been divided, interpersonal relations and resource relations have gradually become tense, and the competition in human society has become increasingly fierce. It can even be said to be getting worse and worse, so the Legalists began to emerge, and the soft Confucianism withdrew. Legalist doctrine shows the darkness of human nature.

Shang Yang was the most representative figure of the Legalists, and he did a very successful thing. It was Shang Yang's reform that helped Qin realize the reform from the rule of virtue to the rule of law. Shang Yang was able to reform in the State of Qin, of course, the main credit went to Qin Xiaogong. At that time Shang Yang is only a guest minister, and he does not have any political influence in the State of Qin. And any reform must touch the interests of the original aristocratic interest groups in the State of Qin and cause the counterattack of the aristocratic groups. He relied entirely on Qin Xiaogong to bear it, so that Shang Yang could continue to reform.

Shang Yang was very lucky. although Xiaogong was under great pressure and died of illness at the age of 44, he accompanied Shang Yang's reform for more than 20 years. As soon as Xiaogong died, Shang Yang was immediately retaliated by aristocrats. Although King Qin Huiwen, the next king, killed Shang Yang, it was not easy to solve the long-term accumulation of reform for Shang Yang. And King Huiwen of Qin was well aware of the effectiveness of the reform of Shang Yang, and continued the reform of Shang Yang. After the implementation of the later six kings, the government of the king of Qin finally unified the world, and from then on he was known as the first emperor. So we can say that thanks to the reform of Shang Yan, the king of Qin unified the world and became Qin Shihuang.

Shang Yang's reform has two characteristics. First, it is determined to reform without regard for personal safety. Second, he pays no attention to the outside world. As we all know, the average politician must first be able to deal with personnel, but this is not the case with Shang Yang. Liang Qichao, the most famous scholar in the era of the Republic of China, once said that only six people in Chinese history could be called politicians, in other words, other people could only be called politicians, and one of these six politicians was Shang Yang.

===4.3.2Shang Yang's reform===
In the early days of the reform, he set up a large piece of wood at its south gate in the then temporary capital of the State of Qin, called Yueyang. Then tell anyone in the public that if you carry this wooden rafter from the south gate to the north gate, you will reward ten gold. Gold in the pre-Qin period was not gold but bronze, but a jin of wealth was equivalent to the total harvest of a peasant family in a year, and ten gold was equivalent to the total harvest of a thousand years of farmers, which was a great opportunity to make a fortune. However, all the people watched and laughed, thinking that the official words could not be trusted, because it was too strange, and it also showed that the credibility of the Qin government was not high. As soon as Shang Yang saw that no one was involved, he raised 50 gold. At this time, a young man came out. He said that I carried this piece of wood to the north gate. Even if the government lied to me, there would be no great loss. I would try to carry it over. So carrying the wood to the north gate, Shang Yang immediately rewarded fifty gold, and this man became rich instantly, which is the famous allusion of Qianmu Lixin. What is Shang Yang doing? he is telling the people of the Qin Dynasty that Shang Yang's reform is true. The fundamental spirit of Legalism is that the law is absolutely sacred and the government is not allowed to act outside the scope of the law.（梁启超，2015）Please abide by the law.We can see the wisdom of Shang Yang in practicing the law from this very small matter.

With regard to the detailed rules of Shang Yang's reform, we give a brief account of the main items.

First, to force people to learn the lowest level of etiquette, this etiquette is not a Confucian culture, but to get rid of the barbaric wind and establish a modern social configuration at that time.

Second, every citizen should be forced to have a legitimate job, and no one should be idle. What is the national occupation? Take measures to attach importance to agriculture, that is, to develop all the wasteland of Qin. Just like today's British princes are going to serve in the army for some time. Shang Yang stipulated that anyone, including the children of aristocrats and rich businessmen, who were idle, should be sent to the frontier to open up wasteland. From this we can see that Shang Yang's reform is the same as Wu Qi. If he wants to change the national policy, he must deal with the original political structure formed by the original aristocracy, which is of course a serious violation of the interests of the aristocracy.

Third, he also stipulated that a family with two adult men must be separated. There are two benefits: increasing labor enthusiasm and taxes. The reason is that in the big family system in ancient China, everyone ate in a big pot, and because communism was practiced within the family, everyone had no enthusiasm for labor. No matter how much I put in, I will share it equally with everyone and distribute it according to needs, so my enthusiasm for labor is not high. When it comes to a legal society, we should establish a tax system. Tax is based on the family, if the family is large, the tax base is very weak. For these two reasons, Shang Yang's reform requires that any man must be separated once he is married as an adult.

Fourth, reward farming. Qin people banned business, that is, the people of Qin were not allowed to do business, but only allowed to engage in agriculture. The income of commercial activities is much higher than that of agriculture, so China has adopted the national policy of emphasizing agriculture and suppressing commerce since ancient times to suppress businessmen, so where to deploy resources? Preferential treatment for foreign businessmen. That is, businessmen from other countries around the world will give preferential policies if they come to do business in the State of Qin. It is a bit like the situation in the early days of Deng Xiaoping's reform, which does not mean that we are advanced, but that we are similar to those of more than 2,000 years ago. Foreign businessmen went to Qin to do business to solve the problem of resource allocation, so they gave preferential policies to foreign businessmen, so the Qin people engaged in agriculture and foreign businessmen did business, forming an extremely reasonable national economic structure.

Looking at Shang Yang's reform, the degree of Shang Yang's reform is no less than any revolution. It carries out reforms not only in the economic field, but also in the political field, and it even changes the state system, which used to be a feudal system and has since been an autocratic monarchy. It is not a general political reform, it is a fundamental change of the state system. This kind of thing can usually be accomplished only through revolution. Shang Yang's reform basically adopted the way of no bloodshed and non-violence, and completed this revolutionary reform. This is very rare in history, which is why Liang Qichao said that Shang Yang is one of the only six major politicians in China.Liang Qichao spoke highly of the theory of "rule of law" of ancient Chinese legalists represented by Shang Yang, and thought that "the theory of Legalists means that no matter whether they are wise or wise, they must act within the scope of the law. This is the essence of the theory. “（梁启超，2012)

===5.Conclusion===
With regard to the hundred schools of thought, we discussed in detail the three major factions: Laozi, Confucius and Shang Yang. The writing purpose of this paper is not only to review the path of the ancients' thoughts, but also to let everyone know that when we are faced with a social transformation, a major social confusion and an increasing amount of information, how do we imitate our predecessors to face reality, put forward new problems and put forward new ideas? In this way, human beings will open up a channel for their future survival, which is the most important enlightening significance of this paper.

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===Terms and expressions===
*孔子 Confucius

*轴心时代 The axial age

*几何学 Geometry

*国学思想 Sinology thought

*道德经 Tao Te Ching

*财产公有制 Public ownership of property

*儒学 Confucianism

*青铜器 Bronze Ware

===Questions===
*1.What is the relationship between Confucius and Laozi？
*2.Which school does Shang Yang belong to?
*3.Is the thought of Laozi very positive?

===Answers===
*1.Confucius is a student of Laozi.
*2.Legalists.
*3.No，the thought of him is negative.

==英语笔译谢晓莹 Xie Xiaoying 202170081601==
<center>'''The Acrobatic Fighting in Peking Opera'''</center>

<center>Xie Xiaoying</center>

===Abstract===
Known as the quintessence of Chinese culture, Peking Opera is an intangible cultural heritage of China and the world with profound cultural heritage. Among the four basic skills of "singing, speaking, acting and combating" that Peking Opera emphasizes, "combating" is the highly artistic refinement of fighting scenes in daily life. The acrobatic fighting in Peking Opera have made great contributions to shaping the characters and enriching the plots, which has become a highly expressive and infectious dance language in Peking Opera performances. With a long history, it draws nourishment from the chivalry culture of ancient China, puts the traditional Chinese martial art culture on the stage, and develops distinguished artistic skills and aesthetic characteristics. Starting from the martial spirit and chivalrous culture of ancient China, this paper expounds the origin and development of acrobatic fighting in Beijing Opera, analyses the reasons of its significant place in Peking Opera based on its artistic techniques, and explores the development path of it in new era, so as to deepen people's understanding of the Peking Opera and carry forward the traditional culture of the Chinese nation.
===Key words===
acrobatic fighting; Peking Opera; martial spirit; chivalry culture; artistic techniques; inheritance and development
===Introduction===
Peking Opera is the most influential opera in China, with its center in Beijing and spread throughout the country. During its long artistic history, Peking Opera has continuously absorbed nutrients from the traditional Chinese culture and people’s daily life and developed into a magnificent flower in the opera garden (Zhang Yinhe 2013, 15). As the product of the merging in Peking of Anhui and Hubei opera styles in the late 18th and early 19th centuries, Peking Opera has a set of standardized forms of artistic expression in literature, performance, music, stage art and other aspects. There are four character roles in Peking Opera, that is, Sheng, Dan, Jing and Chou, each with a set of performance procedures and distinctive skills in singing, speaking, acting and combating. Historical stories are the main content of Peking Opera. There are more than 1300 traditional operas, of which more than 300 are often performed. As an important form of expression of traditional Chinese culture, Peking Opera has a wide influence all over the country, and various artistic elements of it are regarded as symbols of traditional Chinese culture.

"Combating", one of the four basic skills of Peking Opera, is not only an indispensable means of expression, but also clearly reflects the important position of martial arts in Peking Opera performance. As a traditional Chinese national art, acrobatic fighting is a kind of stage art that borrows offensive and defensive movements of martial arts as a means of physical expression. It absorbs action materials from martial arts and enriches performance skills. In Beijing Opera, the entertainment of acrobatic fighting comes from the acrobatic nature of martial arts. In performance of acrobatic fighting, there are often combat with knives, guns, sticks and other instruments, as well as pair combat and hand-to-hand combat performances, which are so intense that they can always attract the audience and give them associations and resonance. Therefore, although some acrobatic fighting performers are not excellent in singing and speaking, they are able to create distinctive characters with their excellent martial art skills and win great reputation (Liu Haikuan 2005, 58).

The acrobatic fighting represented by Peking Opera was an inexhaustible artistic treasure house for other art forms at that time in terms of costumes, martial arts, instruments, Qupai, performances and choreography, providing rich creative space for directors, scriptwriters and actors from generation to generation. However, the decline of the Peking Opera and the operas with both singing and martial characteristics in the current society is a cause for concern, and it is necessary to have a comprehensive understanding of Peking Opera and explore ways to continue its development in the contemporary society.

This paper consists of three chapters. Chapter one gives a brief overview of the origin of the acrobatic fighting in Peking Opera, including the inheritance of the martial spirit of the Chinese nation and the influence of ancient chivalry culture. Chapter two introduces the artistic skills of the acrobatic fighting in Peking Opera and analyzes the character of Zhao Yun and the performance Crossroads based on this skills. Chapter three discusses the inheritance and development of the acrobatic fighting in Peking Opera, such as digging out the lost plays by seeking experience from the predecessors and collecting drama notes from the veteran fans.
===Literature Review===
Peking Opera has a history of more than 150 years since its formal formation in the Tongguang Period in the late Qing Dynasty. Although it is impossible to give a standard answer to the question of the repertoire of acrobatic fighting in Peking opera, it is still possible to find almost all the repertoire in many books that record the repertoire of Peking opera. However, throughout the research on the artistic theory of Peking Opera for more than one hundred years, the research on the martial drama is relatively weak compared with the research on singing drama. On the one hand, the research results on the martial drama are fewer and more difficult than that on the singing drama. On the other hand, among the few articles and treatises on acrobatic fighting, most of them are about famous performers, repertoire, and techniques, while few of them are about the origins, development, current situation, and solutions of problems of acrobatic fighting in Peking opera, and few of them are about a comprehensive study of acrobatic fighting in the context of Chinese history and national psychology (Du Peng 2014, 5).

Over the past hundred years, the research works related to the acrobatic fighting can be roughly divided into the following categories: (1) The discussion of the performing skills of the acrobatic fighting. Most of the articles and books about it are summaries and records of technical skills, while some of them also have the requirements and explanations of famous artists for skills of acrobatic fighting, such as ''The Role of Acrobatic Fighting in Traditional Chinese Opera'' by He Jinhai. (2) Repertoire statistics and script compilation. As for the acrobatic fighting repertory in Peking Opera, one can find it in many books recording Peking Opera repertory, such as ''A Compilation of Traditional Peking Opera Scripts''. (3) Collection of art criticism by famous performers. These books contain both the actors' own experience of performing acrobatic fighting and memories of fans and the drama critics who have watched the performances of these famous artists, such as ''The Collection of Art Criticism about Yang Xiaolou'' edited by Dai Shujuan et al. (4) Treatises on memory of famous artists. Most of these works were written by famous Peking Opera masters and recorded by others, which are regarded as important first-hand materials, such as ''A Miscellany on the Performing Arts of Peking Opera'' narrated orally by Qian Baosen and compiled by Pan Xiaofeng . (5) The works of the drama critics. These works not only have a good account of some of the Peking Opera's acrobatic fighting and famous schools, but also have a great contribution to the study of the aesthetics and theories of Peking Opera, such as Qi Rushan's ''The Art of Chinese Opera''. (6) Biographies of famous performers. These works include the memory and summary of the life of the predecessors by later generations. Among them, there are performance materials of famous artists about acrobatic fighting and operas with both singing and martial characteristics, such as Song Danju's ''Stage Art of Song Dezhu''. (7) Dictionaries related to Peking Opera. Such books summarize the expression of special nouns of acrobatic fighting in Peking Opera, such as ''Dictionary of Peking Opera Culture'' by Huang Jun and Xu Xibo.
===Methods and Theories===
Based on the research method of discovering problems, studying them, and solving them, this paper takes the development of acrobatic fighting in Peking Opera as the main clue, involving the study and analysis of its origin, characteristics, current situation, and future development, and seeks effective methods and approaches for the rise and prosperity of acrobatic fighting in Peking Opera while exploring the inner artistic characteristics of it.

This paper starts from the origin of acrobatic fighting, which involves social culture, social psychology, national psychology and other aspects, aiming at the analysis of performance skills of acrobatic fighting in Peking Opera with justification and evidence, and also focuses on the practicality of the theory of the article with the research method of theory in practice. In addition, the breadth of the material requires a more sophisticated research method to be effective. The study of acrobatic fighting in Peking Opera involves a variety of knowledge, including social psychology, history, theater and operatic studies, and Peking Opera performance studies. Only after reading and inquiring enough literature information related to acrobatic fighting in Peking Opera can we have a more comprehensive understanding of it.
===Origin of the Acrobatic Fighting in Peking Opera===
'''1.Inheritance of the Martial Spirit of the Chinese Nation'''

Throughout the five thousand years of Chinese civilization, the Chinese nation has always been characterized by the endless worship of literature and active martial spirit. They influence each other, depend on each other, and cannot be separated from each other. It is the consistent requirement of the Chinese nation for social talents to be both civil and military. Just as Liang Qichao said, " The martial spirit of the Chinese nation is its original nature" (Liang Qichao 2006, 21).

The ancient Chinese people lived in the Yellow River basin with harsh natural environment, men hunting and women picking fruits, accompanied by inter-tribal strife, resulting in the worship of the primitive ancestors of force to the extreme. In following dynasties, in order to defend the country, the martial spirit continued: During the Spring and Autumn Period and the Warring States Period, the oftenness of war led to a great number of warriors; In the Western Han Dynasty, when the Hsiung-nu came south to invade the people, Wei Qing and Huo Qubing, two brave generals who were good at fighting defeated them; In the Tang Dynasty, during the Wu Zetian period, The system of selecting scholars for martial arts examinations inspired the poets to join the army and go to the frontier; At the end of the Qing Dynasty, when the western powers invaded China, many famous boxers, such as Huo Yuanjia, defeated the foreigners with martial arts and got rid of the title of “Sick Man of East Asia”... During these wars, the cohesion of the Chinese nation increased and the lives of the common people were greatly affected. Aggression inevitably leads to resistance. Force is the most direct and effective way of wage war of aggression, and it’s also the most advocated way of anti-aggression. With the outbreak, development and end of war of aggression, the military culture has infiltrated into the traditional culture of the Chinese nation stealthily (Du Peng 2014, 20). The social environment provides a strong accumulation of social psychology and national psychology for the generation of war culture, so it can be found in every corner of the traditional Chinese culture. It is not difficult to find the existence of war culture and martial spirit in characters, poems, novels, paintings, operas and dramas.

"Once the traditional thinking mode of a nation is formed, it will have the tendency to constrain the nation's mental activities, which some people call psychological stereotypes in psychology" (Jia Zhigang 1996,129). The martial spirit, which has been existing in the blood of the Chinese nation for thousands of years, has a great influence on the heroes on the stage of Peking Opera and the production of acrobatic fighting plays. The national heroes and heroines emerging in various dynasties have provided prototype materials for the characters of martial arts in Peking Opera. Out of the desire for the description of fighting and war between gods and ghosts, and the call for punishing evil and praising national heroes, a large number of acrobatic fighting elements appear in Chinese operas. Among them, the creation and expression of characters of famous generals like Ban Chao, Han Xin, Xue Rengui and Yue Fei are all from real characters in Chinese history, rather than mythological characters and stories. Although there are exaggerations, they are generally based on historical evidence, different from a large number of ethereal characters in ''Journey to the West''.

'''2.Influence of Ancient Chivalry Culture'''

The various schools of thought and folk customs have a profound influence on the martial spirit of the state. Conversely, the martial spirit of the state also acts on the courageous characteristics of the people. In a cultural environment with orderly royal control and distinct social hierarchy, it is very unlikely to challenge the traditional social norms including royal power by force (Li Xiaojing 2013, 23). Since the middle of the Spring and Autumn period, with the profound economic, political, social and cultural upheavals, a series of unprecedented new factors constantly emerging, the chivalry culture was born.

"Chivalry" contains three characteristics: commitment, righteousness, and lightness of life and death. Life is inevitably critical, coupled with social injustice and not all-inclusive law, "chivalrous justice" is indispensable. And these chivalrous and righteous people always put other people instead of themselves first, strive to solve other people's difficulties and match their words with their deeds. During the Three Kingdoms period, Liu Bei was fond of making friends with chivalrous men when he was young; In the Eastern Jin Dynasty, Zu Ti got up upon hearing the crow of a rooster and practised with the sword day by day only to serve his country; In Tang Dynasty, many poets wrote to praise the quality of chivalrous men; In the Ming Dynasty, famous novels such as Water Margin enriched the image of chivalrous men...

With the gradual enrichment of martial novels, a large number of commentary artists changed them into various versions of sung commentaries and preached them around to popularize them. Later, the storytelling artist Deng Guangdou even created a new style of comment which added the boxing skills in storytelling. In other words, he showed the boxing skills when commenting on Wu Song, making the audience not only feel like seeing Wu Song, but also marvel at the storytellers' excellent boxing skills. This style of performance, in which the chivalry of the book is expressed in the real kung fu of the storyteller, fully demonstrates the brilliance of the chivalrous characters depicted in the novel and the richness of the storyteller's own performance techniques, and promotes the development of the book review (Du Peng 2014, 34). And these novels and book reviews depicting chivalry had a huge impact on the emergence and development of acrobatic fighting repertoire in the art of opera: The chivalrous characters in the books provided a rich cast of characters for Peking Opera; The novel reviews were interpreted into acrobatic fighting repertoire in Peking Opera; The depiction of characters in the novel reviews permeated Peking Opera costumes; Many of the language and customs from the book reviews were directly inherited from Peking Opera... Thus it can be seen that chivalry culture and crime novels of Ming and Qing Dynasties have a profound psychological impact on Chinese people, and have a direct impact on opera art, especially the acrobatic fighting in Peking Opera.
===Artistic Skills of the Acrobatic Fighting in Peking Opera===
'''1.Aesthetic Techniques'''

Nourished by traditional aesthetic thought, the acrobatic fighting in Peking Opera originates from traditional Chinese culture and have a consistent aesthetic sense of it. As the embodiment of the characters' valor happening in the fierce battle scenes, acrobatic fighting in Peking Opera is characterized by being absolute aesthetic, which is also the feature of the art of Peking Opera. Turning martial art into dance and then turn it into beauty, acrobatic fighting in Peking Opera makes what is originally a cruel and bloody scene into aesthetic stage art, showing the charm of Peking Opera. Therefore, whether it is a tumble or a move, it is possible to find their common characteristics in the traditional aesthetic thought of "observing objects and taking images", "integrating movement and stillness", and "combining both form and spirit". (Du Peng 2014, 60).

Due to the characteristics of the means of expression, the plot of the acrobatic fighting is relatively simple, and the psychology of the characters is not so delicate, which makes it more difficult to reflect the ideological content that makes people recall repeatedly and think deeply. The audience understands and recognizes these limitations, and even needs and appreciates them out of preference. The requirements of acrobatic fighting are different from those of singing operas. While acrobatic fighting should certainly teach people patriotism, noble virtues and historical knowledge, the direct manifestation of its value lies in its aesthetic role, i.e., to give the audience its unique healthy aesthetic enjoyment and beauty, and to enrich and enhance the appreciation of the public (Liu Haikuan 2005, 58).

The formal beauty of acrobatic fighting is typical of masculine beauty. What it generally reflects is either military hardware and magnificent battle scenes, or fierce and hand-to-hand combat, or fearless heroes with lofty ideals. These characters are brave and tenacious with superb martial power, moving forward under the fierce music on stage. They have a kind of majestic beauty without decadent and depressing mood, inspiring people to move on. And it is a reflection of the traditional moral concepts and aesthetic requirements of the Chinese people in the art of opera, which has the charm crossing time and space.

The formal beauty of acrobatic fighting has three characteristics: Firstly, the performer's skilled and exquisite somersault skills and kung fu; Secondly, the performer's shapely and beautiful bodies; Thirdly, the beauty of composition formed by the collective cooperation on the stage. The performers combine these three characteristics in a integrated manner, presenting a gorgeous picture of acrobatic fighting. They present a magnificent ancient war scene or a fierce fight in a specific situation in a limited stage space, which reflects the high artistic wisdom of the Chinese people (Liu Haikuan 2005, 58). The acrobatic fighting in Peking Opera generalizes, refines, exaggerates and beautifies life. Not only the actions of the characters are completely choreized, but also the emotions are transformed into the forms of martial arts skills. Everything is unified under the premise of paying attention to the depiction of the inner world of the characters and the authenticity of their thoughts and feelings, and is subject to the overall requirements of formal beauty.

'''2.Typical Characters and Performances'''

The martial spirit of the Chinese nation has a profound influence on Chinese culture. During the two thousand years of feudal rule, most of the warriors and generals carried the martial culture. The military generals and swordsmen of all dynasties exerted significant influence on Chinese society and culture, among which famous military generals include: Sun Wu in the Spring and Autumn Period, Bai Qi in the Warring States Period, Chen Qingzhi in the Northern and Southern Dynasties, Huo Qubing and Han Xin in the Western Han Dynasty, Ban Chao in the Eastern Han Dynasty, Li Jing and Gao Xianzhi in the Tang Dynasty, Yue Fei in the Song Dynasty, and Xu Da in the Ming Dynasty. Famous swordsmen include: Zhuan Zhu and Yu Rang in the Spring and Autumn Period, Nie Zheng, Lu Zhonglian, Hou Ying and Jing Ke in the Warring States Period, etc. While inheriting the martial spirit, they make the chivalry spirit and heroic integrity known to the extreme. These characters are the common archetypes of roles of acrobatic fighting in Peking Opera and the operas with both singing and martial plays. They are also the heroes that people are interested in talking about, playwrights constantly create and artists try their best to show. Among them, Zhao Yun in the Three Kingdoms Period was one of the most special, resourceful and brilliant general characters in Peking Opera. He was brave and courageous with wisdom. His rescue of the master on Steepslope Bridge was recorded and praised by later generations and presented in numerous literary and operatic works. Among the existing drama in the Yuan Dynasty, there are 21 kinds of drama of the Three Kingdoms, among which 8 are about Zhao Yun; In the Ming and Qing Dynasties, there are more than 20 kinds of drama of the Three Kingdoms, of which 7 are about Zhao Yun. The performances of Yang Xiaolou, Gao Shenglin and Li Huiliang have always been praised.

In addition to the image of Zhao Yun, the Peking Opera "Crossroads" is also a representative of acrobatic fighting performances. The play is about Jiao Zan, who escorted the prisoners and stayed in a hotel at crossroads in the border of Song and Liao areas, only to find it’s a ganster inn, where Ren Huitang was also there and saved Jiao Zan after fierce fights. On the one hand, this play combines Chinese martial arts and acrobatic movements into opera performances: It’s easy to find that these martial actors have outstanding martial arts skills. For example, the actor who plays the role of Ren Tanghui, strives to achieve unity and integrity from character personality, spiritual outlook to internal temperament and external image. When he appears on the scene, he raises his legs, leaves his feet and falls to the ground quickly, being light and steady. The first three flexible steps, the slight swaying of the upper body, together with the face looking around and observing the movement, show the resourcefulness and heroic spirit of this battle-hardened general. On the other hand, the play perfectly combines silent action with artistic beauty: With martial skills reaching a certain level, short-distance martial actors can perform with their bodies as light as swallow’s. The play "Crossroads" takes place in a specific place and environment, whose performance requires the actors to have such tumbling skills as "cheating legs", "seven feet". All these require the performer to go through hard exercises and profound kung fu, turning the body into a tool to reflect artistic beauty, in order to win the artistic effect of lightness of body (Fan Qiying Li Guanghui 2008, 50). When appreciating the play "Crossroads", we are often feeling the artistic perception brought by Chinese opera, which is expressiveness. In artistic creation, expressiveness is higher than reproducibility. It has long been recognized that our traditional art has incorporated expressiveness into our performance system. So it's no surprise that "Crossroads" has been so popular.
===Inheritance and Development of the Acrobatic Fighting in Peking Opera===
'''1.Current Situation of Acrobatic Fighting'''

In the mid-twentieth century, Chinese opera schools had rich performances of martial arts repertoire. At that time, there were hundreds of outstanding actors performing different operas. However, after the impact of the Cultural Revolution and the reform and opening up, new art forms emerged endlessly, and people no longer took the opera as a regular entertainment and leisure activity as before. The popular singing repertoire of Peking Opera has been greatly affected, and the acrobatic fighting has suffered a very obvious decline. It is very difficult to see the wonderful acrobatic fighting repertoire on the Peking Opera stage today as it was in the past. Even if there is, the quality of the performances is hardly guaranteed. And in the new performance of Peking Opera, it is hard to see any form of new repertoire that involves Wudan, Daomadan, or even Peking Opera martial arts. The shrinkage of traditional repertoire and the absence of new repertoire in Peking Opera have put the current comprehensive inheritance and development of Peking Opera and even the art of opera in a disadvantageous situation (Zhang Xiaocui 2017, 132).

The decline of acrobatic fighting in Peking Opera and the repertoire emphasizing both literary and military arts in the current society is worrying, which is caused by various reasons, both from the practitioners themselves and from the society. From the performer's point of view, the foundation of the martial arts actors is not good enough and the performance id not so authentic, so the audience is not really satisfied; Some singing actors do not pay attention to the overall development, blindly pursuing the progress of singing skills, so that a lot of operas both with singing and martial skills can not be well preserved, resulting in the shrinkage of the repertoire; The old and new inheritance system bear some difference, so many practitioners today do not practice can also get paid due to the monthly salary system, lacking the perseverance of their predecessors. In terms of the social environment, some plays were lost in the 1930s and 1940s; After liberation, some policies for maintaining unity had an impact on the repertoire of martial arts; The traditional acrobatic fighting ceased during the Cultural Revolution; There were few acrobatic fighting in the new repertoire; The number of actors of acrobatic fighting has decreased (Du Peng 2014, 108).

The disappearance of a large number of acrobatic fighting and the opera with both singing and martial skills has led to the serious division of singing and martial skills in Peking Opera performance, the loss of many acrobatic fighting plays, the deterioration of the performers' comprehensive ability of singing, speaking, acting and combating, and the serious tendency of "emphasizing the singing skills and neglecting the martial arts" in opera innovation. The innovation of Peking Opera should be a comprehensive innovation, rather than a single level of development. It can be said that such unbalanced development hinders the benign and comprehensive development of Peking Opera (Zhang Xiaocui 2017, 132).

'''2.The Innovative Ways of Development of Acrobatic Fighting in Contemporary Era'''
The analysis and concern about the current situation of Peking Opera is not pure criticism, but to raise and solve problems. The cultural environment of a particular era is complicated, and the acrobatic fighting in Peking Opera can not be easily recovered by shouting out a few words of revitalization. Here we try to propose some solutions for practitioners to think about.

First of all, opera schools should be the main body of the inheritance of acrobatic fighting and related repertoire. It is a realistic problem that the teaching repertoire of Peking Opera at all levels is in disorder nowadays, which restricts the development of Peking Opera and even the whole teaching of Peking Opera. Schools should increase acrobatic fighting in the teaching repertoire and standardize it. Secondly, it is necessary to restore the endangered or already lost acrobatic fighting repertoire. Some plays are performed repeatedly in various Peking Opera troupes, easily making the audience get bored. So for the sake of the troupes' future and the obligation of inheritance, it is necessary to restore the lost acrobatic fighting repertoire.

As for how to explore the lost repertoire, we can start from the following aspects :(1) ask the living predecessors for relevant performance skills and stage experience; (2) Make full use of the recordings and videos left by the seniors; (3) Collect notes from experienced theater fans. With the precious resources of the acrobatic fighting, the recovery of these plays can be considered from the following three aspects: Firstly, start restoring the repertoire from the traditional seasonal repertoire, that is, to find appropriate unpopular plays from each season of the year to resume the performance, so that the audience can not only watch the repertoire rarely seen on the stage, but also inherit and enrich the acrobatic fighting in Peking Opera. Secondly, restore the repertoire from the perspective of characters: It is also a good way to restore it from point to point as time goes by until the repertoire is serialized. Thirdly, select a specific kind of repertoire for recovery: In the process of recovering traditional repertoire, we should not only do it in a solemn and stirring mood, but also learn how to use effective methods and promote acrobatic fighting to the market, believing that they can be accepted and welcomed by audiences (Du Peng 2014, 116).
===Conclusion===
Since the end of the Qing Dynasty and the beginning of the Republic of China, all the artists who became masters of Peking Opera were able to perform both singing skills and martial skills in the martial arts. They were able to break through the limitations of their own lineage, which really pushed the art of Peking Opera to a whole new peak and developed each lineage comprehensively, making the art of Peking Opera of that era wonderful and brilliant. Now, in the twenty-first century, some aspects of Peking Opera seem to have returned to the situation that existed before the masters of Peking Opera, i.e., the singing skills and martial arts are divided, and there is an unprecedented dilemma that the acrobatic fighting repertoire may be lost. There are many reasons for this situation, but the result is the degradation of the ability of actors in various roles, the loss of plays, the fragmentation of plays, the homogenization of skills and so on.

As the younger generation, we should not only have reverence for the older masters and the heights they have promoted the art of Peking Opera, but also do our best to carry forward the opera skills. The Peking Opera troupes and actors of acrobatic fighting are hoped to spare no efforts to pass on the skills through constantly improving the level of business, modestly consulting and learning from the predecessors and strengthening the theoretical accomplishment, so as to inherit acrobatic skills through traditional martial plays. They’re also supposed to explore new ways of innovating acrobatic fighting according to the troupe's actual situation, to "revitalize" the acrobatic fighting in Peking Opera, so that they can be inherited, developed and innovated in the tradition, thus comprehensively promoting the prosperity of the Peking Opera performance market and better serving the socialist cultural market.
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*Zhang Xiaocui 张晓翠. (2017). 浅议京剧武戏的传承与发展 [On the Inheritance and Development of Peking Opera]. ''剧作家'' Playwright (9) 132.
*Zhang Yinhe 张银河. (2013). 试析武术与京剧武戏文化 [On the Martial Art and Culture of Acrobatic Fighting in Peking Opera]. ''武魂'' Kung Fu (12) 15.
===Terms and expressions===
acrobatic fighting 武戏

singing, speaking, acting and combating 唱念做打

Sheng, Dan, Jing and Chou 生旦净丑

''Crossroads'' 《三岔口》

Hsiung-nu 匈奴

Sick Man of East Asia 东亚病夫

''Journey to the West'' 《西游记》

''Water Margin'' 《水浒传》

Wudan 武旦

Daomadan 刀马旦
===Questions===
1.What's the significance of Peking Opera in Chinese history?
2.What are the three characteristics of "Chivalry"?
3.What are the three characteristics of formal beauty of acrobatic fighting?
4.How to explore the lost repertoire？
===Answers===
1.Peking Opera is the most influential opera in China, with its center in Beijing and spread throughout the country. During its long artistic history, Peking Opera has continuously absorbed nutrients from the traditional Chinese culture and people’s daily life and developed into a magnificent flower in the opera garden. As an important form of expression of traditional Chinese culture, Peking Opera has a wide influence all over the country, and various artistic elements of it are regarded as symbols of traditional Chinese culture.

2.Commitment, righteousness, and lightness of life and death.

3.1)The performer's skilled and exquisite somersault skills and kung fu;

2)The performer's shapely and beautiful bodies;

3)The beauty of composition formed by the collective cooperation on the stage.

4.1)Ask the living predecessors for relevant performance skills and stage experience;

2)Make full use of the recordings and videos left by the seniors;

3)Collect notes from experienced theater fans.

==英语笔译熊嘉玲 Xiong Jialing 202170081602==
<center>'''Yue Opera'''</center>

<center>Xiong Jialing</center>

===Abstract===
Yue Opera, an important local opera in China, is one of the five types of Chinese opera. From the original "Chinese Folk Rap"（落地唱书）, it has developed into the second most popular opera in China and is one of the first batch of national intangible cultural heritage. Therefore, Yue Opera plays a very important role in China's art field. This article will give a general introduction to Yue Opera. The first is a brief introduction to the general situation of Yue Opera; In the first chapter, the author will introduce the historical origin and development of Yue Opera. In the second chapter, the author will focus on the introduction of the performance characteristics of Yue Opera, including its singing voice, role of business and so on; In the third chapter, the author will talk about the value of Yue Opera, such as its cultural value, social value and so on. The fourth chapter will mention the inheritance and development of Yue Opera. As one of Chinese operas, Yue Opera has a long history and rich cultural connotation. In today's cultural diversity and economic globalization, it can promote the spread of traditional Chinese culture to let the world see and hear Yue Opera.
===Key words===
Yue Opera;traditional Chinese culture;Chinese opera
===Introduction===
Yue Opera (Yueju in Pinyin) is the second largest opera genre in China, and some scholars consider it to be "the largest local opera genre". It is also one of the five major Chinese opera genres (Peking Opera, Huangmei Opera, Yue Opera, Pingju opera and Henan Opera). Originated in Shengzhou, Zhejiang province, prosperity in the whole country, spread to the world, it has experienced a historical evolution from male to female Yue Opera.In the development, it absorbed the elements of kunqu opera, drama, Shaoxing opera and other operas. It is called "Chinese opera" abroad. It is also known as "the most popular local opera".
Yue Opera is long in lyric, mainly singing, beautiful voice, real and moving performance, beautiful and elegant, with the spirit of jiangnan. Most of them are based on the theme of "talents and beauties", and there are various artistic schools. There are as many as 13 recognized schools. It was mainly popular in Shanghai, Zhejiang, Jiangsu, Fujian, Jiangxi, Anhui and other southern regions, as well as most northern regions such as Beijing and Tianjin. In its heyday, professional troupes existed all over the country except xizang, Guangdong, Guangxi and a few other provinces and autonomous regions. (Qian Hong, edited by the editorial board of Chinese Yue Opera Canon，2006)

Yue Opera is also the first batch of national intangible cultural heritage list. Among the modern emerging operas in China, the Yue Opera bred from the regional culture and modern art of the Yangtze River Delta is undoubtedly the most influential. Once upon a time, "Liang Shanbo and Zhu Yingtai" produced by "Shaoxing Women's Literary Opera" and "Shaoxing Women's Opera" were popular in Shanghai. The heroic deeds of the ten Sisters of Yue Opera, represented by Yuan Xuefen, against the bullying of the dark forces shocked the Chinese cultural circle; After the founding of the People's Republic of China, With the help of the movie a Dream of Red Mansions, Yue Opera became a national hit. Premier Zhou Enlai took the film liang Shanbo and Zhu Yingtai as one of new China's diplomatic means to promote the Opera overseas.(Liu,2022)
===The Historical Origin of Yue Opera===
Shengzhou, The Birthplace of Yue Opera

Yue Opera is one of the five major operas in China and the second largest in China at present. Yue Opera is called "the second in China" in terms of the number of performances and social popularity. In terms of its performing arts history and popular areas, it is probably far inferior to kunqu opera and Huangmei Opera. Due to language limitations, it is mainly popular in Jiangsu, Zhejiang and Shanghai. Yue Opera is generally spread in Shanghai, Zhejiang, southern Jiangsu and other places which are usually said wu language area. So Yue Opera is still a typical local opera. It originated from Shengzhou of Shaoxing in Zhejiang Province, which is the shengzhou city of Shaoxing in Zhejiang Province today. It is evolved from local folk songs and formed by absorbing the characteristics of Kunqu opera and Shaoxing opera in the development process. Shengzhou, the birthplace of Shaoxing opera, has been attracting celebrities from all sides to visit with its unique charm since ancient times. The beautiful scenery here, surrounded by beautiful mountains, with a long history, and its unique dynamic temperament, has created a unique charm and beauty in Shengzhou. The enchanting natural scenery has given here the magic charm, attracting the high sages and celebrities in succession to enjoy the scenery, leaving many immortal chapters spread through the ages for the later generations. With the growing popularity of folk poetry and lyrics, shengzhou people who are good at singing have integrated songs into their lives. Versatile shengzhou people thus became the original creator of Yue Opera art, Shengzhou has also become a fertile soil for the birth of Yue Opera art.

The Real Birth of Little Choir, the Predecessor of Yue Opera

From the year of 1906 , Yue Opera entered the stage role playing period. Therefore, it can be regarded as the origin of Yue Opera as the identity of opera. However, the little choir did not come into being suddenly, nor did it start out dressed up for the stage. From the xianfeng period in the 1850s and 1860s, it went through decades of embryonic stages. In terms of art classification, Chinese Folk Rap does not belong to opera, but to quyi. Therefore, it can not be called the "predecessor" of Yue Opera, but its original form of performance.

The origin of Chinese Folk Rap is that when farmers were resting in the fields after work, many people would compose and sing ditty that could reflect the aspirations of the common people, which always aroused the praise of farmers and gradually spread among them. The last few popular songs, everyone can sing. Researchers on the history of Yue Opera generally believe that the sign of the emergence of Chinese Folk Rap is that Jin Qibing and others began to sing Buddhist songs and folk tunes in front of rich households in the nearby countryside in order to make a living.(Pan,2009)

The early Chinese Folk Rap performers did not completely break away from agriculture while singing Chinese Folk Rap. For many performers, farm work is the main thing to support their families and is the job left to them for generations. It is unimaginable for them to completely break away from farm work. Therefore, during the spring ploughing season from January to February and March, the artists went back to their hometown in Sheng County to work on their fields. Qian Jingsong, Li Shiquan, Gao Binghuo and other artists who had been invited to the "stage" in Yuhang and Yuqian (now part of Lin 'an) talked with the villagers about their debut experience, which aroused the interest of many villagers. They urged artists to do the same at home. Guangxu period (1906) on the qingming Festival on the third day of march in the lunar calendar, on the vacant lot of dongwang village in Sheng County, the village civilian used rice barrel, the door panel set up the stage, invited many artists coarsely-dressed up to sing the Chinese Folk Raps, unexpectedly caused a stir in the countryside, attracted people from many villages to watch. The popularity of this form of singing book in the village even exceeded the artists' expectations.(Edited by Cultural and Historical Data Committee of Shengxian CPPCC,1992)

So they began to think about organizing theater groups to put on more scripted performances, and they came up with a low-key and elegant name for the form: Little Choir". In general, such performance formula has met the basic conditions of opera, so many researchers have always regarded this performance as the origin of Yue Opera. Stage at this time, not only clothing is very simple, Musical Instruments are also very simple. Although the form of "Little Choir" is primitive, the singing is monotonous, and the costumes are simple, but this pioneering move alone is enough to leave a brilliant first in the history of Yue Opera.
Since the birth of the "Little Choir" in Sheng County, it has spread quickly to the surrounding areas. As a literature and art originating in country life, it is not surprising that it first established itself in the country. At the same time, it is constantly exploring transformation, slowly infiltrating into the city,
After 1907, the "Little Choir" has been all over Athens County, and gradually to the neighboring Xinchang, Shangyu, Shaoxing, Yuyao, Fenghua and other places spread, both in the village and the town theater, where are warmly welcomed. For example, in Xinchang, only three or five years after the first contact with the "Little Choir", the number of newly established local opera troupe has reached 30 or 40 classes.

Performing in the countryside, the troupe must suffer from displacement. Therefore, it is always the ideal of the troupe to perform in a city with a large population, both male and female. Large and medium-sized cities for "Little Choir", is always tempting. On the one hand, large and medium-sized cities have strong consumption capacity and can obtain higher economic benefits. On the other hand, the fact that "Little Choir" can establish itself in big cities is the recognition of "Little Choir" by higher-level audiences, which is a kind of honor.(Pan,2009)

Shaoxing Civil Opera Period

In 1922, the development of Shaoxing Opera entered a new historical stage, that is, the Period of "Shaoxing Civil Opera". Because "Little Choir" was born in Shengzhou, which is subordinate to Shaoxing Prefecture, and the content of "Little Choir" is more focused on family ethics and love, so it is called "Shaoxing Civil Opera". Shaoxing Civil Opera period is the mature stage of the development of Yue Opera. It can be divided into two periods. In the early stage, there are all male actors, so it is called Shaoxing Civil Opera Male Troupe; in the later stage, there are mixed performances of male and female actors, and the transition to female troupe is called Shaoxing Civil Opera Female Troupe.

The Period of Women's Improvement in Shaoxing Civil Opera

In the history of The development of Yue Opera, the outbreak of the Anti-Japanese War is an important dividing line. Before this, Shaoxing Civil Opera, which was dominated by male classes, was in its heyday, with famous actors concentrated in Shanghai and female classes flourishing, but the activity area was mainly in Zhejiang. Although there were female classes in Shanghai, most of them were mobile, so their status was not high and their influence was limited in the whole Cultural pattern of Shanghai.

In the late 1930s, after the outbreak of the Anti-Japanese War, a large number of female classes came to Shanghai for development and rose rapidly. At the same time, male classes declined sharply and were soon replaced by female classes, gradually forming a kind of operas featuring all-female performances. Almost all the famous actors and drama companies were concentrated in Shanghai. The social and cultural environment of Shanghai has provided rich nutrition for the progress of Yue Opera art, promoted the reform of Yue Opera in the new environment, and provided a rare historical opportunity for its rapid development.

"New Yue Opera" Period

The reform of Yue Opera, which started in October 1942, opened up a new era in the history of Yue Opera and had a profound influence on the establishment of the form and style of Yue Opera. The "new Yue Opera" rising in the wave of reform in this period is obviously different from the original women's Yue Opera in terms of repertoire, music, stage image, deconstruction and operation mechanism of troupe. During the period of "New Yue Opera", Yue Opera achieved rapid development. A group of young actors, such as Yuan Xuefen, Yin Guifang, Fan Ruijuan and Fu Quanxiang, became the representatives of the new generation of Yue Opera.

The Development of Yue Opera After Liberation

After the founding of the People's Republic of China in 1949, under the leadership of the Communist Party of China, opera art began to enter the process of planned, deployed and focused reform, and Yue Opera also began to adapt to the new era of profound reform. In the early 1950s, a drama reform movement was launched nationwide. During this period, professional drama troupes in Shanghai and Zhejiang carried out the work of "Three reforms" to different degrees successively, which brought new changes to the appearance of Yue Opera. In March 1955, Shanghai Theatre was formally established, gathering a large number of professional talents with high artistic quality in the field of yue Opera, such as editing, directing, acting, music, beauty and so on.

The Revival of Yue Opera in the New Period

The "Cultural Revolution" that began in 1966 severely destroyed Yue Opera. After the end of the "Cultural Revolution", especially after the third Plenary Session of the eleventh Central Committee of the Communist Party of China in 1978, Yue Opera began a comprehensive revival in a new period, ushering in a new spring in the development history of Yue Opera

Under the influence of historical conditions, the revival of Yue Opera started from the modern opera performed by men and women. In 1977, the Shanghai Yue Opera reenacted the drama with a co-performance of male and female and was a great success, setting off the wave of the revival of Yue Opera. Soon after that, Shanghai Film Studio made "Xiang Lin's wife" into the first color widescreen style art film of Yue Opera and screened it in the whole country, re-expanding the influence of Yue Opera in the whole country. Traditional and historical operas have also been resumed, and women's Yue Opera has gained recognition and new vitality.
In 2006, on the 100th anniversary of the birth of Yue Opera, it was listed in the first batch of national intangible cultural Heritage list with the approval of The State Council. The future of Yue Opera will be more brilliant.

===The Performance Characteristics of Yue Opera===
First, the selection of materials for the Yue Opera plays is mainly based on the love and marriage stories of ancient talents and beauties. Such as Liang Shanbo and Zhu Yingtai, Jia Baoyu and Lin Daiyu, Fan Li and Xi Shi, Lu You and Tang Wan and so on. These stories have long been written and interpreted into various literary and artistic works and passed down from generation to generation among the people. After these stories were compiled into The Yue Opera, the artistic atmosphere of the story and the tragic color of the characters were enhanced, giving people a more vivid and profound impression.

Second, the music of Yue Opera is good at showing the feelings of young men and women. The singing style is based on the "Chinese Folk Rap" of Wuyue water town in the south of Yangtze River, absorbing the folk music of Sheng County. After Yuan Xuefen and lute zhou Baocai cooperation, so that the opera singing form a gentle lingering lyric style.

Third, the performances of Yue Opera are vivid, natural, elegant and moving. They are full of beauty and talent in the south of the Yangtze River, especially the performances of young girl's role, which combine the scholarliness of scholars with the beauty of young girls. The principle of "virtuality" and "stylization" and the aesthetic pursuit of "symbolism" and "freehand style" formed in the long-term artistic practice of Chinese opera performance have provided a theoretical basis for the formation of the performing art of young women in Yue Opera, so that female actors can play male roles without being restricted by their own gender. Under the guidance of virtual drama and freehand brushwork principle, the female students can not completely imitate the performance of men and force the unity of actors and roles, actors can use stylized performance to look at the male roles in the drama from the perspective of women. What she interprets is not the man in real life, but the man in the woman's mind, that is, the man that the woman idealizes, the man that the woman plays to the audience. This is just like the plum blossom and bamboo painted by Chinese painters in traditional Chinese paintings. They are not plum blossom and bamboo in nature, but plum blossom and bamboo in the artist's mind. Of course, the course of this success is not follow one's inclinations, is not subject to any condition, also need actors themselves have a certain external conditions and mental qualities, such as the tall figure, elegant temperament, generous demeanor, etc., so as to better shape the character image, conveys the verve of male role. Various schools of Yue Opera have blossomed.

Fourth, the stage presentation of the Yue Opera is fresh and elegant, which is often refreshing. The makeup of Yue Opera has absorbed the methods of drama and film, and is characterized by being close to nature, fresh and elegant, rather than exaggerated and colorful. Based on the paintings of ancient ladies in costume, the costumes are changed from complex to simple and gorgeous to clear and beautiful with the characteristics of simplicity and clarity. The scenery is simple and lively, the combination of virtual and real, with the performance of the actors, making full use of modern sound and light technology, giving people an immersive artistic feeling.(Liu,2022)

===The Value of Yue Opera===

Cultural Value

Cultural creation is based on traditional culture and under the influence of modern culture, absorbing new tunes, new choreography, new themes, new talents and new music of modern culture to generate a new round of cultural wave and a "new culture" that is different from the past and more adaptable. Yue Opera is "rich in expressive force, plain and smooth melody, fresh and beautiful with local flavor". It has beautiful melody, graceful and touching pronunciation, beautiful appearance but not coqueness. Both civic and military opera have their own strengths, and it is different from the softness and beauty of Peking Opera. It has a very high viewing value, which is why in recent years, Yue Opera has gained more and more audience's love, causing more and more attention. This is the cultural creation value of Yue Opera.(Jin,2012)

From the point of view of Marx's theory of literature and art, all arts (including literature, calligraphy, architecture, painting, opera, etc.) are the reflection of people's lifestyle and cultural psychology in a particular era and region. In the field investigation, we found that most of the people who adhere to Yue Opera are the older generation, because it used to be a part of their life, carrying their joys and sorrows, and relying on their understanding of life. Yue Opera touches the softest part of the heart of a generation in a casual way at some point. These cultural memories, no matter joyful, sad, beautiful or ugly, will become a kind of cultural nutrition and melt into the bones and blood of the whole regional culture and even the national culture, giving us reasons and directions to move forward. This is the cultural creation value of Yue Opera.This is the cultural inheritance value of Yue Opera.(Yang,2021)

Social value

Yue Opera originated in Shengzhou, Zhejiang province, China, so it is easy to explain why all the people in Shaoxing and Shengzhou can hum it and find pleasure in it. Obviously, in the region where It originated and developed, It has become a topic of conversation among the masses after dinner. In the folk, people are also used to organizing various performances and singing competitions of It to enrich their amateur cultural life. Therefore, in the traditional cultural matrix of Yue Opera, there is a kind of aesthetic value called social value, which has laid a solid foundation for extensive social communication among the masses. Therefore, Yue Opera gradually became a social means, which was of great significance in promoting social harmony and stability. Of course, with the continuous expansion of the overseas market of Yue Opera, it is also playing an important role in developing sino-foreign relations, consolidating sino-foreign friendship and realizing the combination of Chinese and foreign culture and art.(Jin,2012)

The Entertainment Value of Yue Opera.

As a unique type of traditional culture, History and culture have endowed it with a unique development environment, unique artistic charm, which make It a popular art form among the public. From the emergence and development of Yue Opera to its prosperity and growth, its entertainment value has been accompanied by it. Yue Opera can not only give people visual and auditory satisfaction, but also give the audience great psychological satisfaction, so as to relieve the pressure for the masses and delight the masses physically and mentally. A large number of excellent Plays of Chinese traditional Yue Opera, such as Butterfly Lovers and Peony Pavilion, brought people spiritual sustenance and was one of the important ways for people to interest their heart and soul at that time. For example, the twists and turns of the Story, the beautiful love story and the artistic stage design of the Yue Opera Peony Pavilion not only relieved people's living pressure, but also promoted people's self-cultivation.(Ye,2016)

The above research on the value of Yue Opera shows that this local opera has strong charm and development potential. Thus, we can see the reasons behind the "centennial brilliance" and strong influence of Yue Opera. Yue Opera has rich cultural value, including cultural creation value and cultural inheritance value. Shaoxing Opera also has certain social communication value, which can be called a social means. Yue Opera not only promotes social harmony, but even plays a great role in promoting the spread of Chinese culture and cultural exchanges. In addition, Yue Opera has its entertainment value. In daily life, it has enriched the lives of ordinary people and provided them with certain spiritual sustenance, which is of great significance.

===The Inheritance and Development of Yue Opera===
Yue Opera is one of the most important local operas in China. It has developed into the second most popular opera in China from the original Chinese Folk Rap. However, with the popularization of TV, the establishment of cinemas and the continuous expansion of the Internet, the influx of pop songs, European and American blockbusters and the change of modern people's value orientation, the traditional Yue Opera has been plunged into unprecedented crises. In today's era of vigorously protecting intangible cultural heritage and building a new socialist countryside, how to protect, inherit and develop folk Yue Opera is not only related to the survival of the opera itself, but also an important topic of "intangible cultural heritage" protection, as well as an important content to be studied in mass cultural work.(Zhang,2010)

Review the Inheritance Status of Yue Opera

Through visits to local cultural departments and literature review, we know that the performance of Yue Opera is faced with fewer and fewer audiences, and the troupe cannot survive. The number of professional Yue Opera troupes has decreased from more than 260 in the 1950s and 1960s to less than 35 now. Most folk yue troupes mainly cover the rural market, but because the market is small, they can not get a greater development. However, under the influence of various cultural and entertainment activities, the audience is mainly around 40 years old, and the younger generation is less interested in it. It can be seen that the audience of Yue Opera rarely come from the youth group, and the audience of Yue Opera is increasingly aging. Although Shengzhou is the birthplace of Yue Opera, its inheritance and development are not good. In terms of relic buildings, the original buildings about Yue Opera are very rare, and the original birthplace of Yue Opera for women can only be found in the only small village. The exhibition stand protecting the original Yue Opera props is also in disrepair and covered with dust. In terms of museums, most of the objects in the museum are restored by later generations. Props, costumes, Musical Instruments and singing stage are re-made by later generations.(Yang,2021)

Problems Faced by the Development of Yue Opera

From the early 1980s to the present, the significant reduction in the number of Yue Opera troupe is the primary problem facing the development of Yue Opera. In the early 1980s, there were seven professional Yue troupes and two professional folk Yue troupes in Jiaxing, while in the mid-1980s, there were only two professional yue troupes. Secondly, from the city to the countryside, the audience of Yue Opera is getting smaller and smaller, and the performance market is getting smaller and smaller. In the past, a company could put on a new play for two or three months. Now it can only put on two or three performances. The audience's enthusiasm for watching Yue Opera has also declined significantly. The third problem facing the development of folk Yue Opera is talent. The performance of Yue Opera has high requirements for talents. It not only requires actors to have beautiful looks and a loud voice, but also to be able to perform. Generally speaking, a good actor can play a role on the stage, no ten or five years is not out, that is to say, one minute on the stage, ten years of work off the stage. Now there is a shortage of talent in the field of Yue Opera. Fourth, repertoire creation is increasingly contracted. In the mass culture system, Yue Opera also received unprecedented cold. At present, cultural centers and art centers around the country mainly focus on the creation of music, dance and fine arts, and there is little interest in the Yue Opera of traditional Chinese opera. There are also few full-time cadres of Yue Opera of drama. In some cultural centers at the county level, full-time cadres of Yue Opera no longer exist.

The Reason Why Yue Opera Faces Confusion

Confusing in today's Yue Opera face of reason is various, but the main reason is that with the change of society and the continuous improvement of living standards. The broad masses of TV and home theater has been gradually into the people, families, people's interest constantly updated, more diverse cultural needs, and a variety of popular songs have taken young people's life. Culture is diverse, Yue Opera was gradually forgotten; Secondly, the propaganda of Yue Opera is not enough. Although the traditional Yue Opera has been quite popular with the masses, the propaganda is far less than that of Peking Opera in the whole country, which causes the dilution of Yue Opera in people's mind. The third is the lack of new strength of Yue Opera. Since the 1990s, fewer and fewer young people like Yue Opera, even fewer professional Yue Opera actors, and now the children basically do not even know what Yue Opera is; Fourth, the operating mechanism of the troupe is not working. It is far from enough for the professional troupe to rely on the financial allocation from the government alone. They have to perform outside to increase their income. (Zhang,2010)

Thoughts on Inheritance and Innovation of Yue Opera

1. Intensify Efforts to Cultivate Professional Yue Opera Actors

In the early 1950s, the period when Yue Opera flourished and developed was also the period when a large number of Art masters of Yue Opera came out. They internalized the art of Yue Opera into their lives, and their personalities and drama forms reached a harmonious unity, which became the highest condensation mode of Yue Opera art. Even when people at that time recalled the development of Yue Opera, the names of a large number of Yue Opera actors first appeared in their mind. Therefore, training a number of young actors to carry forward the Yue Opera with independent artistic life will be the first condition for Yue Opera to obtain its new development.

2. Intensify the Creation of Scripts for Yue Opera

In particular, the audience should choose the most concerned good subject matter, in the spread of "Butterfly Lovers", "Xianglin Sister-in-law" and other classic bridge based on the new culture and people's appeal, innovation. If shaoxing opera wants to get enough attention and attention in the contemporary era, it must have scripts that can reflect the values of The Times and express the demands of the people as a guarantee. This should give enough care and attention to the playwright, establish a long-term mechanism to stimulate and protect their creative enthusiasm.

3. Innovate the Promotion Method of Yue Opera

In the past, the art of Yue Opera was born as a kind of market culture of residents, but now, as a cultural heritage, Yue Opera is gradually transforming from popular culture to elegant art. Therefore, when it comes to effectively dealing with the cultural watch and spiritual breakout of Yue Opera, the first thing we need is to adjust our mentality towards the cultural phenomenon of Yue Opera. We do not advocate the Yue Opera itself directly to change to become a new culture, but should be advocated through the way of improvement and innovation make Yue Opera culture gradually in the masses of the people has the characteristics of a new era of traditional culture, such as development "Yue Opera" series of gen, create IP with Yue Opera character animation image, using new media communication way, Through a number of new channels, such as "live streaming of Internet celebrities", "school-enterprise cooperation" and "star endorsing", the new culture serves the traditional culture of Shaoxing opera and spreads the melody of Yue Opera among a wider social group. (Yang,2021)

===Conclusion===
As a traditional Chinese culture, Yue Opera has its own unique appreciation value. In today's multicultural world, we cannot abandon our traditional culture. We should try our best to inherit and carry forward our traditional culture, so that they can adapt to the changes of The Times and keep pace with The Times. But at the same time retain the traditional culture, let the world hear the voice of China.
===References===
*Jin Yingzi金英子(2012). 越剧传统文化基质和审美价值研究[Study on Traditional Culture Matrix and Aesthetic Value of Yue Opera]. 音乐探索Explorations in Music(02): 39-41.
*Liu Wenfeng刘文峰(2022). 扬长补短，再创辉煌——关于越剧传承发展的思考[Develop Strengths and Complement Weaknesses to create Brilliance -- Reflections on the Inheritance and Development of Yue Opera]. 中国非物质文化遗产China's Intangible Cultural Heritage(01): 35-39.
*Pan Yuqi潘玉琪(2009). 越剧的诞生、发展及其人文背景研究（1906-1949）[Study on the Birth, Development and Cultural Background of Yue Opera (1906-1949)].复旦大学Fudan University.
*Qian Hong, edited by the editorial board of Chinese Yue Opera Canon钱宏主编，《中国越剧大典》编委会编著(2006)．《中国越剧大典》[The Grand Ceremony of Chinese Yue Opera]．杭州市：浙江文艺出版社、浙江文艺音像出版社Hangzhou: Zhejiang Literature and Art Publishing House, Zhejiang Literature and Art Audio and Video Publishing house.
*Yang Ruyuan杨汝远(2021). 论非遗文化在现代化进程中的守望与传承——以越剧为例[On the Watch and Inheritance of Intangible Cultural Heritage in the Modernization Process -- Taking Yue Opera as An Example]. 汉字文化Sinogram Culture(06): 175-177.
*Ye Haixiong叶海雄(2016). 越剧传统文化基质和审美价值探讨[Discussion on Traditional Culture Matrix and Aesthetic Value of Shaoxing Opera]. 戏剧之家,Home Drama(06): 52.
*Zhang Peiying张配英(2010). 浅论民间越剧的传承与创新[On the Inheritance and Innovation of Folk Yue Opera]. 大舞台Great Stage(10): 79.
*Edited by Cultural and Historical Data Committee of Shengxian CPPCC嵊县政协文史资料委员会编(1992)﹐《越剧溯源》[The Origin of Yue Opera]. 浙江人民出版社Zhejiang People's Publishing House(5): 23

===Terms and expressions===
Yue Opera 越剧

Chinese Folk Rap 落地唱书

Pingju opera 评剧

Little Choir 小歌班

Shaoxing Civil Opera 绍兴文戏

Peony Pavilion 牡丹亭

===Questions===
1.What are the five major Chinese opera genres?

2.Where is the birthplace of Yue Opera?

3.How to inherit and innovate Yue Opera?

===Answers===
1.Peking Opera, Huangmei Opera, Yue Opera, Pingju opera and Henan Opera.

2.Shengzhou

3.Firstly, intensify efforts to cultivate professional Yue Opera actors.Secondly,intensify the creation of scripts for Yue Opera. Thirdly, innovate the promotion method of Yue Opera.

20220630 Classics 4

2022-07-05T03:11:24Z

Xie Xiaoying: /* 英语笔译谢晓莹 Xie Xiaoying 202170081601 CE */

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==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===
With the rapid development of globalization, international cultural exchanges and interactions are increasingly frequent nowadays. As cross-cultural and interdisciplinary studies get more and more popular, new translations of ''The Analects'' continue to emerge, and there is growing calls for retranslation of Chinese classics, which reflects the inherent demand of Western sinology to re-understand Chinese culture and Chinese academia to reconstruct its own culture. ''The Analects'', one of the classics of Confucianism, concentrates on the thought of Confucius. Its translation and dissemination is not only a unity of translators, translation process and readers, but also a process of establishing connections with contemporary culture, ideology and social life through translation. Based on a brief review of the history of the translation of ''The Analects'', this paper gives an analysis of contemporary translators' translations of it in the context of the Chinese and Western cultural exchanges, and discusses the main innovative ways of the translation and dissemination of ''The Analects'' in the new era. It is aimed to seek better ways to interpret ''The Analects'' and provide new perspectives and ideas for the English translation and intercultural communication of Chinese classics.

===Key words===
''The Analects''; Confucius; Contemporary Era; English Translation

===Introduction===
Confucius, a famous thinker, educator and politician in ancient China, plays an important role in the history of Chinese ideology and world culture as the founder of Confucianism. Confucius was known as an omniscient sage for his knowledge and concern about world affairs, traveling around the world with his disciples for 14 years. Confucianism has evolved through dynasties and become the essence of Chinese traditional culture, not only as the tool of ideological domination, but also as the main body of Chinese feudal culture, preserving a rich cultural heritage and exerting a profound influence on both China and the world.

''The Analects'', compiled by the disciples of Confucius and his disciples, is one of the classical works of Confucianism. It is a record of the words and actions of Confucius and his disciples, mainly in the form of discourses and dialogues, concentrating on Confucius' political ideas, ethical thoughts, moral concepts and educational principles. ''The Analects'', together with the Great Learning, the Golden Mean and the Mencius, are known as the Four Books. It consists of 20 chapters with concise language and profound meaning, being an excellent collection of quotations and essays in the Spring and Autumn Period of China, many of which are still regarded as reasonable by the world today. Undeniably, ''The Analects'' is an embodiment of ethics, morality, and wisdom accumulated over thousands of years in ancient Chinese society, playing a great role in enlightening wisdom and passing on civilization (Lv Pengfei 2021: 61). Even today, many of the ideas in ''The Analects'' are still useful and valuable for the times.

In today's world with complex and changing international situation, national strength is not only reflected in hard power such as political, economic and military power, but also in soft power such as cultural attraction and influence. The English translation of classics has always been an important way to export Chinese traditional culture, and the change in China's overseas cultural image is also reflected in the study of English translations (Qiu Hemin 2019: 87). Therefore, focusing on the issues of translation strategies of ''The Analects'' and its dissemination paths in a new era in an ephemeral and dialectical manner can help us recognize the trend of translation, grasp translation strategies, promote the foreign dissemination of Chinese culture, and provide reference for further promoting the overseas dissemination and acceptance of Chinese classics.

This paper consists of three chapters. Chapter one gives a brief overview of the translation history of ''The Analects'', including the translation of ''The Analects'' in the late Ming and early Qing Dynasties and the English translation of ''The Analects'' in modern times. Chapter two discusses the English translation of The Analects under the contemporary cultural exchange between China and the West, taking the translation of Roger T. Ames and Henry Rosemont Jr., the translation of D. C. Lau and the translation of Xu Yuanchong as the main objects of study. Chapter three analyzes the innovative ways of translation and dissemination of ''The Analects'' in the new era, that is, retaining Chinese cultural characteristics, adopting translation strategy of foreignization appropriately, adapting to the needs of readers in the new era, and enhancing the functions of communication media.
===Literature Review===
In recent years, scholars at home and abroad have shown a tendency to strengthen their studies on the translation of ''The Analects'' with different methods and perspectives respectively. The following paragraphs will clarify the development of the translation studies of ''The Analects''.

Domestic research on the English translation of ''The Analects'' can be traced back to the early 20th century. However, after the founding of The People's Republic of China in 1949, there was a brief lag in the study of ''The Analects'' due to the tense domestic and international situation. It was not until the late 1990s that the study of the translation of ''The Analects'' developed rapidly and research papers continued to appear. In the past two decades or so, research on the English translation of ''The Analects'' has mainly focused on four aspects: translation study, translator study, Confucian terminology study, and comprehensive study (Lin Lin 2013: 2). For example, Huang Xuexia makes a comparative analysis of James Legge's translation and Ku Hung-Ming's translation under the guidance of Nida's functional equivalence theory; Yue Feng gives a comprehensive account of James Legge's attainments in sinology; Yang Ping compares and analyzes the translation of "仁" and its rationale in several translation versions of ''The Analects''; Li Yuliang and Luo Gongli introduce the dissemination of Confucianism by Western missionaries and Sinologists since the 19th century and analyze the dissemination strategies of Confucianism in the future.

Foreign translation studies of ''The Analects'' have been conducted over a long period of time, mainly in the commentaries, book reviews, and academic papers in the prefaces of the translations. Among them, book reviews were mainly published in journals and magazines of philosophy and sinology, and most of the early book reviews were brief descriptions of the publication. In recent years, book reviews and scholarly essays have become more wide-ranging in scope and diverse in perspective. For example, Jonathan Spence comments on Simon Pierre Ryckmans's translation of ''The Analects'' as beautiful, clear, and of great practical significance to addressing various issues in today's society; Lionel Giles points out that Arthur Waley's translation of ''The Analects'' was based on speculation rather than established fact, but his theory is reasonable and convincing; Stephen W. Durrant, an American Sinologist, deeply studies D. C. Lau's English translation of ''The Analects'', including the translation of specific words, the academic value of the preface and the lack of annotations in the translation. In addition, he also discusses the problems that should be paid attention to in the translation of Chinese classics.

The research on the translation of ''The Analects'' guides the translation of ''The Analects'' and makes it more and more mature. However, there are some shortcomings in the English translation studies of ''The Analects'' both at home and abroad: (1)The research objects are relatively concentrated. At present, translation studies on ''The Analects'' is excessively focused on the translation and the translators, among which the study of the translation is excessively on the translation of James Legge, Ku Hung-Ming, Arthur Waley and others. (2)The research perspective is relatively single. At present, most studies on the English translation of ''The Analects'' focus on the linguistic level or the translation techniques, but little on philosophy, history and culture, etc. (3)There is a lack of primary sources in domestic research. Most of the research on the English translation of ''The Analects'' in China focuses on the abridged version without annotations, appendices and introductions of the original text, which makes it difficult to accurately grasp the original meaning (Lin Lin 2013: 4).
===Methods and Theories===
As a masterpiece of the Confucianism, ''The Analects'' is a combination of history, culture, thought, and philosophy. There are numerous translations of it from a variety of perspectives, so the research methods should also be diversified. First of all, ''The Analects'' is a historical work, so it should be analyzed with historical methods. The historical background and the author's writing motivation should be taken into full consideration, and the profound connotation of the original text should also be explored. For example, do a textual research with the method of historical exegesis; explore the influence of the author's life experience and the background of the times on the translation with the historicity of the translator as the highlight; make vertical and horizontal comparisons of the purposes of English translations of ''The Analects'' in different times and by different translators; explore the meaning of key words such as "gentleman (jun zi)" "small man (xiao ren)" "benevolence (ren)" "wisdom (zhi)" in ''The Analects'' with the method of category studies, etc. (Liu Wenna 20). Secondly, it is necessary to use interdisciplinary research methods such as linguistics, history, and translation studies. Finally, we should give an objective and fair evaluation of different translations of ''The Analects'' by means of comprehensive induction.
===Translation History of ''The Analects''===
'''1.Translation of ''The Analects'' in the Late Ming and Early Qing Dynasties'''

In the history of cultural exchange between China and the West, the late Ming and early Qing dynasties is a very important historical stage with special significance. During this period, the economic development level and national strength of China and western countries bore little difference, and the cultural exchanges between China and the West took place in a relatively peaceful international context, so the cultural exchanges in this period happened in an equal and bilateral way (Lin Lin 2013: 10). Jesuits with higher cultural quality and educational level carried out extensive exchanges with the Chinese scholars. They recognized the profundity of Confucianism and its dominant position in Chinese culture in the process of preaching, and wrote a large number of notes and letters, devoting much effort to studying and translating the Chinese Confucian classics.

''Mirror of the Mind'', compiled by Fan Liben, is the first Chinese book translated to the West, which was written in the late Yuan and early Ming dynasties, recording the aphorisms and treatises of many philosophers such as Lao-Tzu, Confucius and Mencius; Michele Ruggieri was the first missionary to China to translate Chinese classics, who translated the Confucian classics into Western languages for the first time; In 1593, Matteo Ricci first translated the Four Books into Latin and named them ''Tetrabiblion Sinense de Moribus'', which had a great influence on European literature, religion and politics. The most widely influential translation of ''The Analects'' in the late Ming and early Qing dynasties was the Latin version ''Confucius Sinarum Philosophus'', which was edited by the Belgian Jesuit Philippe Couplet and published in Paris in 1687. Although there were few English translations of ''The Analects'' during the late Ming and early Qing dynasties, these translations created a "Chinese fever" in Europe and laid the foundation for later English translation of Confucian classics.

'''2.English Translation of ''The Analects'' in Modern Times'''

In the modern period, China was forced to open the door under the strong ships and cannons of Western invaders, so the second large-scale cultural exchange between China and the West was no longer as equal as in the Ming and Qing dynasties. In this period, Western culture was exported with an absolute advantage, and the cultural exchanges between China and the West were more extensive, richer in content and diversified in forms.

James Legge was the first person to systematically study and translate Chinese classics. He began his the translation of ''The Analects'' in 1840, translating the Four books and Five Classics into English and introducing them to the West for the first time, which was the earliest milestone in the history of English translation of Confucian Classics (Wang Yongqiang 2009: 25). His translation was elaborately annotated and heavily religious. Arthur Waley is one of the most distinguished British sinologists of the 20th century. His English translation of ''The Analects'' is the most popular in the English world, which is concise, clear, and easy to understand, suitable both for general readers and for scholarly to refer to because of its extensive quotations and detailed paraphrases.

Ku Hung-Ming was the first Chinese to independently translate ''The Analects'' into English, breaking the monopoly of missionaries and Western sinologists. He adopted flexible free translation, which inclined the language style, ideological connotation and unique cultural factors of the original text to the cultural system of the target language, so as to arouse the interest of western readers (Li Gang 2012: 79). Lin Yutang was a famous Chinese scholar, writer and translator whose translations focus on traditional Chinese classical culture. He translated parts of ''The Analects'' that he considers important with the pursuit of free translation and beautiful translation. He compared Confucianism and Western culture with each other from the perspective of internationalism, and gained a broad market and readership effect abroad with his popularization approach (Yang Liu 2005: 177).
===The English Translation of ''The Analects'' under the Contemporary Cultural Exchange between China and the West===
'''1.Contemporary Cultural Exchanges between China and the West under the Globalization'''

The culture of any country in the world cannot be developed in isolation. Instead, it should be communicated and exchanged with the culture of other countries, influence and complement each other, learn from and absorb the essence of other cultures, so as to better improve and develop itself (Lin Lin 2013, 28). With the advent of the era of globalization and the wide application of modern science and technology in the fields of transportation, communication, tourism and other fields, exchanges and cooperation among different cultures around the world have been increasing. The development of remote sensing technology, optical fiber communication technology and electronic computer technology make it possible for the unimpeded mass communication of information. The exchange between different cultures has broken through the restrictions of nationality, region and country, and the speed of cultural exchange has been greatly accelerated. Moreover, contemporary Chinese and western cultural exchange is not only related to literature, drama, art, education, tourism, and other aspects of communication, but also involves philosophical, religious and other aspects of communication, in the form of exchanges between governments, as well as cultural exchanges among academics, cultural circles and people, with unprecedented wide extent and deep degree.

However, the contemporary cultural exchange between China and the West is not only a rare opportunity but also a severe challenge for the cultural construction of China. On the one hand, the modern cultural exchanges between China and the West provide a broad vision for China's cultural construction, enabling Chinese culture to constantly absorb advanced western ideas, theories and experience, so as to realize its own perfection and development. On the other hand, the West is infiltrating China with its strong cultural power. In contemporary society, Western material civilization has been localized in China and integrated into the Chinese culture. The western system and culture are gradually understood and accepted theoretically. Their worldview and values are exerting a profound impact on the Chinese people, with the mainstream Chinese culture being sidelined and ignored. In this situation, it is a great challenge for today's cultural construction whether Chinese culture can absorb the essence of heterogeneous cultures, and take what benefit us and remove what we are redundant. We are required to make efforts in formulating a new type of "going out" culture, to vigorously promote and carry forward Chinese traditional culture, and to strengthen the ability of cultural innovation to improve its own competitiveness, so that Chinese culture can be invincible in the cultural exchanges between China and the West.

Therefore, in the contemporary era of increasing economic globalization, cultural diversity are becoming more and more prominent. The current situation of Chinese society leads to an urgent need of creative transformation of traditional culture, with growing call for foreign translation of Chinese classics (Li Bingquan 2015, 62).

'''2.Study on the Translations of ''The Analects'' by Contemporary Scholars'''

There has been a long history of the translation and study of ''The Analects'' by Western scholars. In contemporary times, with the ups and downs of the international situation and the gradual deepening of cultural exchanges between China and the West, the important value of Confucian classics has received more and more attention from Western scholars. They have begun to recognize the profound connotation and practical significance of Confucianism, whose translations of ''The Analects'' are often more faithful to the original text. For example, James Ware's translation of The Analects is in an extremely modern style, and he believes that "Confucius will one day once again be regarded as a model of social stability and national etiquette, and the teachings of The Analects will once again establish norms of behavior and the ideal of social harmony among all Chinese citizens" (Yang Ping 2011, 143).

Moreover, contemporary Western translators tend to highlight the differences between Chinese and Western cultures and avoid applying western religious and philosophical terms to the translation of ''The Analects''. In this regard, no one has contributed more prominently than Roger T. Ames and Henry Rosemont Jr., who advocated transliteration of Chinese philosophical terms, such as "仁" as "ren", "天" as "tian", and "道" as "dao". They try to make a new interpretation of Confucius' thought from the tradition of Chinese culture itself, trying to introduce the "original" Chinese thought to the Western world (Li Gang 2012, 134). The translation of The Analects by Roger T. Ames and Henry Rosemont Jr. better preserves the cultural connotations of the original text, reflects the differences between Chinese and Western cultures, re-establishes the status of Chinese philosophy, and makes an important contribution to correcting the cultural hegemony that has long existed in the western translation circle.

Immersed in and influenced by Chinese culture, Chinese scholars at home and abroad have a profound understanding of Chinese philosophy and ethics, so their translations of ''The Analects'' can more faithfully and accurately convey the spiritual essence of Chinese culture. Among them, D. C. Lau's English-Chinese bilingual translation of ''The Analects'' published in 1979 has received high praise from western scholars. Rigorous in his academic research, D. C. Lau carefully studied the exegesis of Chinese classical words and even the idiomatic usage and grammatical structure of each word in the sentence, and then translated it into English as accurately as possible (Liu Wenna 2012, 33). His translation of ''The Analects'' focuses on the connection between Chinese and Western cultures, with western philosophical and religious terms used to translate the core concepts, which receives warm welcome among readers. What’s more, Xu Yuanchong, a famous Chinese translator, also translated ''The Analects'' in order to promote Confucius' idea of governing the country with rites and music. His translation mainly adopted free translation, which is smooth, concise, literary and easy to understand, thus favored by many readers.
===The Innovative Ways of Translation and Dissemination of ''The Analects'' in the New Era===
'''1.Retaining Chinese Cultural Characteristics
'''
In today's society, the main purpose of translation is still cultural exchange. Only by constantly absorbing new nutrients from other cultures can the culture of a country or a nation maintain its vitality and healthy development. If the translator blindly caters to the target language culture, his translation will lose the original meaning of literary works and fail to achieve the purpose of cultural exchange and dissemination. When translating cultural texts, especially those with distinct cultural representativeness, we should try to retain the cultural characteristics as much as possible.

As one of the most important classical works of Confucianism, ''The Analects'' has a profound cultural connotation. How to reflect the national characteristics and spirit of Chinese culture while conforming to the aesthetics of the world in the foreign cultural communication of ''The Analects'' has become a problem faced by traditional Chinese culture to the world. President Xi Jinping pointed out that the promotion of traditional culture should be organically unified with the development of practical and a correct choice should be made in combination with new practices and the requirements of the times. We’re supposed to learn from the past, strive for the creative transformation and innovative development of traditional culture, and endow it with new connotation of the times(Xi Jinping 2017, 313). Accordingly, in the process of translating and disseminating The Analects, we should discard the negative elements of traditional culture and transmit the outstanding culture meaning in ''The Analects'' and the connotation of people-oriented spirit of the times to foreign countries. To this end, translators need to maintain their national characteristics based on their own culture, and translate and disseminate traditional Chinese culture with cultural consciousness. At the same time, translators also need to improve the translation and dissemination strategy of ''The Analects'' and spread the traditional Chinese culture across space and time, so that the world can know the Chinese discourse and help the Chinese translation discourse system go global (Fan Min 96).

'''2.Adopting Translation Strategy of Foreignization Appropriately'''

The translation of Chinese classics is not only a translation of texts, but also a process of cultural exchange and communication. Therefore, when translating Chinese classics, translators should consider the selection of translation strategies and methods from a historical and cultural perspective. In 1995, Lawrence Venuti first proposed the translation strategies of "domestication" and "foreignization" in his book ''The Translator's Invisibility''. The use of foreignization refers to "accepting the language and cultural differences of foreign text and bring readers into a foreign environment" (Liu E 2004, 98). In today's global culture communication, we should better understand and tolerate different cultures and pay more attention to their differences. Foreignization helps highlight cultural differences and enables readers to appreciate the distinctiveness of foreign cultures, thus strengthening their cultural identity.

The translation strategy of foreignization generally includes the following three methods: Firstly, transliteration. For example, the word "仁" in ''The Analects'' refers to a broad moral category with rich cultural connotations, so it is difficult to find a word perfect corresponding to it in English. Some scholars transliterate it directly as “ren”, which can not only accurately convey the cultural meaning of "仁", but also enrich the culture of the target language, preserving the cultural characteristics of the original language. Secondly, word-for-word translation. For instance, when translating “子曰：兴于诗，立于礼，成于乐” in ''The Analects'', Ezra Pound strictly followed the syntax of the original language and omitted both the subject and the tense verb, translating it as "He said: Aroused by the Odes. Established by the rites. Brought into perfect focus by music". Thirdly, word creation or paraphrasing. Matteo Ricci, for example, first translated "儒士" as “letterati”, which later became “literari” into English. And American sinologist James Ware translated "仁" as "manhood-at-its-best", which is also a good example.

Foreignization in translating ''The Analects'' is advocated. It doesn't mean that we should blindly pursue word-by-word translation or completely alienate the original text, but try our best to retain Chinese cultural characteristics while translating the text into fluent and authentic English. Especially when some core concepts with rich cultural connotation are involved, it is better to use the translation strategy of foreignization. Domestication and foreignization are not completely opposite, but complementary and indispensable to each other. Translators should recognize the differences between the two translation strategies and make full use of them in translations.

'''3.Adapting to the Needs of Readers in the New Era'''

The purpose of the reinterpretation of contemporary Confucian classics is to meet the needs of readers in the new era. And readers' acceptance is an important criterion to judge whether Chinese culture has successfully gone global. Studying the overseas dissemination and feedback of ''The Analects'' and focusing on the reinterpretation of Confucian philosophy helps to improve the exotic acceptance of ''The Analects'' in the context of world cultural diversity and promote the interaction and identification of global cultural convergence and localization. By using quantitative and qualitative methods, ''A Survey of Overseas Discourses on Chinese Discourse'' released by China International Publishing Group (CIPG) in February 2018 drew the characteristics of the top 100 words in terms of recognition: some traditional Chinese cultural words have entered the English discourse in the form of Chinese pinyin (Fan Min 97). This indicates that as China grows stronger, the current awareness and understanding of Chinese discourse among overseas people has increased dramatically, the international community's demand for knowledge about China is getting stronger, and the Chinese way of thinking is gradually influencing the world. The translation of Confucian philosophical concepts with Chinese characteristics in ''The Analects'' often becomes a difficult point of translation and dissemination because of cultural gaps and reader differences. Therefore, the translation trend of ''The Analects'' in the new era should also construct a discourse expression of Chinese and foreign integration, so as to help Chinese culture go global.

Take the translation of "德" as an example, James Legge translates it as “virtue, what is good”; Ku Hung-Ming translates it as “moral feeling, moral sentiment”; D. C. Lau translates it as “virtue, benign rule”; Roger T. Ames and Henry Rosemont Jr. translate it as “virtue (de 德), excellence (de 德)”; Edward Slingerland translates it as “kindness( de 德), character(de 德)”. The translation is kindness (de de), character (de de). Comparatively speaking, Roger T. Ames and Henry Rosemont Jr. and Edward Slingerland adapt to the requirements of readers in the new era, taking cultural communication as the starting point and adding the strategy of "Chinese Pinyin and Chinese characters" through constructing cultural identity and interpreting the connotation of cultural philosophy, so as to help the cultural implication of ''The Analects'' to be accepted by readers in the foreign cultural context.

'''4.Enhancing the Functions of Communication Media'''

Enhancing the functions of communication media makes great contributions to helping reinterpret the philosophy of Confucianism. Specific measures are as follows: 1)Enhance the cultural education of ''The Analects'' and strengthen the construction of the discourse system of ''The Analects'' for foreign communication as the national cultural soft power, integrating the mainstream values and national spirit and internalize them into their own needs, so as to strengthen people's identification with the country and the nation and thus unite people's hearts and enhance their strength; 2)Pay attention to the cultural interpretation strategy of the translation and dissemination of ''The Analects'' and the expression and influence of Confucian culture for foreign communication, so that the world can identify with the values of Confucian culture and promote China to become a culturally strong country; 3) Attach importance to the dissemination of the international output of ''The Analects'' with the development of information technology, and give full play to the important role of modern social media such as the Internet and government sponsorship in the translation and dissemination of The Analects; 4)Focus on the cultural export of ''The Analects'', build the classic culture brand and market pattern of ''The Analects'' in the form of foreign language websites, picture books, quoted lines in films and television, etc. In this information society, the ability of cultural communication has become an important factor of a country's cultural soft power. Therefore, we should attach emphasis to improving the translation and dissemination ability of ''The Analects'', and make traditional Chinese culture go international with the help of the cultural influence of ''The Analects''.
===Conclusion===
''The Analects'' has been translated into foreign languages for more than four hundred years, which is the most translated Chinese classic into Western languages except for ''Tao Te Ching''. Its translation has shown different characteristics at different historical stages of Chinese and Western cultural exchanges, playing an important role in promoting Chinese and Western cultural exchanges and spreading Chinese culture. With the enhancement of Chinese cultural communication to the outside world, the translation and dissemination strategy of ''The Analects'' should also keep pace with the times. Therefore, we should pay attention to the reinterpretation of modern Confucian philosophy in the process of translating and disseminating ''The Analects'', not only to respect the historical origin of the text and faithfully convey the spirit of the original text, but also to take into account the differences between Chinese and Western languages and cultures, so as to improve English readers' awareness and acceptance of ''The Analects'' culture and help Chinese traditional culture go global.
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===Terms and expressions===
Confucianism 儒家学派

D. C. Lau 刘殿爵

James Legge 理雅各

Ku Hung-Ming 辜鸿铭

''Mirror of the Mind'' 《明心宝鉴》

Matteo Ricci 利玛窦

''Tao Te Ching'' 《道德经》
===Questions===
1.Who is Confucius?

2.What's the significance of ''The Analects'' in Chinese history?

3.Who is the first Chinese to independently translate ''The Analects'' into English?

4.What are the innovative ways of translation and dissemination of ''The Analects'' in the new era?
===Answers===
1.Confucius, a famous thinker, educator and politician in ancient China, plays an important role in the history of Chinese ideology and world culture as the founder of Confucianism. Confucius was known as an omniscient sage for his knowledge and concern about world affairs, traveling around the world with his disciples for 14 years. Confucianism has evolved through dynasties and become the essence of Chinese traditional culture.

2.''The Analects'', compiled by the disciples of Confucius and his disciples, is one of the classical works of Confucianism. It concentrates on Confucius' political ideas, ethical thoughts, moral concepts and educational principles. ''The Analects'', together with the ''Great Learning'', the ''Golden Mean'' and the ''Mencius'', are known as the Four Books. It is an embodiment of ethics, morality, and wisdom accumulated over thousands of years in ancient Chinese society, playing a great role in enlightening wisdom and passing on civilization.

3.Ku Hung-Ming. He broke the monopoly of missionaries and Western sinologists. He adopted flexible free translation, which inclined the language style, ideological connotation and unique cultural factors of the original text to the cultural system of the target language, so as to arouse the interest of western readers.

4.1)Retaining Chinese cultural characteristics;

2)Adopting translation strategy of foreignization appropriately;

3)Adapting to the needs of readers in the new era;

4)enhancing the functions of communication media.

==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===
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*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.

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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===
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*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，

20220630 Classics 4

2022-07-05T03:08:25Z

Xie Xiaoying: /* 英语笔译谢晓莹 Xie Xiaoying 202170081601 CE */

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==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===
With the rapid development of globalization, international cultural exchanges and interactions are increasingly frequent nowadays. As cross-cultural and interdisciplinary studies get more and more popular, new translations of ''The Analects'' continue to emerge, and there is growing calls for retranslation of Chinese classics, which reflects the inherent demand of Western sinology to re-understand Chinese culture and Chinese academia to reconstruct its own culture. ''The Analects'', one of the classics of Confucianism, concentrates on the thought of Confucius. Its translation and dissemination is not only a unity of translators, translation process and readers, but also a process of establishing connections with contemporary culture, ideology and social life through translation. Based on a brief review of the history of the translation of ''The Analects'', this paper gives an analysis of contemporary translators' translations of it in the context of the Chinese and Western cultural exchanges, and discusses the main innovative ways of the translation and dissemination of ''The Analects'' in the new era. It is aimed to seek better ways to interpret ''The Analects'' and provide new perspectives and ideas for the English translation and intercultural communication of Chinese classics.

===Key words===
''The Analects''; Confucius; Contemporary Era; English Translation

===Introduction===
Confucius, a famous thinker, educator and politician in ancient China, plays an important role in the history of Chinese ideology and world culture as the founder of Confucianism. Confucius was known as an omniscient sage for his knowledge and concern about world affairs, traveling around the world with his disciples for 14 years. Confucianism has evolved through dynasties and become the essence of Chinese traditional culture, not only as the tool of ideological domination, but also as the main body of Chinese feudal culture, preserving a rich cultural heritage and exerting a profound influence on both China and the world.

''The Analects'', compiled by the disciples of Confucius and his disciples, is one of the classical works of Confucianism. It is a record of the words and actions of Confucius and his disciples, mainly in the form of discourses and dialogues, concentrating on Confucius' political ideas, ethical thoughts, moral concepts and educational principles. ''The Analects'', together with the Great Learning, the Golden Mean and the Mencius, are known as the Four Books. It consists of 20 chapters with concise language and profound meaning, being an excellent collection of quotations and essays in the Spring and Autumn Period of China, many of which are still regarded as reasonable by the world today. Undeniably, ''The Analects'' is an embodiment of ethics, morality, and wisdom accumulated over thousands of years in ancient Chinese society, playing a great role in enlightening wisdom and passing on civilization (Lv Pengfei 2021: 61). Even today, many of the ideas in ''The Analects'' are still useful and valuable for the times.

In today's world with complex and changing international situation, national strength is not only reflected in hard power such as political, economic and military power, but also in soft power such as cultural attraction and influence. The English translation of classics has always been an important way to export Chinese traditional culture, and the change in China's overseas cultural image is also reflected in the study of English translations (Qiu Hemin 2019: 87). Therefore, focusing on the issues of translation strategies of ''The Analects'' and its dissemination paths in a new era in an ephemeral and dialectical manner can help us recognize the trend of translation, grasp translation strategies, promote the foreign dissemination of Chinese culture, and provide reference for further promoting the overseas dissemination and acceptance of Chinese classics.

This paper consists of three chapters. Chapter one gives a brief overview of the translation history of ''The Analects'', including the translation of ''The Analects'' in the late Ming and early Qing Dynasties and the English translation of ''The Analects'' in modern times. Chapter two discusses the English translation of The Analects under the contemporary cultural exchange between China and the West, taking the translation of Roger T. Ames and Henry Rosemont Jr., the translation of D. C. Lau and the translation of Xu Yuanchong as the main objects of study. Chapter three analyzes the innovative ways of translation and dissemination of ''The Analects'' in the new era, that is, retaining Chinese cultural characteristics, adopting translation strategy of foreignization appropriately, adapting to the needs of readers in the new era, and enhancing the functions of communication media.
===Literature Review===
In recent years, scholars at home and abroad have shown a tendency to strengthen their studies on the translation of ''The Analects'' with different methods and perspectives respectively. The following paragraphs will clarify the development of the translation studies of ''The Analects''.

Domestic research on the English translation of ''The Analects'' can be traced back to the early 20th century. However, after the founding of The People's Republic of China in 1949, there was a brief lag in the study of ''The Analects'' due to the tense domestic and international situation. It was not until the late 1990s that the study of the translation of ''The Analects'' developed rapidly and research papers continued to appear. In the past two decades or so, research on the English translation of ''The Analects'' has mainly focused on four aspects: translation study, translator study, Confucian terminology study, and comprehensive study (Lin Lin 2013: 2). For example, Huang Xuexia makes a comparative analysis of James Legge's translation and Ku Hung-Ming's translation under the guidance of Nida's functional equivalence theory; Yue Feng gives a comprehensive account of James Legge's attainments in sinology; Yang Ping compares and analyzes the translation of "仁" and its rationale in several translation versions of ''The Analects''; Li Yuliang and Luo Gongli introduce the dissemination of Confucianism by Western missionaries and Sinologists since the 19th century and analyze the dissemination strategies of Confucianism in the future.

Foreign translation studies of ''The Analects'' have been conducted over a long period of time, mainly in the commentaries, book reviews, and academic papers in the prefaces of the translations. Among them, book reviews were mainly published in journals and magazines of philosophy and sinology, and most of the early book reviews were brief descriptions of the publication. In recent years, book reviews and scholarly essays have become more wide-ranging in scope and diverse in perspective. For example, Jonathan Spence comments on Simon Pierre Ryckmans's translation of ''The Analects'' as beautiful, clear, and of great practical significance to addressing various issues in today's society; Lionel Giles points out that Arthur Waley's translation of ''The Analects'' was based on speculation rather than established fact, but his theory is reasonable and convincing; Stephen W. Durrant, an American Sinologist, deeply studies D. C. Lau's English translation of ''The Analects'', including the translation of specific words, the academic value of the preface and the lack of annotations in the translation. In addition, he also discusses the problems that should be paid attention to in the translation of Chinese classics.

The research on the translation of ''The Analects'' guides the translation of ''The Analects'' and makes it more and more mature. However, there are some shortcomings in the English translation studies of ''The Analects'' both at home and abroad: (1)The research objects are relatively concentrated. At present, translation studies on ''The Analects'' is excessively focused on the translation and the translators, among which the study of the translation is excessively on the translation of James Legge, Ku Hung-Ming, Arthur Waley and others. (2)The research perspective is relatively single. At present, most studies on the English translation of ''The Analects'' focus on the linguistic level or the translation techniques, but little on philosophy, history and culture, etc. (3)There is a lack of primary sources in domestic research. Most of the research on the English translation of ''The Analects'' in China focuses on the abridged version without annotations, appendices and introductions of the original text, which makes it difficult to accurately grasp the original meaning (Lin Lin 2013: 4).
===Methods and Theories===
As a masterpiece of the Confucianism, ''The Analects'' is a combination of history, culture, thought, and philosophy. There are numerous translations of it from a variety of perspectives, so the research methods should also be diversified. First of all, ''The Analects'' is a historical work, so it should be analyzed with historical methods. The historical background and the author's writing motivation should be taken into full consideration, and the profound connotation of the original text should also be explored. For example, do a textual research with the method of historical exegesis; explore the influence of the author's life experience and the background of the times on the translation with the historicity of the translator as the highlight; make vertical and horizontal comparisons of the purposes of English translations of ''The Analects'' in different times and by different translators; explore the meaning of key words such as "gentleman (jun zi)" "small man (xiao ren)" "benevolence (ren)" "wisdom (zhi)" in ''The Analects'' with the method of category studies, etc. (Liu Wenna 20). Secondly, it is necessary to use interdisciplinary research methods such as linguistics, history, and translation studies. Finally, we should give an objective and fair evaluation of different translations of ''The Analects'' by means of comprehensive induction.
===Translation History of ''The Analects''===
'''1.Translation of ''The Analects'' in the Late Ming and Early Qing Dynasties'''

In the history of cultural exchange between China and the West, the late Ming and early Qing dynasties is a very important historical stage with special significance. During this period, the economic development level and national strength of China and western countries bore little difference, and the cultural exchanges between China and the West took place in a relatively peaceful international context, so the cultural exchanges in this period happened in an equal and bilateral way (Lin Lin 2013: 10). Jesuits with higher cultural quality and educational level carried out extensive exchanges with the Chinese scholars. They recognized the profundity of Confucianism and its dominant position in Chinese culture in the process of preaching, and wrote a large number of notes and letters, devoting much effort to studying and translating the Chinese Confucian classics.

''Mirror of the Mind'', compiled by Fan Liben, is the first Chinese book translated to the West, which was written in the late Yuan and early Ming dynasties, recording the aphorisms and treatises of many philosophers such as Lao-Tzu, Confucius and Mencius; Michele Ruggieri was the first missionary to China to translate Chinese classics, who translated the Confucian classics into Western languages for the first time; In 1593, Matteo Ricci first translated the Four Books into Latin and named them ''Tetrabiblion Sinense de Moribus'', which had a great influence on European literature, religion and politics. The most widely influential translation of ''The Analects'' in the late Ming and early Qing dynasties was the Latin version ''Confucius Sinarum Philosophus'', which was edited by the Belgian Jesuit Philippe Couplet and published in Paris in 1687. Although there were few English translations of ''The Analects'' during the late Ming and early Qing dynasties, these translations created a "Chinese fever" in Europe and laid the foundation for later English translation of Confucian classics.

'''2.English Translation of ''The Analects'' in Modern Times'''

In the modern period, China was forced to open the door under the strong ships and cannons of Western invaders, so the second large-scale cultural exchange between China and the West was no longer as equal as in the Ming and Qing dynasties. In this period, Western culture was exported with an absolute advantage, and the cultural exchanges between China and the West were more extensive, richer in content and diversified in forms.

James Legge was the first person to systematically study and translate Chinese classics. He began his the translation of ''The Analects'' in 1840, translating the Four books and Five Classics into English and introducing them to the West for the first time, which was the earliest milestone in the history of English translation of Confucian Classics (Wang Yongqiang 2009: 25). His translation was elaborately annotated and heavily religious. Arthur Waley is one of the most distinguished British sinologists of the 20th century. His English translation of ''The Analects'' is the most popular in the English world, which is concise, clear, and easy to understand, suitable both for general readers and for scholarly to refer to because of its extensive quotations and detailed paraphrases.

Ku Hung-Ming was the first Chinese to independently translate ''The Analects'' into English, breaking the monopoly of missionaries and Western sinologists. He adopted flexible free translation, which inclined the language style, ideological connotation and unique cultural factors of the original text to the cultural system of the target language, so as to arouse the interest of western readers (Li Gang 2012: 79). Lin Yutang was a famous Chinese scholar, writer and translator whose translations focus on traditional Chinese classical culture. He translated parts of ''The Analects'' that he considers important with the pursuit of free translation and beautiful translation. He compared Confucianism and Western culture with each other from the perspective of internationalism, and gained a broad market and readership effect abroad with his popularization approach (Yang Liu 2005: 177).
===The English Translation of ''The Analects'' under the Contemporary Cultural Exchange between China and the West===
'''1.Contemporary Cultural Exchanges between China and the West under the Globalization'''

The culture of any country in the world cannot be developed in isolation. Instead, it should be communicated and exchanged with the culture of other countries, influence and complement each other, learn from and absorb the essence of other cultures, so as to better improve and develop itself (Lin Lin 2013, 28). With the advent of the era of globalization and the wide application of modern science and technology in the fields of transportation, communication, tourism and other fields, exchanges and cooperation among different cultures around the world have been increasing. The development of remote sensing technology, optical fiber communication technology and electronic computer technology make it possible for the unimpeded mass communication of information. The exchange between different cultures has broken through the restrictions of nationality, region and country, and the speed of cultural exchange has been greatly accelerated. Moreover, contemporary Chinese and western cultural exchange is not only related to literature, drama, art, education, tourism, and other aspects of communication, but also involves philosophical, religious and other aspects of communication, in the form of exchanges between governments, as well as cultural exchanges among academics, cultural circles and people, with unprecedented wide extent and deep degree.

However, the contemporary cultural exchange between China and the West is not only a rare opportunity but also a severe challenge for the cultural construction of China. On the one hand, the modern cultural exchanges between China and the West provide a broad vision for China's cultural construction, enabling Chinese culture to constantly absorb advanced western ideas, theories and experience, so as to realize its own perfection and development. On the other hand, the West is infiltrating China with its strong cultural power. In contemporary society, Western material civilization has been localized in China and integrated into the Chinese culture. The western system and culture are gradually understood and accepted theoretically. Their worldview and values are exerting a profound impact on the Chinese people, with the mainstream Chinese culture being sidelined and ignored. In this situation, it is a great challenge for today's cultural construction whether Chinese culture can absorb the essence of heterogeneous cultures, and take what benefit us and remove what we are redundant. We are required to make efforts in formulating a new type of "going out" culture, to vigorously promote and carry forward Chinese traditional culture, and to strengthen the ability of cultural innovation to improve its own competitiveness, so that Chinese culture can be invincible in the cultural exchanges between China and the West.

Therefore, in the contemporary era of increasing economic globalization, cultural diversity are becoming more and more prominent. The current situation of Chinese society leads to an urgent need of creative transformation of traditional culture, with growing call for foreign translation of Chinese classics (Li Bingquan 2015, 62).

'''2.Study on the Translations of ''The Analects'' by Contemporary Scholars'''

There has been a long history of the translation and study of ''The Analects'' by Western scholars. In contemporary times, with the ups and downs of the international situation and the gradual deepening of cultural exchanges between China and the West, the important value of Confucian classics has received more and more attention from Western scholars. They have begun to recognize the profound connotation and practical significance of Confucianism, whose translations of ''The Analects'' are often more faithful to the original text. For example, James Ware's translation of The Analects is in an extremely modern style, and he believes that "Confucius will one day once again be regarded as a model of social stability and national etiquette, and the teachings of The Analects will once again establish norms of behavior and the ideal of social harmony among all Chinese citizens" (Yang Ping 2011, 143).

Moreover, contemporary Western translators tend to highlight the differences between Chinese and Western cultures and avoid applying western religious and philosophical terms to the translation of ''The Analects''. In this regard, no one has contributed more prominently than Roger T. Ames and Henry Rosemont Jr., who advocated transliteration of Chinese philosophical terms, such as "仁" as "ren", "天" as "tian", and "道" as "dao". They try to make a new interpretation of Confucius' thought from the tradition of Chinese culture itself, trying to introduce the "original" Chinese thought to the Western world (Li Gang 2012, 134). The translation of The Analects by Roger T. Ames and Henry Rosemont Jr. better preserves the cultural connotations of the original text, reflects the differences between Chinese and Western cultures, re-establishes the status of Chinese philosophy, and makes an important contribution to correcting the cultural hegemony that has long existed in the western translation circle.

Immersed in and influenced by Chinese culture, Chinese scholars at home and abroad have a profound understanding of Chinese philosophy and ethics, so their translations of ''The Analects'' can more faithfully and accurately convey the spiritual essence of Chinese culture. Among them, D. C. Lau's English-Chinese bilingual translation of ''The Analects'' published in 1979 has received high praise from western scholars. Rigorous in his academic research, D. C. Lau carefully studied the exegesis of Chinese classical words and even the idiomatic usage and grammatical structure of each word in the sentence, and then translated it into English as accurately as possible (Liu Wenna 2012, 33). His translation of ''The Analects'' focuses on the connection between Chinese and Western cultures, with western philosophical and religious terms used to translate the core concepts, which receives warm welcome among readers. What’s more, Xu Yuanchong, a famous Chinese translator, also translated ''The Analects'' in order to promote Confucius' idea of governing the country with rites and music. His translation mainly adopted free translation, which is smooth, concise, literary and easy to understand, thus favored by many readers.
===The Innovative Ways of Translation and Dissemination of ''The Analects'' in the New Era===
'''1.Retaining Chinese Cultural Characteristics
'''
In today's society, the main purpose of translation is still cultural exchange. Only by constantly absorbing new nutrients from other cultures can the culture of a country or a nation maintain its vitality and healthy development. If the translator blindly caters to the target language culture, his translation will lose the original meaning of literary works and fail to achieve the purpose of cultural exchange and dissemination. When translating cultural texts, especially those with distinct cultural representativeness, we should try to retain the cultural characteristics as much as possible.

As one of the most important classical works of Confucianism, ''The Analects'' has a profound cultural connotation. How to reflect the national characteristics and spirit of Chinese culture while conforming to the aesthetics of the world in the foreign cultural communication of ''The Analects'' has become a problem faced by traditional Chinese culture to the world. President Xi Jinping pointed out that the promotion of traditional culture should be organically unified with the development of practical and a correct choice should be made in combination with new practices and the requirements of the times. We’re supposed to learn from the past, strive for the creative transformation and innovative development of traditional culture, and endow it with new connotation of the times(Xi Jinping 2017, 313). Accordingly, in the process of translating and disseminating The Analects, we should discard the negative elements of traditional culture and transmit the outstanding culture meaning in ''The Analects'' and the connotation of people-oriented spirit of the times to foreign countries. To this end, translators need to maintain their national characteristics based on their own culture, and translate and disseminate traditional Chinese culture with cultural consciousness. At the same time, translators also need to improve the translation and dissemination strategy of ''The Analects'' and spread the traditional Chinese culture across space and time, so that the world can know the Chinese discourse and help the Chinese translation discourse system go global (Fan Min 96).

'''2.Adopting Translation Strategy of Foreignization Appropriately'''

The translation of Chinese classics is not only a translation of texts, but also a process of cultural exchange and communication. Therefore, when translating Chinese classics, translators should consider the selection of translation strategies and methods from a historical and cultural perspective. In 1995, Lawrence Venuti first proposed the translation strategies of "domestication" and "foreignization" in his book ''The Translator's Invisibility''. The use of foreignization refers to "accepting the language and cultural differences of foreign text and bring readers into a foreign environment" (Liu E 2004, 98). In today's global culture communication, we should better understand and tolerate different cultures and pay more attention to their differences. Foreignization helps highlight cultural differences and enables readers to appreciate the distinctiveness of foreign cultures, thus strengthening their cultural identity.

The translation strategy of foreignization generally includes the following three methods: Firstly, transliteration. For example, the word "仁" in ''The Analects'' refers to a broad moral category with rich cultural connotations, so it is difficult to find a word perfect corresponding to it in English. Some scholars transliterate it directly as “ren”, which can not only accurately convey the cultural meaning of "仁", but also enrich the culture of the target language, preserving the cultural characteristics of the original language. Secondly, word-for-word translation. For instance, when translating “子曰：兴于诗，立于礼，成于乐” in ''The Analects'', Ezra Pound strictly followed the syntax of the original language and omitted both the subject and the tense verb, translating it as "He said: Aroused by the Odes. Established by the rites. Brought into perfect focus by music". Thirdly, word creation or paraphrasing. Matteo Ricci, for example, first translated "儒士" as “letterati”, which later became “literari” into English. And American sinologist James Ware translated "仁" as "manhood-at-its-best", which is also a good example.

Foreignization in translating ''The Analects'' is advocated. It doesn't mean that we should blindly pursue word-by-word translation or completely alienate the original text, but try our best to retain Chinese cultural characteristics while translating the text into fluent and authentic English. Especially when some core concepts with rich cultural connotation are involved, it is better to use the translation strategy of foreignization. Domestication and foreignization are not completely opposite, but complementary and indispensable to each other. Translators should recognize the differences between the two translation strategies and make full use of them in translations.

'''3.Adapting to the Needs of Readers in the New Era'''

The purpose of the reinterpretation of contemporary Confucian classics is to meet the needs of readers in the new era. And readers' acceptance is an important criterion to judge whether Chinese culture has successfully gone global. Studying the overseas dissemination and feedback of ''The Analects'' and focusing on the reinterpretation of Confucian philosophy helps to improve the exotic acceptance of ''The Analects'' in the context of world cultural diversity and promote the interaction and identification of global cultural convergence and localization. By using quantitative and qualitative methods, ''A Survey of Overseas Discourses on Chinese Discourse'' released by China International Publishing Group (CIPG) in February 2018 drew the characteristics of the top 100 words in terms of recognition: some traditional Chinese cultural words have entered the English discourse in the form of Chinese pinyin (Fan Min 97). This indicates that as China grows stronger, the current awareness and understanding of Chinese discourse among overseas people has increased dramatically, the international community's demand for knowledge about China is getting stronger, and the Chinese way of thinking is gradually influencing the world. The translation of Confucian philosophical concepts with Chinese characteristics in ''The Analects'' often becomes a difficult point of translation and dissemination because of cultural gaps and reader differences. Therefore, the translation trend of ''The Analects'' in the new era should also construct a discourse expression of Chinese and foreign integration, so as to help Chinese culture go global.

Take the translation of "德" as an example, James Legge translates it as “virtue, what is good”; Ku Hung-Ming translates it as “moral feeling, moral sentiment”; D. C. Lau translates it as “virtue, benign rule”; Roger T. Ames and Henry Rosemont Jr. translate it as “virtue (de 德), excellence (de 德)”; Edward Slingerland translates it as “kindness( de 德), character(de 德)”. The translation is kindness (de de), character (de de). Comparatively speaking, Roger T. Ames and Henry Rosemont Jr. and Edward Slingerland adapt to the requirements of readers in the new era, taking cultural communication as the starting point and adding the strategy of "Chinese Pinyin and Chinese characters" through constructing cultural identity and interpreting the connotation of cultural philosophy, so as to help the cultural implication of ''The Analects'' to be accepted by readers in the foreign cultural context.

'''4.Enhancing the Functions of Communication Media'''

Enhancing the functions of communication media makes great contributions to helping reinterpret the philosophy of Confucianism. Specific measures are as follows: 1)Enhance the cultural education of ''The Analects'' and strengthen the construction of the discourse system of ''The Analects'' for foreign communication as the national cultural soft power, integrating the mainstream values and national spirit and internalize them into their own needs, so as to strengthen people's identification with the country and the nation and thus unite people's hearts and enhance their strength; 2)Pay attention to the cultural interpretation strategy of the translation and dissemination of ''The Analects'' and the expression and influence of Confucian culture for foreign communication, so that the world can identify with the values of Confucian culture and promote China to become a culturally strong country; 3) Attach importance to the dissemination of the international output of ''The Analects'' with the development of information technology, and give full play to the important role of modern social media such as the Internet and government sponsorship in the translation and dissemination of The Analects; 4)Focus on the cultural export of ''The Analects'', build the classic culture brand and market pattern of ''The Analects'' in the form of foreign language websites, picture books, quoted lines in films and television, etc. In this information society, the ability of cultural communication has become an important factor of a country's cultural soft power. Therefore, we should attach emphasis to improving the translation and dissemination ability of ''The Analects'', and make traditional Chinese culture go international with the help of the cultural influence of ''The Analects''.
===Conclusion===
''The Analects'' has been translated into foreign languages for more than four hundred years, which is the most translated Chinese classic into Western languages except for ''Tao Te Ching''. Its translation has shown different characteristics at different historical stages of Chinese and Western cultural exchanges, playing an important role in promoting Chinese and Western cultural exchanges and spreading Chinese culture. With the enhancement of Chinese cultural communication to the outside world, the translation and dissemination strategy of ''The Analects'' should also keep pace with the times. Therefore, we should pay attention to the reinterpretation of modern Confucian philosophy in the process of translating and disseminating ''The Analects'', not only to respect the historical origin of the text and faithfully convey the spirit of the original text, but also to take into account the differences between Chinese and Western languages and cultures, so as to improve English readers' awareness and acceptance of ''The Analects'' culture and help Chinese traditional culture go global.
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===Terms and expressions===
Confucianism 儒家学派

D. C. Lau 刘殿爵

James Legge 理雅各

Ku Hung-Ming 辜鸿铭

Mirror of the Mind 《明心宝鉴》

Matteo Ricci 利玛窦

Tao Te Ching 《道德经》
===Questions===
1.Who is Confucius?

2.What's the significance of The Analects in Chinese history?

3.Who is the first Chinese to independently translate The Analects into English?

4.What are the innovative ways of translation and dissemination of The Analects in the new era?
===Answers===
1.Confucius, a famous thinker, educator and politician in ancient China, plays an important role in the history of Chinese ideology and world culture as the founder of Confucianism. Confucius was known as an omniscient sage for his knowledge and concern about world affairs, traveling around the world with his disciples for 14 years. Confucianism has evolved through dynasties and become the essence of Chinese traditional culture.

2.The Analects, compiled by the disciples of Confucius and his disciples, is one of the classical works of Confucianism. It concentrates on Confucius' political ideas, ethical thoughts, moral concepts and educational principles. The Analects, together with the Great Learning, the Golden Mean and the Mencius, are known as the Four Books. It is an embodiment of ethics, morality, and wisdom accumulated over thousands of years in ancient Chinese society, playing a great role in enlightening wisdom and passing on civilization.

3.Ku Hung-Ming. He broke the monopoly of missionaries and Western sinologists. He adopted flexible free translation, which inclined the language style, ideological connotation and unique cultural factors of the original text to the cultural system of the target language, so as to arouse the interest of western readers.

4.1)Retaining Chinese cultural characteristics;
2)Adopting translation strategy of foreignization appropriately;
3)Adapting to the needs of readers in the new era;
4)enhancing the functions of communication media.

==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.

*Cao Xue, Yin Xiaotang曹雪,尹晓棠(2020).《红楼梦》中人名的翻译策略[Translation Strategies of Chinese Names in A Dream of Red Mansions].作家天地[For Writers](8):17-18.

==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，

20220630 Culture 4

2022-07-03T09:15:31Z

Xie Xiaoying: /* 英语笔译谢晓莹 Xie Xiaoying 202170081601 */

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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===

===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 Traditional Chinese Philosophy in Contemporary Times'''</center>

<center>仝雨梦</center>

===Introduction===
The word "philosophy" comes from Greece, which means “the study of wisdom”. It is characterized by the ultimate exploration of the universe and the world. As the essence of the spirit of the times, philosophy is the core content of national culture. Before contemporary times, there was no word “philosophy” in China, and naturally, there was no such subject in the ancient academic classification. For a long time in ancient China, literature, history, and philosophy were integrated and inseparable. In contemporary times, after being translated by Japanese scholars, philosophy has become the primary discipline of humanities and social sciences in this country.
Traditional Chinese 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, traditional Chinese 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. The second is the period of feudalism. Third, is 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.

===The Evolution of Chinese Traditional Philosophy===
From another point of view, traditional Chinese philosophy has gone through seven different stages of development, namely, the Pre-Qin philosophy, the study of Confucian Classics in the Han Dynasty, the Metaphysics of the Wei and Jin Dynasties, the Buddhist philosophy during the Sui and Tang Dynasties, Neo-Confucianism in the Song and Ming Dynasties, the Practical Thought in the Ming and Qing Dynasties, and Textual Studies in the late Qing Dynasty. Each stage of development has its distinct ideological characteristics.

(1) the Pre-Qin Philosophy

During the Pre-Qin period, the ideological circle was extremely active, and various ideological theories and academic schools appeared one after another. A large number of prominent thinkers emerged, such as Confucius, Mencius, Xunzi (Hsun Tzu), Laozi (Lao Tzu), Zhuangzi (Chuang Tzu), Sun Tzu, Mozi, Hui Shi, Gongsun Long (Kung-Sun lung), Han Feizi (Han Fei-tzu) and so on. People also call the philosophy of this period “the Pre-Qin study of Zi”. Besides, many schools of thought have been formed, such as Taoism, Confucianism, Mohism, the School of Legalists, the School of Logicians, the School of Military Strategists, the Yin-Yang School, the School of Political Strategists, the Eclectics, the School of Agriculturists, and many others. Among them, the most influential ones are the Confucian School, Taoist School, Mohist School, the School of Legalists, and the School of Military Strategists. The discussion of philosophy during that period focuses on the composition of the universe and social life. For example, what is the universe made of? How did people get here? What is the position of man between heaven and earth? What is the value and significance of living? The Pre-Qin philosophy laid the foundation for the development of philosophy in China and ushered in the real awakening of Chinese philosophy and the spirit of the Chinese nation.

(2) the Study of Confucian Classics in the Han Dynasty

A lesson from the demise of the Qin Dynasty is that a country cannot be well governed only by severe punishment and laws. Therefore, the early Han Dynasty advocated the learning about Emperor Huang and Lao Tzu. Later, Emperor Wu of the Han Dynasty adopted Dong Zhongshu’s proposal to “proscribe all non-Confucian schools of thought and declared Confucianism the state ideology”. Since then, Confucianism has leaped from one of the hundred schools of thought to an official and mainstream ideology. A prominent manifestation of the authoritarianism, institutionalization, and ideologization of Confucianism is the birth of Confucian classics. Confucian scholars expressed their academic views and political opinions based on the Confucian classics in that period through the annotation of these classics.

(3) the Metaphysics of Wei and Jin Dynasties

The Wei and Jin Dynasties are quite different from the Han Dynasty in their style of study, ideology, and mode of thinking. During that period, against the cumbersome Confucian classics and theological teleology of the Han Dynasty, Lao Tzu, Zhuangzi, and the book of changes were respected, known as “three metaphysics”, and there was a great liberation in thought and mode of thinking. The core issues discussed in the metaphysics of Wei and Jin Dynasties can be summarized as follows: first, the relationship between the Confucian ethical code and nature; Second, the relationship between the original and the end; Third, the relationship between language and thought; Fourth, the relationship between the human body and spirit. These problems discussed in the Wei and Jin Dynasties all have a deep philosophical connotation, marking a big step forward in people’s thinking ability and the ability to understand the world and self.

(4) the Buddhist philosophy during Sui and Tang Dynasties

Buddhism was introduced into China in the Han Dynasty and flourished in the Sui and Tang dynasties after hundreds of years of collision and integration, and many Buddhist schools were formed. On the one hand, the various sects have been in constant strife; On the other hand, they have also absorbed and influenced each other. At the same time, all sects drew nutrients and wisdom from Chinese traditional Confucianism and Taoism to enrich and develop their doctrines. Among all the Buddhist sects in Sui and Tang Dynasties, the Chan sect is the most widespread and influential one. It is the model and mature symbol of the Sinicization and secularization of Buddhism. It is the product of the integration of Buddhism and Chinese inherent philosophy.
　　
(5) Neo-Confucianism in the Song and Ming Dynasties

Neo-Confucianism in the Song and Ming Dynasties is a new philosophy based on Confucianism, combining the ideas of Buddhism and Taoism. The institutionalization and ideologization of Confucianism during the period of the Han Dynasty was the first major turning point in the development of Confucianism, while the emergence and formation of Neo-Confucianism were right the second one. Neo-Confucianism is the guiding ideology of the late feudal society in China for nearly 700 years, which mainly has four schools: Cheng-Zhu Neo-Confucianism (Cheng Hao, Cheng Yi, and Zhu Xi), Lu and Wang’s Philosophy of the Mind (Lu Jiuyuan and Wang Yangming), Zhang and Wang’s Qi theory (Zhangzai and Wang Fuzhi) and Chen and Ye’s Utilitarian Thought (Chen Liang and Ye Shi). It discusses a wide range of content and scope, such as cosmology, ontology, life theory, the theory of mind and nature, the view of knowledge and behavior, cultivation theory, and so on. As an important stage of the development of Confucianism, Neo-Confucianism in the Song and Ming Dynasties raised Chinese philosophy to a new level. Its political purpose is to find the ultimate value basis for feudal ethics.

(6) the Practical Thought in the Ming and Qing Dynasties

In the eyes of thinkers in the Ming and Qing Dynasties, Neo-Confucianism in the Song and Ming Dynasties is nothing but empty talk about the nature of mind and life, which is useless. They also attributed the collapse of the Ming Dynasty to Neo-Confucianism. Therefore, most of the thinkers in that period strongly opposed Neo-Confucianism and feudal autocracy and advocated practical thoughts, which had the nature of early enlightenment. The main representatives of practical thoughts in the Ming and Qing Dynasties were Gu Yanwu, Huang Zongxi, Yan Yuan, and some others. The ideological trend of practical thoughts spread all over the political, economic, scientific, cultural, and artistic fields at that time, which was the concentrated embodiment of the Confucian thought of practical application in the Ming and Qing Dynasties.
　
(7) Textual Studies in the late Qing Dynasty

Textual Studies in the late Qing Dynasty takes textual research as its main research method and pays more attention to evidence than theory, to distinguish it from the abstract discussion of Neo-Confucianism in the Song and Ming Dynasties. Its most outstanding academic contribution is the systematic arrangement of traditional philology, phonology, exegesis, and bibliography, which has achieved unprecedented development. After the Opium War broke out in 1840, the Western powers opened China’s door with advanced weapons, opium, and cheap commodities, and interrupted the inherent development path of Chinese civilization using armed aggression. At that time, the reformists, represented by Gong Zizhen and Wei Yuan, demanded that academic research should be combined with real politics, and opposed textual studies in the late Qing Dynasty, which were divorced from reality. It can be said that Gong Zizhen and Wei Yuan were both the terminators of the practical learning trend in the Ming and Qing Dynasties and the pioneers of bourgeois reformism in modern China.　

===The Representative Schools of Thought===
(1) the Confucian School

As one of the hundred schools of thought during the Pre-Qin period, Confucianism is an ideological system founded by Confucius and gradually perfected by future generations. It was one of the most influential schools at that time, and it was called the "Famous School of Thought” with Mohism, which is “显学” in Chinese. The Confucianists paid attention to personal cultivation, social ethics, and state governance, which had a far-reaching impact on ancient and modern China. The main content of Confucianism in the Pre-Qin time can be divided into two aspects: “Ren” (仁) and “Li” (礼). In most cases, “Ren” refers to perfect virtue, covering “wisdom”, “courage”, “loyalty”, “filial piety” and other concepts in Confucianism. And “Li” means the rules of propriety in most instances. “Ren” is shown as “be intimate with families” and “be in sympathy with others” in dealing with the world, and “ruling people depending on the moral sentiments” in governing the state. According to Confucianism, “Ren” is seen as a qualification for people to enter society and live, while “be intimate with families” refers to “filial piety” and “virtue” based on the most basic human blood relationship. Confucius believed that in the blood relationship with the family as the basic unit, the concept of “filial piety” is indispensable. In the aspect of governing the state, the Confucian School advocates ruling people depending on moral sentiments, so that the king can be loved by his subjects in this way. “Li” requires people to attach importance to rites and ceremonies and restore the rites of the Zhou Dynasty, including various moral principles and humanistic norms in social life. (Miao Xinlei 2021, 187) The representative work of the Confucian School is the Analects.

(2) Taoist School

During the Spring and Autumn Period, Laozi gathered the great wisdom of ancient sages and summarized the essence of ancient Taoist thought, forming a complete systematic theory of Taoism, marking the formation and formalization of Taoist thought. This thought first originated from the period of the Fuxi and the Yellow Emperor, after the period of Yao, Shun, and Yu and the Xia, Shang, and Zhou Dynasties, the Taoist doctrine was not formed until the time of Laozi, which is the foundation of Chinese civilization. In Taoist thought, Laozi introduced the word “Tao” and used this abstract concept to explain the truth of the universe. “Tao” is the origin of the universe, which was born before the universe, invisible but always existed. According to Laozi, the universe consists of four parts: Heaven, Earth, Man, and the Tao. It is further derived that to survive, man must follow the natural laws of the earth; on the earth, the growth, reproduction, and migration of all things must follow the natural climate changes; the natural climate and celestial changes follow the “Tao”, and the “Tao” is the original appearance of all things in the world. This is the core concept of Taoism: “Tao follows nature”. Taoism advocates following nature and ruling without doing anything. (Hu Lu 2019, 141) This idea has been used by many emperors throughout Chinese history as a method of governing the state. The masterpiece of Taoism is the Tao Te Ching.

(3) Mohist School

Mozi was the founder of the Mohist School, and his ideas are concentrated in the book Mozi. Mozi was compiled by Mozi's disciples who collected his quotations based on his life story and historical materials. The book Mozi originally contains 75 pieces, of which 53 exist today. The first 31 pieces focus on Mozi's main ideas and doctrines, including the ten major propositions of “Universal Love”, “Against Aggression”, “Respecting the Virtuous”, “Identifying with the Superior”, “The Will of Heaven”, “On Ghosts”, “Against Fatalism”, “Against Music”, “Simplicity in Funerals” and “Saving Expenditures”. The remaining chapters record Mozi’s contributions in the fields of logic, mathematics, and mechanics. “Universal Love” is the core of Mozi’s thought, which refers to undifferentiated love and equal fraternity, which is opposite to the Confucian thought of “Love with Distinctions” (爱有等差). “Against Aggression” means opposing war and demanding peace. “Identifying with the Superior” refers to requiring the upper and lower levels to unite as one and implement a righteous government. “Respecting the Virtuous” means advocating sages, including electing sages as officials and electing sages as monarchs. Heaven has the will, ghosts are gods, and heaven loves the people. If the emperor disobeys the will of heaven, he will be punished by heaven. Otherwise, he will be rewarded by heaven. That means “The Will of Heaven” and “On Ghosts”. Mozi opposed the Confucian saying that “Death and life have been determined appointments. Riches and honor depend upon heaven.” (生死有命，富贵在天). He believed that everything is not determined by “destiny”. As long as people make active efforts, they can achieve their own life goals. This is what “Against Fatalism” means. Mozi believed that although the music was pleasant to hear, it did not conform to the principle of the king and the interests of the people, so he opposed music. He also believed that long mourning and costly funerals were not beneficial to society. Monarchs and nobles should live a frugal life like ancient saints. This is the meaning of “Simplicity in Funerals” and “Saving Expenditures”. (Lu Jian Lin 2019, 196)

(4) the School of Legalists

The School of Legalists, or Legalism, one of the Hundred Schools of Thought, is an important school of thought in Chinese history that advocates the rule of law as its core. The thinking of Legalism is a practical political philosophy, unlike Taoism, which takes the whole universe as its object of study, or Confucianism and Mohism, which takes the whole society as its object of study, but takes politics as its object of study and focuses on governing the state. It has the following main characteristics. First, it opposes the ritual system of Confucianism. The Legalists valued law and opposed the Confucian “Li”. They believed that Confucianism was unfair in upholding the privileges of the nobility, opposing the hereditary privileges of the nobility, which monopolized economic and political interests and demanded private ownership of land and the award of official positions according to merit and talent. Secondly, the theory of human nature of “man tends to pursue interests and avoid harm”. The Legalists believed that human beings have the nature of pursuing profit and hate to be harmed. The rulers could use this to govern the state and the people. Thirdly, is the historical view of “not following the past nor the present”. The Legalists opposed the conservative idea of retrogression and advocated reform. They believe that history is moving forward, and all laws and systems should be developed with the advance of history, neither retrogressive nor conformist. Fourth, the combination of “law”, “managing strategy” and “managing power” is the strategy of ruling the state. The representative figures of Legalism, namely Shang Yang, Shen Tao, and Shen Buhai, advocated the idea of emphasizing law, managing strategy, and power respectively. Han Fei, the master of Legalism, proposed a close combination of the three. “Law” refers to a sound legal system; “managing strategy” refers to the strategies and means to manage the ministers, grasp power, and implement decrees; and “managing power” refers to the power of the monarch, requiring the monarch to be in sole control of the military and political power. The representative works of Legalism include Guanzi, the Book of Lord Shang, Hanfeizi, and so on.

(5) the School of Military Strategists

The School of Military Strategists, one of the Hundred Schools of Thought, refers to a school of thought that studied military theory and engaged in military activities during the Pre-Qin and early Han Dynasties in China. According to this school, everything in the world has its objective law of change and development, and only by following the development of the law and correctly applying the laws of nature can war be won. In addition, warfare must be guided by knowledge of the ways of using the military and by the mastery of flexible strategies and tactics. As a ruler, not only should he know the military, but also master the general laws of war. A ruler should govern the state with both punishment and virtue, with both force and mercy, and regulate society according to the laws of nature to achieve long-term peace and stability.

War is a continuation of politics and is a matter of life and death for a country or a nation. A book on the art of war is both a guide on how to rule a country and develop a national strategy; and a book on how to lead an army into battle and develop a war strategy. The Art of War by Sun Tzu is the most important work of the School of Military Strategists and the oldest surviving book on warfare in the world. This work summarizes the experience of warfare and military governance of the time puts forward a series of strategic and tactical principles and contains a wealth of ideas on military dialectics. After the 18th century, The Art of War by Sun Tzu was translated into English, French, German, Czech, Russian, and Finnish, and widely appreciated across the world.

===The Influence in Contemporary Times===
(1) the Confucian School

On Environmental Protection

Confucians believe that “man is an integral part of nature” (天人合一), and nature is the common source of man and all things in the world. Confucianism emphasizes that man and nature should live in harmony, and everyone should love and protect nature. (Ren Jiaying 2021,199) Since the time of the industrial civilization, mankind has created massive material wealth. Yet, it has come at a cost of intensified exploitation of natural resources, which disrupted the balance in the Earth's ecosystem, and laid bare the growing tensions in the human-Nature relationship. Influenced by Confucian thought, the Chinese firmly believe that destroying the natural environment is equivalent to self-destruction. Therefore, in recent years, China has begun to take the path of sustainable development, pursuing the purpose of “green mountains are gold mountains”, and protecting the ecological environment while pursuing economic growth.
On the Character of the Chinese Nation

“Harmony in Diversity” (和而不同) is an important concept of Confucianism, which first came from the Analects of Confucius. As philosophical thinking in ancient China, it is a scientific world outlook and methodology, which has given important guiding significance in the development of China’s economy, politics and culture. Ku Hung-Ming (1857-1928) pointed out in his speech at Peking University that the Chinese people have a specific spirit, a spirit that no other nation has, that is, gentleness. Gentleness is not softness, nor weak submissiveness, but a power of compassion. This power of compassion cannot be separated from the guidance of “Harmony in Diversity” as a world outlook for the Chinese people. This principle has cultivated the fine conduct of the Chinese people today and formed the unique temperament of the Chinese nation, which is “gentle”, “modest” and “inclusive”.

On International Communication

Moreover, an important issue in today's world is how different cultural and political communities, each with its particularities, can submit to common normative principles while respecting each other’s differences. The right answer to this question can be found in “Harmony in Diversity”. “Harmony” requires us to insist on harmony in exchanges and dialogues among countries. If cultures do not adopt an open and tolerant attitude but fall into a closed, conservative, and narrow-minded way of thinking, they will surely lose their vitality and go into decay. “Harmony” can also help us avoid conflicts in cultural exchanges, while “Diversity” requires us to respect the differences between cultures and maintain our unique strengths. (Niu Yufei 2022, 8)

(2) Taoist School

On the Economy

The core of Taoist thought is “Inaction” (无为), which is to follow the original law of development and not forcefully interfere with or change the course of things. This idea has a great influence on the participants in economic activities. It inspires people not to interfere too much with normal economic activities and to let economies participate in the reasonable competition in the market, to avoid disturbing the laws of economic activities, and achieve economic prosperity. Likewise, for enterprises, the thought of “Inaction” provides us with a new management model – “soft management” - which is beneficial to the long-term development of enterprises. On the other hand, Taoism advocates “less selfishness and fewer desires” (少私寡欲), which helps people today to abandon individualism and money-worship and establish good morals.

(3) Mohist School

On World Peace

In today's world, peace and development are the two main themes. Undoubtedly, the world economy is booming day by day, but the full realization of the ideal of peace for mankind is still a long way off. Some major powers are pursuing hegemony, power politics, military strikes, interference in internal affairs, economic sanctions, and arms races, which have made the world volatile. To achieve lasting peace for all mankind, it is necessary to establish a concept of peace recognized by all humanity, that is, the Moist idea of “Universal Love” (兼爱). As historian Arnold Joseph Toynbee (1889-1975) said, "The Mozi doctrine of universal love as an obligation is all the more appropriate for the modern world, which has been unified technically, but not emotionally. Only universal love is the only hope for mankind to save themselves. Mozi's love is more needed by modern people than Confucius' love." True human peace can only be achieved if “Universal Love” is realized globally. (Liu Bangfan 2003, 24-25)

(4) the School of Legalists

On Legislation

In the face of intense social unrest, the Legalists advocated an active change of law and believed that reforms were following the natural law, the conditions of the people, and the times. Han Feizi also advocated, “There is no fixed way to manage the people, only to implement management according to law. Only by adapting to the changes of the times, can the society be well governed; Only by adapting social governance to social reality can we achieve results.” (治民无常，唯治为法。法与时转则治，治与世宜则有功。) He intended to emphasize that the law should respond to the changes of the state and adapt to the changes in social life. Influenced by this idea, since 2016, the introduction of laws such as the Environment Protection Tax Law of the People’s Republic of China, General Rules of the Civil Law of the PRC, and the Cyber Security Law of the PRC have continued to fill the legislative gaps and promote the realization of the rule of good law. (Xu Nanzhi 2018, 3)

On Administration of Justice

In the implementation of the law, Legalism advocates that “matters are determined by the law and prisoners are punished without regard to their social status” (事断从法，刑无等级). The majesty of the law lies not only in its strict regulations but also in its severe enforcement. Han Feizi further developed the idea of “no difference in punishment” into “the law cannot fawn on the noble”, and pointed the finger of reforms at the nobility, increasing the strength of law enforcement. However, it is not difficult to find that Han Feizi also emphasized the idea of “monarchy”. What he strongly defended is the monarch’s equal treatment in the application of punishment, rather than the modern Western concept of “all men are created equal” in the rule of law. Therefore, the implementation of the law at that time could not achieve the true equality of all people. In today’s society, reflecting on the law enforcement aspects of Pre-Qin Dynasty legalism helps people to understand more deeply the implementation of the law and to better practice the principle of “equality before the law”. (Xu Nanzhi 2018, 3-4)

(5) the School of Military Strategists

On National Defense

After thousands of years of inheritance and development, Chinese military science has formed a valuable treasure. Mao Zedong’s military thought is an outstanding example of inheriting and carrying forward the traditional Chinese military culture. In his military writings, he not only cited a large number of ancient Chinese examples of warfare, but also clarified the ancient Chinese military thinking, including “If you know your enemies and know yourself, you will not be imperiled in a hundred battles” (知彼知己，百战不殆), “Listen to both sides and you will be enlightened” (兼听则明，偏信则暗), and “Avoid the enemy when he is full of vigor, strike when he is fatigued and withdraws” (避其锐气，击其惰归). Then he applied those ideas to the practice of the Chinese revolution and war. Mao Zedong pointed out in Problems of Strategy in China's Revolutionary War that “the phrase ‘if you know your enemies and know yourself, you will not be imperiled in a hundred battles in the book of Sun Tzu, a great military man of ancient China, includes two stages: learning and using. It includes knowing the objective laws of development and deciding how to act according to these laws to defeat the current enemy, and we should not look down on this phrase.” The Art of War by Sun Tzu points out that “a victorious army is first sure of a win before seeking war, while a defeated army first fights before seeking victory” (胜兵先胜而后求战，败兵先战而后求胜). Mao Zedong absorbed and developed this idea from Sun Tzu and attached great importance to war preparation, stressing that one must have the certainty of victory before going to war. (Wang Xiaoxue 2011, 100-101)

China's long-standing traditional military culture has given extensive and in-depth consideration and summary to many issues of national defense and military. The military scholars in the Pre-Qin period always emphasized that fighting for justice and peace is the only way to win the hearts and minds of the people. Today we continue to adhere to the military strategy of active defense, putting national sovereignty and security in the first place. We adhere to the rule of law and strict military, and constantly improve the level of the military. Another outstanding feature of Pre-Qin military science is that it considers many factors such as politics, economy, and military together with national defense construction from a holistic perspective. Contemporary China has inherited the ancient traditional military culture and formed a national defense theory system with Chinese characteristics. (Wang Xiaoxue 2011, 102-103)

===Conclusion===
This paper first reviews the history of the development of traditional Chinese philosophy by dividing it into seven stages and gives a brief overview of Chinese philosophy at each stage. Subsequently, this paper distills five representative schools of thought in traditional Chinese philosophy, namely Confucianism, Taoism, Mohism, Legalism, and the School of Military Strategists, and briefly summarizes their respective characteristics. Finally, the paper explores the contemporary influences of these five schools of thought, which relate to environmental protection, the formation of the Chinese national spirit, international exchange, national defense construction, etc.
Overall, the author’s purpose in writing this paper is to make the reader aware of the appeal of traditional Chinese philosophy. Although these ancient philosophical ideas seem to be very distant from this era, they still have an invisible and great influence on the world we live in today. As Chinese people, we should pay more attention to the wealth of ideas left to us by our ancestors and learn the best parts of traditional Chinese philosophy to establish a correct outlook on life, worldview, and values.

===References===
*Wang Jie王杰. (2020). 中国传统哲学的发展脉络[The Development of Traditional Chinese Philosophy]. 新华文摘 Xinhua News Digest (24) 45.
*Miao Xinlei 苗新蕾. (2021). 先秦儒家思想与道家思想的对比研究[A Comparative Study of Confucianism and Taoism in the Pre-Qin Period]. 汉字文化 Sinogram Culture (16) 187.
*Hu Lu 胡璐. (2019). 儒家思想与道家思想的互补作用[The Complementarity of Confucianism and Taoism]. 文学教育 Literature Education (05) 141.
*Lu Jianlin 陆建林. (2019). 学习墨子思想培育大医精神[To Cultivate the Spirit of Doctors by Studying Mozi's Thought]. 广东职业技术教育与研究Guangdong Vocational Technical Education and Research (04) 196.
*Ren Jiaying 任珈莹. (2021). 中国传统文化之儒家思想的当代价值[The Contemporary Value of Confucianism in Chinese Traditional Culture]. 科技资讯 Science & Technology Information (04) 199.
*Niu Yufei 牛宇飞. (2022). 新世界主义中的“和而不同”["Harmony in Diversity" in New Cosmopolitanism]. 公关世界 PR World (04) 8.
*Liu Bangfan 刘邦凡. (2003). 墨家思想的当代价值[The Modern Significance of Mohist School of Thought]. 燕山大学学报(哲学社会科学版) Journal of Yanshan University(Philosophy and Social Science Edition) (01) 24-25.
*Xu Nanzhi 徐楠芝. (2018). 先秦法家思想对当代法治的价值[The Value of Pre-Qin Legalist Thought to Contemporary Rule of Law]. 黑龙江省政法管理干部学院学报 Journal of Heilongjiang Administrative Cadre College of Politics and Law (02) 3-4.
*Wang Xiaoxue 王晓雪. (2011). 先秦兵家治国思想研究 ——以先秦六本兵书为中心[Study on State Affairs of the Military Strategists in Pre-Qin Period – Focused on Six Military Books in Pre-Qin Period]. 南开大学 Nankai University.

===Terms and Expressions===
the Pre-Qin philosophy 先秦哲学

the Study of Confucian Classics in the Han Dynasty 汉代经学

the Metaphysics of the Wei and Jin Dynasties 魏晋玄学

the Buddhist philosophy during the Sui and Tang Dynasties 隋唐佛学

Neo-Confucianism in the Song and Ming Dynasties 宋明理学

the Practical Thought in the Ming and Qing Dynasties 明清实学

Textual Studies in the late Qing Dynasty 乾嘉朴学

the School of Legalists 法家

the School of Logicians 名家

the School of Military Strategists 战略家

the Yin-Yang School 阴阳家

the School of Political Strategists 纵横家

the Eclectics 杂家

the School of Agriculturists 农家

"Universal Love" 兼爱

"Against Aggression" 非攻

"Respecting the Virtuous" 尚贤

“Identifying with the Superior” 尚同

"The Will of Heaven" 天志

"On Ghosts" 明鬼

"Against Fatalism" 非命

"Against Music" 非乐

"Simplicity in Funerals" 节葬

"Saving Expenditures" 节用

===Questions===
1. When did traditional Chinese philosophy take shape?

2. What are the most influential schools of thought in the Pre-Qin period?

3. What is the core of Mozi's thought?

===Answers===
1. At the end of the Spring and Autumn Period.

2. The most influential ones are the Confucian School, Taoist School, Mohist School, the School of Legalists, and the School of Military Strategists.

3. Universal Love.

==英语笔译童略雅 Tong Lueya 202170081595==

<center>'''A Brief Analysis of the Influence of Artificial Intelligence on Translators'''</center>

<center>Tong Lueya</center>

===Abstract===
The Internet, big data, artificial intelligence and other information technologies in the digital age have brought profound changes to the development of human society. Of course, translation is also affected without exception. Artificial intelligence is quietly changing the process of translation and the identity of the translator. Over recent decades, AI has developed rapidly and has been widely used in various fields. It has become the inevitable trend of social development. As a special human activity, translation has developed from the early mechanical machine translation to the current computer-aided translation (CAT), which is the embodiment of the integration of artificial intelligence technology and translation, and more and more people hold that this technology will replace manual translation. Based on the current development of AI and translation technology, this paper will explore the influence of the AI on translators, and then attempt to give some suggestions to them, so as to make full use of artificial intelligence to lead the development of translation and form a good situation of complementary advantages and mutual benefit.

===Key words===
Artificial intelligence; translator; influence; machine translation

===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.

==英语笔译庹树梅 Tuo Shumei 202170081596==
<center>'''Translation and Dissemination of Chinese Fairy Tales in the English-speaking World'''</center>

<center>Tuo Shumei</center>

===Abstract===

Chinese fairy tales are a literary style created by ancient Chinese people in the process of working life through long-term social practice. It is a literary style with a strong and distinctive national character, and is a bright and dazzling pearl in the treasury of Chinese culture. Internally, it is a source of cultural confidence, and externally, it is a channel for overseas readers to understand Chinese history, culture and society. Nowadays, with the increasingly frequent cultural exchanges between China and foreign countries, the English translation of Chinese mythological stories can help foreign readers better understand Chinese customs and traditions, and deepen their understanding of Chinese culture. Therefore, in order to tell Chinese stories and spread Chinese voices well, it is indispensable to tell Chinese Fairy Tales, spread Chinese mythological imagination and explain Chinese mythological wisdom.
The first chapter of this paper analyzes Chinese Fairy Tales from the perspective of its translation status and strategies in the English-speaking world. The second chapter analyzes Chinese Fairy Tales from the perspective of its dissemination in the English-speaking world and their dissemination strategies. Chapter 3 analyzes Chinese Fairy Tales from the perspective of how to improve its translation and dissemination in the English-speaking world. Chapter 5 analyzes Chinese Fairy Taliesin the English-speaking world from the point of view of its translation and dissemination significance.
===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.

==英语笔译王思琪 Wang Siqi 202170081597==

<center>'''A Study on Chinese Dialects'''</center>

<center>Wang Siqi</center>

===Abstract===
Dialect, a variety of a language that is distinguished from other varieties of the same language by features of phonology, grammar, and vocabulary, and by its use by a group of speakers who are set off from others geographically or socially. Generally speaking, regions with a long history, a large population and a broad territory tend to have more dialects. There are many factors that form dialects, from the migration of people in ancient times to the cultural exchanges with diverse ethnic groups, to the division of a society and the uneven development of various languages, etc., which allow them to derive a variety of different languages, so that dialects are characterized by its diversity. As an intangible cultural heritage, dialects should be transmitted in a more effective way, rather than stagnating abruptly in an era and disappearing without any signs. This paper will study the origin and development of Chinese dialects, the classifications and characteristics of Chinese dialects, the challenges faced by Chinese dialects in modern times, and how to protect and promote the dying Chinese dialects.
===Key words===
Regional Dialects; Social Dialects; Transmission of Chinese Dialects
===Introduction===
Dialects can be classified into regional dialects and social dialects. Regional dialect is a distinct form of a language spoken in a particular geographical area, it prevails in specific regions and are distinctly different from other local languages. While social dialects are social variants of language, People who use the same language will have different accents, wording, and speech for their different ages, genders, occupations, and classes within a society. The differences between regional dialects and social dialects manly reflect on three fronts: First, social dialects are different due to class discrepancies and other social factors, while regional dialects are different due to geographical discrepancies. Second, the distinction between social dialects is vague, while the distinction between regional dialects is clear for its geographical boundary; Third, social dialect can be easily influenced by external factors such as age, education, and professions, and the regional dialect has a relatively stable development.
As a carrier for cultural exchange, Chinese dialect has a time-honored and colorful history, it plays an unique role in promoting Chinese culture and boosting a more inclusive and united society. This paper will deeply study the Chinese dialects, in the first part, the paper will introduce the evolution of Chinese Dialects; In the second part, the paper will clarify the classifications of Chinese dialects and their respective features; In the third part, the paper will analyze the challenges that the Chinese dialects are facing and illustrate the response to these challenges.
===The Evolution of Chinese Dialects===
The northern dialects are the direct result of the long development of the languages used by the Han Chinese living in the central plains in ancient times and the influence of the surrounding minority languages. The other dialects of Chinese spoken in southern China have their origins in the historical migration of people from the middle and lower reaches of the Yellow River to the south. Migration in Chinese history has taken place from the early Qin dynasty to modern times. There are probably two types of migration, one is the automatic migration of people and the other is the planned migration by the government. The former is often caused by war, famine, famine or population explosion, while the latter is for some political, military or economic purpose. Throughout Chinese history, the general direction of migration has been mainly from north to south, and from east to west. This important feature gave rise to the original origins of the southern dialects of Chinese and formed the geographical pattern of Chinese dialects today.

'''(1) The origins of the seven major dialects'''

The Wu dialect has the most ancient origins. According to the Records of the Grand Historian, three thousand years ago, during the Pre-Zhou period, a group of immigrants moved from the Weishui valley in Shaanxi to the Taihu valley in Jiangnan after a political change. They founded the state of Wu, whose language may have been the earliest source of the later Wu dialect.(Ai Jun,2020)

The Xiang dialect is derived from the ancient Chu language, which no longer exists today. During the turmoil in the Central Plains at the end of the Shang dynasty, the Chu people moved south to the Jianghan basin, and so the Chu language was brought to the Hubei region. During the Warring States period, the state of Chu moved south to take possession of the Xiang River valley, so the ancient Chu language spread again to Hunan.(Ai Jun,2020)

After the Qin unified the six kingdoms, they crossed the Five Ridges to the south and took possession of the two regions of Canton. The area was originally inhabited by the Baiyue people, and the Qin emperor sent 500,000 troops to station there to prevent them from rebelling. The language used by these soldiers became the precursor to the Cantonese dialect of today.(Ai Jun,2020)

Fujian was originally the home of the Min Yue people, and during the Western Han Dynasty there was only one county here. In the late Eastern Han Dynasty, when warlords were at war, a large number of migrants from the north entered Fujian by land and sea, and the original Min dialect would have sprung from this period.(Lin lunlun,2020)

The Gan and Hakka dialects were the latest to emerge. Jiangxi was a crossroads between the ancient Wu and Chu languages, so there was no original Gan language before the Han Dynasty. During the great migration of Han Chinese people southwards that took place after the Yongjia period of the Western Jin Dynasty (307-312), some of the migrants from the north arrived in northern Jiangxi, and the languages they brought with them were the precursors of the Gan and Hakka dialects.(Wang Xiyuan,2013)

The southern dialects of Chinese are the result of the above-mentioned origins and the constant impact of new dialects brought by the many migrations over the centuries, which have led to substitution, intermingling, infiltration and mixing.

'''(2) Three great migratory movements to the south'''

Before the Jin Dynasty, the Huai Shui and Qin Ling lines could be regarded as the general boundary between the northern and southern dialects, but it was only after the Western Jin Dynasty that three major migrations from the south took place, allowing the northern dialects to cross this line into the south on a large scale, thus gradually changing the geographical layout of southern dialects. The basic pattern of Chinese dialects is the result of three major southward migrations of Han Chinese and a number of small and medium-scale migrations throughout history.
The first great wave of Han migration occurred during the period from the Western Jin to the Southern Dynasties (307 - 466). The Eight Kings' Rebellion at the end of the Western Jin Dynasty led to the invasion of minority groups on the frontier, thus forcing a large number of Han Chinese from the Middle Kingdom to migrate southwards. This number represented about one-eighth of the population of the northern Western Jin Dynasty and another sixth of the population of the Southern Song Dynasty.(Zhan Boyan,2015)

The second wave of migration was triggered by the An-shi Rebellion, which took place during the Tang Dynasty (755). The eight-year war spread across the middle and lower reaches of the Yellow River, causing a renewed exodus of people from the Central Plains to the south. Not only was the migration caused by the An-shi Rebellion large, but this time it went further than the previous one, reaching south of Dongting Lake and Poyang Lake, and even to Lingnan and Fujian. As a result, the northern dialects once again impacted on the southern dialects and played a key role in shaping their geographical pattern.
In Hubei, the northern dialects accelerated the assimilation of the Hubei dialect and laid the foundation for the Southwestern official dialects of this region. In the Changsha-Hengyang area, the Xiang dialect was eroded by the northern dialects, weakening its inherent characteristics. At the same time, the Cantonese dialect has been influenced to some extent by the immigrant dialects.In northern and central Jiangxi, the languages brought by immigrants from the north formed the main basis of the present-day Gan language and prepared the ground for the formation of the later Hakka dialect. The immigrant languages entering Jiangxi permanently separated the Wu and Xiang speaking areas and confined the Min languages to the Fujian region.After the An Shi Rebellion, the Tang dynasty saw the emergence of clans and towns. These clans were nominally under the central government, but in reality were small independent kingdoms. After the fall of the Tang dynasty, five dynasties emerged in the Central Plains, known as the Five Dynasties, and a dozen other local feudal regimes emerged, collectively known as the Ten Kingdoms. During the two hundred years before and after this period, the people lived in a long period of fragmentation, reinforcing the geographical pattern of dialects. The Wu-Yue, Wu (Southern Tang), Chu, Min and Southern Han regimes played a significant role in the formation of the Wu, Gan, Xiang, Min and Yue dialect regions.(Zhan Boyan,2015)

The third great southward migration occurred at the time of the two Song dynasties (1126-1142) for similar reasons and southward routes to the first and second great migrations, with the southern part of present-day Jiangsu and Zhejiang receiving the greatest number of migrants, and the migrants reaching further south, with Fujian, Guangdong and Guangxi all having migrant footprints. As the immigrants were more evenly distributed, except in the area of Jiangsu and Zhejiang, the northern dialects did not have as much influence on the southern dialects as the first two migrations.
After the fall of the Northern Song Dynasty, a large number of civil and military officials, monks, nuns and merchants from the old capital of Bianjing (now Kaifeng) came south to the Southern Song capital of Lin'an (now Hangzhou).The Hakka dialect also gradually took shape during this period. As a result of the southern invasion of the Jin and Mongols, a large number of descendants of immigrants who had moved to Jiangnan after the Middle Tang Dynasty and people who had moved to western Fujian and southern Gan at the end of the Tang Dynasty moved again to the border area of Fujian, Guangdong and Gan. The geographical isolation of this area caused the immigrant dialects to finally separate themselves completely from the northern dialects, forming a distinctive Hakka dialect and making the area around Meizhou in Guangdong the core of the Hakka dialect.(Zhan Boyan,2015)

The process of migration from Jiangxi to Hunan lasted for seven or eight hundred years, starting from the Five Dynasties until the Ming and Qing Dynasties. The reasons for the migration were spontaneous economic requirements. The middle and lower reaches of the Gan River in Jiangxi were more developed than Hunan due to the large number of immigrants they received after the Middle Tang Dynasty. As a result, the Xiang language changed qualitatively and took on Gan characteristics.The migration from Fujian to Guangdong also began roughly during the Five Dynasties. Fujian had many mountains and few fields, and the population saturation became more pronounced. As a result, Fujianese immigrants entered the south-eastern coast of Guangdong and gradually spread westwards, mostly across the sea, spreading the Min dialect along the coastal areas in the eastern and western ends of Guangdong and leaving some Min islands in the Pearl River Delta.

===Chinese Regional Dialects and Social Dialects===

'''(1)Classifications and phonetic features of Chinese Regional Dialects'''

In general, Chinese dialects can be roughly classified into seven large groups: the Northern dialect (Mandarin), Gan, Kejia (Hakka), Min, Wu, Xiang, and Yue (Cantonese). The seven large dialectal groups were defined by regional factors.

The Northern dialect, also known as the Mandarin, is the basic dialect of modern Chinese Mandarin, represented by Beijing dialect, which is the most widely used. The main feature of northern dialects in terms of pronunciation is that there is no voiced stopper and voiced syllable vowel, and there are four tones, including level tone, the rising tone, the falling-rising tone, and the falling tone. According to its characteristics, the northern dialect is generally divided into four sub-dialects: North China dialect, Northwest dialect, Southwest dialect and Jianghuai dialect. The internal consistency of northern dialects is relatively strong, the difference in its grammatical structure is small, and the difference in pronunciation is not very large.

The Gan dialect is mainly spoken in the central and northern parts of Jiangxi Province, as well as parts of eastern Hunan, southeastern Hubei, southwestern Anhui, and northwestern Fujian. There are about 100 counties (cities), with a population of more than 30 million. Nanchang dialect is typical. From a dialect map, the Gan dialect is surrounded by northern dialects, Wu dialects, Fujian dialects, Hakka dialects, and Hunan dialects. This geographical location is the most unique among all dialects of Chinese. Because of this, the Gan dialect is greatly influenced by other dialects, and the boundaries on all sides are very indistinct.One of the most prominent features of the Gan dialect pronunciation is that the ancient voiced stopper and the voiced vowel all become the same pronunciation part of the air-sending clear vowel (Liu Lunxin, 2003:34)

Kejia, or Hakka, is mainly spoken in the eastern and northern regions of Guangdong, Guangxi and southern Jiangxi, western Fujian, and parts of Hunan, Sichuan, and Taiwan Provinces. The main phonetic characteristics are: Most of the ancient voiced stopper and voiced vowels become the same part of the air-sending clear vowel, which is consistent with the Gan dialect; g, k, h and z, c, s can be spelled with the homonymous vowel;

Min is spoken in China's southern coastal province—Fujian, it is also spoken by the descendants of Min speaking colonists on Leizhou peninsula and Hainan, or assimilated natives of Chaoshan, parts of Zhongshan, three counties in southern Wenzhou, Zhoushan archipelago, and Taiwan.The name is derived from the Min River in Fujian, which is also the abbreviated name of Fujian Province. It is the most diverse dialect, meaning within the dialect group there are still many different variations on word pronunciation. There is no labiodental fricative f in the pronunciation of the Min dialect. In Mandarin, all words that pronounce f vowels are pronounced b or p vowels in Min dialect; In Mandarin, the word with zh and ch vowel are pronounced d or t in Min dialect.

The Wu dialect spoken primarily in Shanghai, Zhejiang Province and the part of Jiangsu Province south of the Yangtze River, which makes up the cultural region of Wu.

Xiang is a southern dialect concentrated in Hunan province. The two major varieties of Xiang are New Xiang and Old Xiang. New Xiang, which is spoken predominantly around Changsha, the capital of Hunan, has been strongly influenced by Mandarin Chinese. Old Xiang, which is spoken in other areas of the province. Old Xiang has a greater number of different initial consonants than does any other major Chinese language. Xiang uses five tones to distinguish meaning between words or word elements that have the same series of consonants and vowels.

Cantonese, or Yue, is also a southern dialect. It is spoken in Guangdong, Hong Kong, and Macau. At the same time, the Cantonese dialect area is the forefront of China's opening up and reform, every year there attracts millions of migrant workers from all provinces in the interior to pan for gold, so in recent years the influence of Cantonese dialect is getting bigger and bigger. Cantonese dialect words, in recent years, also showed a trend of northward penetration, which reflects the close relationship between language expansion and economic development. The phonetic system of Cantonese dialect is relatively complex, with as many as fifty-three finals, which is the dialect with the most tones among all Chinese dialects.(Tao Huan, 2018)

'''(2)Factors affecting the Social Dialects'''

Social dialect is a variety of speech associated with a particular social class or occupational group within a society. Also known as a sociolect, group idiolect, and class dialect. The term sociolect is a combination of the words 'social' and 'dialect', It includes professional terminology, jargon, cant, etc. Sociolects typically develop among groups of people who share the same social environments or backgrounds. Social factors that influence sociolects include socioeconomic status, age, occupation, and gender and so on.

Socioeconomic status typically refers to a person's class. The language someone uses will likely differ greatly depending on their socioeconomic status. This can all be linked to the education they received, the people they choose to spend time with (or can afford to spend time with), the job they do, and the income they make.

New words are added to the dictionary every year, and many words that were once common fall out of use. This is because language is constantly changing.These changes are often apparent when we examine the different sociolects across ages. Especially grandparents or someone older than you.

Occupation is about the jobs we do. As we learn and develop skills for specific jobs, we also pick up lots of new vocabularies along the way. Take a computer programmer, for example, they probably know and use a lot of technical 'jargon' that a neurosurgeon wouldn't understand, and vice-versa.

Gender is a little more controversial than the others as there is a lot of conflicting research around the differences in men and women's speech. Some researchers suggest that it is due to genetics, whereas others believe that women's lower status in society has impacted their speech.

Sociolect is a variety of language unique to a social group. It is important to remember that most people will use several different sociolects throughout their lives. Our speech will likely change depending on who we talk to and where we are. Think about why your speech differs from when you're at work and when you are hanging out with your friends. Sociolect plays an vital role in your social interactions with others, it can help you leave a good or bad impression for others, even influence you relations with others.(Xie Nana,2015)

===Challenges of Chinese Dialects===
The Chinese regional dialects are shrinking or even dying out at a very rapid rate, and many of the dialects have become completely alien to young people. On the other hand, regional dialects are assimilated by mandarin. On the other hand, the regional dialects have gradually lost their soil and the young people are gradually alienated from the regional culture embedded in the dialects. There are four reasons that can better explain this situation.

First, the increasing development and convenience of transportation have made it possible for the population to move around frequently on a large scale, and people in different regions can break the communication barriers by speaking Mandarin. The promotion results have seen remarkable progress in cities, and in rural areas, the regionalects are local residents’ common communication means, however, since more and more rural immigrants work in the cities, their dialects have been gradually assimilated under a new working and social environment where mandarin is the main language.(Zhuang Chusheng,2017)

Second, television and Internet media that require and promote Mandarin to bolster mutual understandings and exchanges. In most media platform, the host are required to speak fluent Mandarin, and after the audience gradually accepts massive inputs of Mandarin, their dialects are rapidly assimilated.(Zhuang Chusheng,2017)

Third, the promotion of Mandarin has been intensified by Chinese governments. Since the promotion of Putonghua has been carried out extensively, more and more remarkable results have been achieved, dialects are bound to face the dilemma of shrinking. From primary and secondary schools to the whole society, Putonghua has become a leading language in the Chinese society, no matter where you go, you can notice the promotion slogans. In China, there are an important test for your mandarin level, that is The Putonghua Proficiency Test or Putonghua Shuiping Ceshi (PSC), is an official test intended for native speakers of Chinese languages, Candidates who pass the test are given a Certificate of Putonghua Proficiency Level at levels 1, 2 or 3, each of which is subdivided into grades A and B, and the majority of Chinese students will try to get a good grade, this is because they regard the certification as an additional skill when they are seeking jobs, it is conducive to job-seekers especially those working in broadcasting, education and government sectors. (Zhuang Chusheng,2017)

Finally, many young people took pride in speaking Mandarin and felt that the regional dialects are too old-fashioned. Even some young people felt ashamed of speaking their dialects, and they grew up in a Mandarin environment in which parents, teachers, and their friends all speak Mandarin, this has a serious impact on the transmission of regional culture.(Zhuang Chusheng,2017)

===The Transmission and Inheritance of Chinese Dialects===
Firstly, in the perspective of official authority, the language authorities should issue policies to protect the regionalects in the same way as they do for Madarin, so as to raise awareness of speaking regionalect in the community, specific measures such as instruct relevant departments to carry out special publicity on dialect culture, establish relevant regulations for the protection of dialects, and do the academic rescue work of good dialects, to construct a Chinese dialect museum to preserve and display Chinese dialects. The construction of a virtual language museum has also become an important aspect of the protection of language resources, and use advanced technical tools to collect, preserve, display and develop language resources, these efforts will better preserve the dialect culture and make it easier for future generations to do better understand dialect culture and promote the publicity and inheritance of dialect culture.(Zhang Shifang,2017)

Secondly, the mass media have to play its own role in promoting the vernacular language through various modes of communication, to stimulate the interest of the public in learning a regional dialect, the media can also make use of the dialect culture in television programmes wherever appropriate. In addition, diversify the broadcasting form of culture, such as promoting the popularity of Cantonese, spreading the traditional Chinese opera based on local languages, launching the shows to disseminate local culture with the aim of attracting the young people’s sense of belonging and inspiring them to carry forward the regional dialects. Besides, influential local shows can invite indigenous celebrities to promote regional dialects for their hometown.(Zhang Shifang,2017)

Thirdly, It is everyone's duty to preserve our regional dialects. Older people can communicate with younger people in their regional dialects to promote the transmission of it, young people should increase frequency of speaking regional dialects in daily life, and the parents should set a good example for their children and value the significance of regional dialects with an insightful and far-seeing wisdom, these efforts will stimulate a sense of responsibility and enthusiasm for learning regional dialects in youth, and enhance their sense of identity with Chinese culture, fully mobilize social forces, mobilize the enthusiasm of all sectors of society, and carry out long-term protection. (Zhang Shifang,2017)
===Terms and Expressions===
level tone阴平

the rising tone阳平

the falling-rising tone上声

the falling tone去声

sub-dialects次方言

voiced stopper浊塞音

the voiced vowel浊元音

the air-sending clear vowel 送气清元音

fricative唇齿擦音.

===Questions===
1.What’s the differences between regional dialects and social dialects?

2.How many groups of regional dialects in China?

3.How to protect and promote the Chinese regional dialects?

===Answers===
1. First, social dialects are different due to class discrepancies and other social factors, while regional dialects are different due to geographical discrepancies. Second, the distinction between social dialects is vague, while the distinction between regional dialects is clear for its geographical boundary; Third, social dialect can be easily influenced by external factors such as age, education, and professions, and the regional dialect has a relatively stable development.

2.Seven

3.The language authorities should issue policies to protect the regionalects; the mass media have to play its own role in promoting the vernacular language through various modes of communication; It is everyone's duty to preserve our regional dialects.

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==英语笔译王亚娟 Wang Yajuan 202170081598==

<center>'''Filial Piety in China'''</center>

<center>Wang Yajuan</center>

===Introduction===
Filial piety has been a tradition of the Chinese nation since ancient times and has been passed down from generation to generation. As the core concept and main feature of traditional Chinese ethics, filial piety has long been priority in the traditional Chinese politics and cultures. (Xiao Longhang 2006: 1)China's unique patriarchal social system determines that filial piety goes through a process from a religious ethic of ancestor worship to a family ethic and then to a political ethic.

Since the pre-Qin period, monarchs have advocated respect for the elderly and used filial piety to educate the people; thinkers from various periods have put forward their ideas about respect for the elderly and have written books to preach it. In feudal society, when the system was thriving, filial piety was closely linked to politics and became a criterion for selecting talents; in modern society, filial piety has also been given a new meaning in the modern era. (Fan Yan 2016;11) This article will focus on the origin and development of filial piety in China, analyze the cultural values and limitations of filial piety of Chinese filial piety, then briefly compare and analyzes Chinese and western filial piety, finally a brief conclusion about filial piety will be given.

===Origin and Basic Meaning of Filial Piety===
The exact origin of the idea of filial piety is still inconclusive in academic circles. Because in the absence of exact archaeological findings and written records, all conclusions drawn by scholars are only speculations, with imaginary approximations but no factual results. Therefore, the origin can only be explored in the ancient literature. (Wang Xiaohu 2014:3 .)

The explanation of filial piety in ''Erya-Shihun''(《尔雅·释训》) is "being nice to parents is filial piety"; the explanation in Relics from South is “The Chinese character ‘孝’(filial piety) is a combination of the Chinese character ‘老’ (old) with the lower right corner omitted, and 子 (son), thus, 孝 means to serve one's parents well, and it means that children respect and support their parents.’’ Today's scholars interpret the Jinwen（金文inscriptions on ancient bronze objects） form of filial piety in much the same way as the above, and the explanation of filial piety in ''the Ci Hai''(《辞海》) is “to be nice to parents well”, which is almost identical to the explanation in the Erya；Tang Yin's ''On the Origin of Characters''《文字源流浅说》 is even more interesting: “Like a '子'（son） walking with his head bearing ‘老’（the old man）, showing ‘孝’（filial piety） by the shape of supporting an old man to walk.’’ It can be seen that the ancient form of the character "孝”（filial piety） and the meaning of "nice to parents" match perfectly, so "filial piety" is regarded as a kind of good deed and virtue of children to their parents. (Yang Jianhai 2017:10)

In history, records of "respect olders" first began with Three Sovereigns and Five Emperors:"昔者，有虞氏贵德而尚齿，夏后氏贵爵而尚齿，殷人贵富而尚齿，周人贵亲而尚齿”（From the time of Yu and Shun, although they respected virtuous people, they did not forget to respect older people; in the Xia Dynasty, although they respected people with titles, they did not forget to respect older people; in the Yin Dynasty, although they respected people with money, they did not forget to respect older people; in the Zhou Dynasty, although they respected people with kinship, they did not forget to respect older people.”）and “有虞氏养国老于上庠，养庶老于下庠；夏后氏养国老于东序，养庶老于西......(Fan Yan 2016:11)(In the era of the yu, the retired senior officials were entertained at the upper school and the retired scholars at the lower school; the offspring of Xia entertained the retired senior officials in the east and the old people in the west...)

From the available information, the Jin dynasty appeared on the "filial piety" records, such as "“天子明哲，观孝与申（神）”(The emperor judged a man's virtue by his filial piety and religious belief) People in Yin Period believed that the ancestors could directly worship God and are the main medium between God and the human world. Since the ancestors were the medium between the human world and the divine world, they naturally became the masters of the earth and thus could bring disasters and blessings. (Yang Jianhai 2017:134)This is the reason why the Yin people attached special importance to heavy burial and had religious worship of their ancestors.

After King Wu of Zhou pacified the world, he redistributed the world and restored the social orders, therefore, Zhou Dynasty not only inherited the traditions of the previous dynasties, but also created customs and festivals to honor and respect the elderly. For example, the "乡饮酒（country drinking ceremony）" was a unique form of village gathering in the Zhou Dynasty, where the younger generation expressed their respect to their elders by making a toast. During the banquet, ancient songs or chapters from ''the Book of Songs''(《诗经》) were played to praise the virtue and prestige of the elderly. (Fan Yan 2016:11)

Filial piety in the sense of ethical norms is not fully highlighted until Confucius: "“夫孝，天之经也，地之义也，民之行也。”(Filial piety, like the operation of heaven, is eternal and unchanging; like the natural growth of all things on earth, it is natural and justified, and is the natural behavior of the people.）and “天地之性，人为贵。人之行，莫大于孝。”"The nature of heaven is valued by man. The conduct of man is no greater than filial piety." Mencius inherited this view and proposed, "“事孰为大？事亲为大“（What is the greatest thing to do? To serve one's parents is the greatest） (Fan Yan 2016:11). Confucianism believes that filial piety and respect for one's elders is a natural and righteous thing to do, and it is the foundation of one's life.

Confucianism has laid the foundation for the most influential part of filial piety in Chinese people for more than two thousand years because Confucian sages, represented by Confucius, completed the transformation of filial piety from religion to philosophy, from "pursuing filial piety" to "nurturing filial piety" during the Spring and Autumn and Warring States periods. As we all know, Confucius created a philosophical system with "benevolence" as the core concept, reinterpreting the Western Zhou "rites" from the viewpoint of "doctrine of benevolence". He also believes that filial piety is no longer due to the external pressure of society and the constraints of gods, but is an emotional demand and moral consciousness from people's heart and he also combined "filial piety" with "rites", saying that one should treat one's parents and elders with "生，事之以礼；死，葬之以礼，祭之以礼’’ (Yang Jianhai 2017:135)(rites in life, rites in burial, and rites in sacrifice) .

===Evolution of the Meaning of Filial Piety===
After the formation of filial piety in the time of Confucius, it continued to develop.

1.The Han and Wei And Jin Period

During the Han Dynasty, there was a more obvious trend of expanding the idea of filial piety, and after the adoption of Dong Zhongshu's proposal of “罢黜百家，独尊儒术（dismissing the hundred schools and respecting only Confucianism）”, the Han Emperor began to promote Confucianism. The idea of "filial piety" was closely related to social politics, and during the Western Han Dynasty, the implementation of filial piety was encouraged through the establishment of an official for filial piety, and the old caring was established as a system, which had extremely severe legal penalties for those who were not provided for their parents - would to be beheaded.(Ma Yaobin 2017:101)Through such external coercive norms, instead of focusing on the internalization of the idea from the heart, the idea of filial piety was heavily colored by politics, making the people's filial behavior more formal.

From the beginning, the rulers of the Wei and Jin periods advocated the rule of the state by filial piety as the basis of governance and he sets an example for all his subjects by serving his own mother personally. The rulers of the Wei and Jin dynasties attached great importance to ''the Classic of Filial Piety'', not only having the great scholars teach it, but also made notes themselves. When the emperor lectured on ''The Classic of Filial Piety''(《孝经》), he had to be accompanied by important ministers, and there was a clear division of labor, including lecturing, reading, reading and extracting sentences. (Fan Yan 2016：12)

2.The Tang Dynasty, Song and Yuan Dynasty

In the Tang dynasty, although filial piety was still not given much attention, the ethics of filial piety was still enriched and developed by the royal family out of the need to rule. First, Emperor Xuanzong of Tang twice annotated ''The Classic of Filial Piety''(《孝经》), which became the common version used today; second, The Classic of Filial Piety became a compulsory subject for the imperial examinations; third, ''Tang Code''（《唐律疏议》）, which is the highest legislative achievement of the Chinese legal system, pays special attention to filial piety, in which there are 58 articles that can reflect "filial piety".（Yang Zhigang 2012：262）

During the Song and Yuan dynasties, the traditional idea of filial piety in China was to a certain extent alienated, for example, the filial sons and acts of filial piety in the book ''24 Stories of Filial Piety''（《二十四孝》） which was written in the Yuan Dynasty, could find their prototypes in the Song Dynasty. ''24 Stories of Filial Piety'' was collected by Guo Juijing of the Yuan Dynasty, with many versions and mostly similar contents, recording the stories of twenty-four filial sons from the ancient times to the Tang and Song dynasties, such as Zhongyu "carrying rice for a hundred miles" and Wang Bao "hearing the thunder and weeping at the grave" and so on,which all reflect the deepest concern and respect of children for their parents, and even after their parents have passed away, they are still able to respect and raise their parents. . (Ma Yaobin 2017:101) However, there are also some foolish acts of filial piety, such as Guo Ju's "burying his son for his mother"and Wang Xiang's "lying on ice for seeking carp for mother", which are either the loss of basic humanity or foolishness, and are not worth promoting.

3.The Ming Dynasty and Qing Dynasty

During the Ming Dynasty, against the backdrop pf reinforced centralization of power and people’s confined minds, filial piety was advocated in a perverse way, and it was the darkest period of feudal culture. Luo Lun said in the Outline of Principle of Feudal Moral Conduct(《扶植纲常疏》): "孝者，天之经也，地之义也。国而非此不可以为国，家而非此不可以为家。’’(Filial piety is unalterable principle. Without it, the country can not be the country and home can not be home ) (Xiao Longhang 2006:9)There were many loyal subjects and many filial sons in the Ming Dynasty, but many of them were foolishly loyal and blind filial people under the dark rituals,which had a profound influence on later generations.

The Qing dynasty, as a foreign regime, after entering the country to inherit the great unity, continuously learn the Han culture and also with the power of "filial piety" to rule, and the Kangxi emperor placed emphasis on the three principles and the five rules in which the "filial piety" was put in the first place. He believed that to rule the world, the emperor should respect the rule of filial piety. At the same time, the folk power also spared no effort to promote and publicize filial piety with the help of popular teaching materials, such as ''The Hundred Filial Piety Charts''(《百孝图》), which were widely disseminated until the late Qing Dynasty and the early Republican period. (Yang Jianhai 2017:137)

4.In Modern Times

In modern times, new reform and revolutionary forces have become increasingly critical of traditional filial piety, and南京临时政府《临时约法》( ''the Provisional Treaty'' enacted by the Nanjing Provisional Government) , completely ousting Confucianism, which had ruled China for a long time, making democratic thought the mainstream ideology of the democratic revolution. (Li Renjun 2010:42)

The New Culture Movement （新文化运动）made an unprecedented rethinking of filial piety. In his essay ''Speaking of Filial Piety''(《说孝》), Wu Yu pointed out that "the original meaning of filial piety is to gratitude." It is a social virtue for children to care for their parents, but it is wrong to derive other morals from it while Chen Duxiu believed that the adverse effect of the patriarchal system, with its emphasis on filial piety was to exacerbate social inequality." Lu Xun, who was a master of ideas in establishing a new type of ethical relationship between parents and children during the New Culture Movement, believed that love and respect was the cornerstone of establishing a new type ideology between families, "To expand this love, one must understand and take the child as the principal; secondly to guide instead of commanding or chastising; and third, to liberate, so that the child becomes an independent person." (Xiao Qunzhong 2001:124)

In short, during the New Culture Movement, these thoughts about the establishment of a new ethic of father-child relationship, which was consistent with the slogan of "democracy, science, advocating new morality and opposing old morality"at that time. (Li Renjun 2010：43)This new concept of "freedom and equality" also laid the ideological foundation for the establishment of new relations in modern times.

5.In Contemporary Times

In contemporary times, people have begun to adhere to the Marxist and rethink the current development of filial piety and its practice in our country. In recent years, when the song "《常回家看看》''Come home often''" has entered thousands of households, filial piety has once again become a hot topic. People are beginning to rethink the idea of filial piety in the context of the new era, and general public is focusing more on the concern and reflection on parents' emotions. (Ma Yaobin 2017:102)

===Influence of Filial Piety on China===
Filial piety has a long history as a traditional Chinese ethical culture and has a universal influence in society. Its strong power has played a great role in consolidating the centralized rule of feudal dynasties and stability of civil families in successive generations. (Li Renjun 2010：45) However, many of these views are feudal dregs that are having a negative impact on society.

1.Negative Influence

In our history, the concept of filial piety has had many shortcomings.

(1)Fool the People

Traditional filial piety emphasizes the "three principles and five rules" to fool the people, just as Confucius said: "民可使由之,不可使知之"(With the people, we can only make them do what we want them to do, not why they want to do it). By propagating the idea of loyalty and filial piety and polarizing it, the people were made obedient and the ministers were made loyal, not thinking of rebellion and rarely rebelling. Wu Yu points out that “China has been turned into a big factory for the production of obedient people. Such is the great role of the word filial piety!" (Zhao Qing, Zheng Cheng 1985)

(2)Inequality

The relationship between ruler and subject, father and son in traditional filial piety and the resulting hierarchical concept lead to the inequality between people. Although it involves the idea of respecting the old and loving the young, it is always the "elders" that is absolutely dominant. (Xiao Longhang 2006:29)

(3)Feudalism

Filial piety that has been transformed by the ruling class and used to rule the people, should be criticized and discarded. The meaning and role of filial piety has been mystified, and myths and legends about filial piety being able to sense heavenly things have spread throughout the world. (Li Chunhua, Yu Dahai 2006:26) As a result, there were some extreme cases and some people did inhumane things, such as hurting themselves to benefit one's parents and kill one's son to support his mother, thus exerting a bad impact on history.

(4)Conservativeness

Persevere and unity can be said to be the basic spirit of Chinese filial piety. Filial piety emphasizes respect for ancestors and treating parents well, "三年无改于父道”（He didn't change his father's ways for three years）, and respect and obedience to their parents and ancestors,and if not, they are regarded as "rebellious sons" and "black sheep" and are severely reprimanded. Moreover, it is very conservative and unequal, as the sons identify with their fathers and submit to them. (Xiao Qunzhong 2001;42 )

2.Positive Influence

Despite the many shortcomings of filial piety, we cannot deny the positive role it has played in our country's history:

(1)Shaping the Character of People.

Filial piety is the basis for establishing one's character. Sima Guang of the Song Dynasty said, "治身莫先于孝”(There is no better way to sahp one's character than by filial piety.) "夫孝，始于事亲，中于事君,终于立身”(Filial piety begins with serving one's relatives and ends with serving the king,Finally, it is the foundation of shaping one’s mind.)" The scope of falial piety no longer limited to the family, but a social cause. (Xiao Longhang 2006：28)The responsibility to parents and family constitutes an inexhaustible motivation for the ancient people to build their career and dedicate themselves to the country and the nation, which promotes social progress.

(2)Promote Family Harmony

Filial piety, that is the core foundation of family harmony. Our parents are the source of our life. The affection between children and parents is deepest, and filial piety is the fundamental of being a human being. "睦于父母之党，可谓孝矣”If you are good to your parents, you can be considered filial" (Shen Shanhong 19895 ). Being filial to parents is conducive to improving family relations, creating a sense of wholeness and harmony in the family, and promoting the development of all members of the family.

(3)Enriching Chinese Culture

As traditional Chinese culture dominated by Confucian culture, with Confucianism, Buddhism and Taoism interlinked, filial piety is the mainstream of Confucianism, and also is found in Shi and Tao, and has contributed to the development of Shi and Tao culture. The Buddhist scriptures such as ''The Anthology of Hong Ming''(《弘明集》) and the Taoist scriptures such as ''Scripture of the Great Peace''（《太平经》）are also rich in filial thoughts. (Xiao Long Hang 2006:33)In addition, with the passage of time, filial piety gradually integrated into the fields of philosophy, literature, art, and folklore, playing an expanding role for the national culture.

(4)Maintaining Social Stability

“其为人也孝弟，而好犯上者鲜矣。不好犯上，而好作乱者，未之有也。”（It is rare to see the kind of person who is filial to his parents and loves his brother but likes to offend his superiors; it is even more rare to see the kind of person who does not like to offend his superiors but likes to rebel.）"“事亲者，居上不骄，为下不乱。”(Ning Yegao 1995)反之，“居上而骄，为下而乱则刑，在丑而争则兵。“（He who serves his parents is not proud when he is in a higher position, not disruptive when he is in a lower position, and not contentious when he is among the people. If you are proud in a higher position, you will perish; if you are disorderly in a lower position, you will be punished; if you are angry among the people, you will be attacked.）This kind of conduct, which has been honored for thousands of years, does have a deep meaning and a realistic role. Moreover, the value of filial piety does not lie only in loving one's relatives, as filial piety begins with loving one's parents and then moves on to love people and love society. Therefore, filial piety is conducive to social harmony.

===Comparison between Chinese and Western Filial Piety===
Filial piety in both China and the West emerged with family, and its initial meaning is basically the same: filial to parents. (Lian Luxia 2012:) However, Chinese and Western filial piety are based on different geographical, political, economic, and cultural conditions, which influence the differences in the Chinese and Western understanding of the meaning of filial piety.

(1) Differences in the Objects
In the feudal society, parents had absolute authority. After entering feudal society, Chinese filial piety culture developed from respect for parents at the family level to loyalty to the ruler at the social level. By promoting filial culture, feudal rulers were able to achieve their political indoctrination and feudal rule. In an environment that preached the combination of loyalty and filial piety, and the integration of family and ruling (Li Xiang, 2010:52), filial piety was even bound to people as a code of conduct in ancient patriarchal societies.

In the West, the meaningful of filial culture at the social level is not significant, and its mainly refers to respect for parents. Unlike China, however, respect does not mean absolute obedience, and the West attaches more importance to the personal independence between parents and children, and it is more often reflected in the religious sphere. (Huang Shujuan 2021:190)

(2)Differences Between Chinese and Western Family Ethics

Confucius said, "事父母几谏，见志不从，又敬不违，劳而不怨。(Serve your parents, and if they are wrong, politely advise them. If you express your own opinion and your parents are unwilling to listen to it, you should still be respectful to them and not disobey them, and work for them without resentment.)" Chinese feudal society took filial piety as the fundamental of feudal rule. Influenced by Confucianism, parents and elders had absolute authority in the family, and filial piety was reflected in the attitude and behavior of children toward their parents.

The West pursues equality and believes that all men are born equal, and that the relationship between children and parents is also equal. According to Rousseau, "The most primitive society, the only natural society, is the family; the son is dependent on the father only when his protection is needed, and once this need ceases, the natural union breaks down. Each becomes equally independent of the other." (Hu Yuanjiang, Chen Haitao, 2007:48)

All in all, the differences between Chinese and Western attitudes to filial piety exist objectively, so in the face of this difference, one cannot simply judge it by good or bad and the two cultures in different countries are valuable treasures for all mankind. (Lian Lu Xia 2012:203) Today, the Chinese and Western cultures of filial piety are influencing each other and learning from each other because Chinese culture of filial piety shines with the light of humanity, while Western pension system is conducive to economic development. With the continuous development of globalization, western societies can learn from Chinese love and care for the elderly while in the face of social problems such as population aging, there should be more equal between Chinese elders and youngers.

===Conclusion===
Filial piety has profoundly influenced the habits, psychological qualities and national spirit of our nation. According to Mr. Wei Yingmin, "filial piety is not only applicable to one society, one class or one era, but it is super-class or cross-era, and it is applicable in several eras" (He Naichuan 2002).

In the study of filial piety culture in China, we analyze the history of filial piety as well as its values and drawbacks. We can have a clearer understanding of filial piety, and then better take its essence and remove its dross. Traditional culture is to be traced and analyzed in order to inherit and innovate.

Filial piety is not only an ethical requirement, but also a tool of the feudal rulers in history and in recent times, people have gained a deeper understanding of filial piety through the inheritance and renewal of traditional culture. Respect for elders is a need for human development, and traditional culture plays an important role in maintaining family relationships. At present, China vigorously promotes the core values of socialism, and a harmonious and stable society needs filial piety to play its positive role, so under the new situation, it is the mission to inherit and carry forward the reasonable part of traditional culture and actively explore a new way to deal with filial culture.

===Terms and Expressions===

===References===

===Questions===

===Answers===

==英语笔译肖冬晴 Xiao Dongqing 202170081599==
<center>'''On Verbal Humour in Chinese Sketch Comedy from the Perspective of Violating Cooperative Principle'''</center>

<center>Xiao Dongqing</center>

===Abstract===
As a common linguistic phenomenon, verbal humour is an important part of our daily communication. Grice’s cooperative principle is one of the major principle of pragmatics which is ubiquitous in people’s daily conversations. Therefore, it could provide a new perspective from which we analyse verbal humour. Chinese sketch comedy, also known as Chinese Xiaopin, is an art commonly performed by a group of comic actors or comedians presenting a series of short, amusing scenes called “sketches”. This thesis intends to work out the mechanisms of verbal humour in Chines sketch comedy from the perspective of violation of cooperative principle. It reveals in this special art form the violation of quantity maxim, quality maxim, relation maxim as well as the manner maxim in the process of analysing and proves that the violation of cooperative principle could avoid taking verbal humour at face value and arouse deeper thinking about this topic.

===Key words===
Verbal humour; Chinese sketch comedy; cooperative principle

===Introduction===
Humour plays an important role in people’s daily conversations. As a kind of lubricant of verbal communication, it creates an easy and comfortable environment, provides a happy and relaxing atmosphere and helps bring interlocutors closer. Researches and studies on this topic at home and abroad could date back to as early as the 4th century B.C. when the ancient Chinese poet Qu Yuan composed “There in front of me remains nothing but vastness and silence(眴兮杳杳，孔静幽默)” in his masterpiece ''The Nine Elegies'', meaning vastness.

However, the “humour” this paper talks about is the one transliterated by Lin Yutang. At home, researches on humour have greatly progress since the 1980s. Li Lanping (2002) believes that there are intrinsic connections between the principles in pragmatics and the triggering of humour. She discussed the relationship between the two parts under the guidance of the basic principles of pragmatics and the theory of conversational implicature. Yang Ting (2020), on the other hand, analysed the linguistic phenomenon of humour to further decipher the mechanism of it from the perspective of phonetics, semantics, pragmatics, contexts, figures of speech and logic of languages respectively. Ge Lingling (2011) focused on the translation of humour texts from the perspective of verbal humour so as to figure out the translation pattern of texts of this kind.

Abroad, researches on humour are multidisciplinary, involving anthropology, psychology, sociology, linguistics, semiotics and artificial intelligence which are ultimately centred on superiority theory, release theory and incongruity theory. For instance, Charles Gruner explained that wonder is an essential element of humour and that there is always a “winner” and a “loser” in humourous contexts. Freud the representative figure of release theory analysed the mechanism of humour from the perspective of psychoanalysis and divided jokes into intentional ones and unintentional ones(Cai Hui, Yin Xing, 2005:5). Kant was said to be the first to denote humour from the perspective of incongruity theory who pointed out that humour comes from a sudden twist from expectation and the inaccessibility of it(Cai Hui, Yin Xing, 2005:5).

There are studies concentrating on the mechanism of humour in comedy. For example, Dang Fengxiao and Cheng Xiongyong(2021) studied on the humourous language in sketch comedy from the perspective of speech act theory while Wei Ya'e studied the sketch comedy presented by Mahua Funage using logic rules. Looking across the border, Adesoye Ronke Eunice (2018) investigated humour and how it is achieved using phonological processes. Parashar Poorva and Tewari Paul (2020) analysed the humour in The Lonely Island and tried to work out its essence as well as how absurdism and stupid comedy provides insight into millennial and internet psychology. Alex Clayton (2020) studied humour from the perspective of rhetoric through vivid, highly readable analyses of individual sketches.

From all the above, it’s clear that the studies on humour are basically centred around linguistics, literature and figures of speech while researches abroad are involved with more disciplines ranging from anthropology to AI. What’s worth mentioning is that although humour was first brought forward in China, researches on this topic went through a far longer history in the west which could date back to the ancient Greek times. Meanwhile, researches on verbal humour in Chinese sketches are rare. Therefore, it’s necessary to work further on this subject. This thesis will adopt the cooperative principle to analyse the relationship between verbal humour in Chinese sketches and the violation of the principle in which the theoretical basis of cooperative theory, its classification as well as the detailed analysis of its four kinds of violation in Chinese sketch comedy will be covered.

===Cooperative Principle===
Conversational implicature as the core principle of pragmatics theory was first proposed by Oxford philosopher Herbert Paul Grice. Grice noticed that in daily conversations people do not say thing directly but tend to imply them. He believes that there is some regularity in conversation. “Our talk exchanges do not normally consist of a succession of disconnected remarks, and would not be rational if they did. They are characteristically, to some degree at least, cooperative efforts; and each participant recognizes in them, to some extent, a common purpose or set of purposes, or at least a mutually accepted direction.”(Herbert Paul Grice, 1975:45) In other words, we seem to follow some principle like the following: “make your conversational contribution such as is required, at the stage at which it occurs, by the accepted purpose or direction of the talk exchange in which you are engaged.”(ibid.) And this principle is known as COOPERATIVE PRINCIPLE, or CP for short.

To further specify the CP, Grice introduced four key categories of maxims, namely quantity maxim, quality maxim, relation maxim and manner maxim, each of which contains several specific maxims and sub-maxims. In simple terms, quantity maxim is to be informative, quality maxim is to be truthful, relation maxim is to be relevant and manner maxim is to be clear. These describe specific rational principles observed by people who follow the cooperative principle in pursuit of effective communication. Therefore, applying the maxims is a way to explain the link between utterances and what is understood from them.

Yet the use of terms such as “principle” and “maxims” does not mean that the CP and its maxims will be followed everywhere. Despite the wide use of CP in daily conversations, people would more often than not violate these principles in actual communication. When basic communication is interfered, it’s common for people to notice the violation of CP. As a result, the hearer has to make efforts to figure out the implicature so as to understand what the speaker means. Conversational implicature, in fact, is the direct cause of humour. Speaker only violates CP to achieve a sense of humour when the hearer manages to interpret the conversational implicatures under the surface and enjoys the pleasure brought by humour.

===Chinese Sketch Comedy===
Chinese sketch comedy first gained popularity after the Spring Festival Gala in 1984 when comedian Chen Peisi presented “eating noodles” on stage with his partner Zhu Shimao. Since then, this art form embodying acting and setting on stage sprung up like mushrooms across China and underwent refinement after years of development. Famous sketch comedians include Chen Peisi, Zhao Benshan, Fan Wei, Guo Da, Pan Changjiang, Song Dandan and so forth. The advent of the millennial witnessed the flourishing of this artistic form in which passionate performances of the younger generation, with Shen Teng, Ma Li, and Jia Ling taking the lead, engaged with great enthusiasm and produced a series of humourous yet educational works.

'''3.1 Historical origin'''

Chinese Sketch comedy got its name from art schools and performing groups. In the performing art community, the single or group performance which creates a simple scene through body and language is dubbed as “sketch comedy”, an event originally adopted to examine the basics of students of performing arts when teachers threw a topic during an interview and students were required to respond to that on the spot.

As a form of performance about small things in people's daily lives, Chinese sketch comedy has inherited qualities, and developed from other forms of comedy, such as stage play, xiangsheng, errenzhuan and comic drama and is generally believed to originate in the 1980s. Normally, sketch comedy revolves around just one topic, but with a lot of action and lively language. With the help of the promotion by the annual Spring Festival Gala, Chinese sketch comedy became a very popular artistic form in China. The first sketch comedy in China was“eating noodles” (in 1984) which was performed by Chen Peisi. Classic Chinese sketch comedy includes “Blind Date” performed by Zhao Benshan and Huang Xiaojuan in 1989, “The Adventures of Migrant Worker” led by Gong Hanlin and Zhao Lirong in 1996 and “Selling Crutches” by Zhao Benshan and Fan Wei in 2001, etc. Famous comedy groups in operation are DEYUNSHE initiated by Guo Degang, Mahua FunAge best known for its member Shen Teng, Big Bowl Entertainment led by Jia Ling, Zhao Benshan and his students, and Shanghai Xiaoguo Culture started by Li Dan, in which Mahua FunAge, Big Bowl Entertainment and Xiaoguo are still active on screen taking up sketch comedy, the Zhao’s team play “partially” for its fans in China’s northeast and DEYUNSHE mainly focus on passing on crosstalk to the next generation for the audience.

'''3.2 Features of Chinese Sketch Comedy'''

Chinese sketch comedy is sharp and witty, with simple plots, which represents as the most fundamental character that distinguish itself from other forms of art and performance. It may not be as sophisticated as other stage performances such as drama and opera, but it is able to render to its audience wisdom and thought-provoking perceptions based on its witty dialogue wrapped up in humour.

Chinese sketch comedy is also an art form that is highly narrative. As many of the topics are directly taken from the life of the people living in the grassroot, it appeals to all ages and entertains people from all works of life. Stories are the fundamental part of sketch comedies which are presented by the characters and the development of the plot interwoven with hookers of suspense, surprise and sudden changes.

Laughter is what sketch comedy aims to achieve ultimately. As the embodiment of stage play, xiangsheng, errenzhuan and comic drama, the modern sketch comedy manages to give the strengths of the artistic forms into full play with the help of modern technology, throwing humourous verbal “packages” consecutively and smoothly to the audience in the hope of eliciting ecstasy from them.

After giving a brief explanation of the theoretical basis and development of Chinese sketch comedy, the following chapter is to elaborate and exemplify the mechanism of humour in specific cases from the perspective of violation of CP in its four key categories, namely the violation of quantity maxim, quality maxim, relation maxim and manner maxim.

'''3.3 Classifications of Chinese Sketch Comedy'''

Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.

===An Overview of Cooperative Principle Violation in Chinese Sketch Comedy===
As the kind of sketch comedy presented on stage are plenty, the cases this thesis is to select and analyse are mainly to taken from the ones presented by Mahua FunAge and Big Bowl Entertainment. Here is the detailed analysis of the comic dialogues:

'''4.1 Verbal Humour Resulted from Violation of Quantity Maxim'''

Quantity maxim requires that the contribution is as informative as required. In other words, the contribution should not be more informative than is required. However, this maxim is often violated in daily conversation when too much or incomplete contributions are made, which is especially common and humourous when it comes to sketch comedy jokes. For example:

Hao Jian: Oh my god! Are you feeling alright? Where did you hurt?

The old lady (lying on the road groaning): Oh, my elbow! Oh, my kneecaps! And my waist! None of them are painful!

The example above is taken from “To Help or not to Help”(《扶不扶》) in the Spring Festival Gala in 2014. In the opening part of the comedy, Hao the biker was intended to get his broken bike repaired after a car accident. On the way to the repair shop, an old lady with memory problems accidentally slipped on the ice and fell at the back of his bicycle, mistaking him to be the one who knocked her down. In this dialogue, the old lady was expected to answer where was painful. However, she adopted a funny “elimination” method carrying a bunch of irrelevant body parts as her reply. By creating a surprise contrary to what most of the audience would tend to presume, conversations of this kind produce a comic effect by violating quantity maxim.

Here is another case taken from “Making Friends”(《投其所好》) played in 2015:

Official: Is it true that you loved playing ping-pong in your spare time at your department?

Hao Jian(interrupts): I apologise. It was me being too playful. I now see that I was wrong and I swear that I’ll never play ping-pong again! If I were to commit it again, I would have my hands cut……

This satirical sketch comedy focused on the social phenomenon of “making friends” through bribery in order to get things done. In the part mentioned, what the official intended to do was to persuade Hao to practise more and try to be proficient in table tennis so as to flatter the new boss. However, Hao misunderstood the official. Instead of giving a “yes” or “no” to the question, he added up many remarks and even made an oath. It was the violation of quantity maxim in his clumsiness that made this part of acting hilarious.

'''4.2 Verbal Humour Resulted from Violation of Quality Maxim'''

Quality maxim requires the interlocutors to be sincere and talk about true things. It has two sub-maxims, namely “do not say what you believe is false” and “do not say that for which you lack adequate evidence.” But in real life, this maxim is also often violated by people who tries not to hurt other people’s feelings or who with special intensions. Here is an example from “The Real and Fake Teacher”(《真假老师》) made its debut on the stage of the Spring Festival Gala in 2018:

Teacher: Nice to meet you, Madam, I’m Xiaoming’s head teacher, Ms Jia.

Cleaner: You too! I’m Xiaoming’s mother, Jia (the surname ‘Jia’ and fake are homophones in Chinese. Here the cleaner accidentally blurted it out).

Teacher: Excuse me?

Cleaner: I mean, my family name’s also Jia.

Teacher: But I remember Xiaoming’s parent is called Wang Guixiang(apparently a girl’s name)…

Cleaner: And that’s his father.

Teacher: Zhang Xiaoming actually had a father named Wang Guixiang?

Cleaner: You see, we are from a quite complicated family…

In China, it is a tradition to name the child after the surname of one of the parents, normally that of the father. In this example, the cleaner tried to make a cover-up for her accident alleging the girlish name Wang Guixiang(meaning the fragrance of sweet-scented osmanthus) which has nothing to do with Xiaoming’s last name, belongs to the boy’s father. By stating consciously something fake one after another, the cleaner created a sense of humour.

Here is another example violating quality maxim from “Happiness of Today”(《今天的幸福》):

Wife: Tell me a little bit about your father please, baby.

Hao Jian: My dad is a huge success in the future! You know what, he even gets his name on the ''Fordes'' list!

Husband (poking Hao, whispering): It’s Forbes!

Hao Jian: Oh, right! Forbes made it later, too. Yet he still can’t hold a handle to my dad…

"Happiness of Today" was a sketch comedy inspired by the time-travelling drama and TV series such as “Palace”(《宫》) and “Treading on Thin Ice”(《步步惊心》). In this scene, Hao Jian was asked to play the son of the wife of his friend who travelled all along from the future back to the present to reassure the “mother” who’s in labour and mitigate her prenatal syndrome. In this example, Hao Jian was making up something that was clearly not true to humour his pregnant “mother”. What made this dialogue even more funny was his lack of knowledge about the “Forbes list” and the clumsy cover-up he made after correct hints from his partner.

'''4.3 Verbal Humour Resulted from Violation of Relation Maxim'''

Relation maxim is not only one of the most important maxims of the pragmatics theory, but also a protocol with which should be complied by all. It requires speakers to talk about things which are relevant to the topics. Violation of this maxim could bring about humour as well. The following examples are also taken from the sketch comedy “The Real and Fake Teacher”:

Xiaoming: You see, I am a high school student. Recently I have made some mistakes at school and my teacher is about to conduct a home visit. But the thing is, my parents are currently working abroad and I’m afraid my teacher be here at any minute, so I was wondering if you could, er, wow, that’s a little embarrassing…

Cleaner: Oh, I see. When will she arrive?

Xiaoming: She’ll be here at 10:00.

Cleaner: I’ll finish my job at 9:50 sharp.

In this example, what the student meant was to ask the cleaner to pretend as his mother so that there would be a parent present for the coming home visit. However, the cleaner misunderstood him and gave an irrelevant reply to the request. In this way, humour was generated.

Here is another example taken from this episode concerning the violation of relation maxim:

Teacher: You see, school education won’t do without the help of family education. After all, family is the place where goodness starts. These are the words of the famous educator Sukhomlynsky. I’m sure you must know about him, don’t you?

Cleaner: Eat… eat an apple, please.

In this case, the teacher quoted a motto from Sukhomlynsky, an influential educator from the Soviet Union to remind the “mother” the important role family and family education plays in a child’s development. However, the cleaner obviously had no idea of the educator and didn’t know how to respond. To avoid awkwardness and break the silence, she had only to hand the teacher an apple and divert her attention. In doing so, laughter was elicited from her irrelevant behaviour.

'''4.4 Verbal Humour Resulted from Violation of Manner Maxim'''

Unlike the three maxims above which focus on the contents conveyed in the process of talking, manner maxim mainly concentrates on the way how things are expressed. Its sub-maxims include to avoid obscurity of expression, to avoid ambiguity, to be brief and to be orderly. But this maxim is often violated in real life, too. Below is an example taken form the comedy “Happiness of Today” (《今天的幸福》) presented in the Spring Festival Gala in 2012:

Wife: My dear, what do you do then?

Hao Jian: (to the husband, whispering) Ah? Daddy, I don’t think we talked about this before …

Husband: Never mind. Just make up one! As if your mother were a master of the names of jobs.

Hao Jian: I scrub (the husband poking him)…wash…bathe…I study the epidermis of human beings!

Wife: Oh, you are a doctor then!

Hao Jian: You see, I specialise on ''dirt-ology''.

In this comedy, Hao was actually a bather whose main job was to help scrub and wash the dirt off the customers in a public bathhouse. When his “mother” asked him about his job, he described it in an obscure way and even coined a term to sound more professional. His words apparently violated the manner maxim, yet it is the obscurity that made the dialogue funny.

The second example in this section is another one taken from “The Real and Fake Teacher” about job inquiry:

Xiaoming’s father: What on earth do you do, Miss?

Teacher: Well, I can tell you with great proud that I am a gardener!

Xiaoming’s father: Gardener? Then why don’t you water the flowers outside right away?

The mechanism of humour in this example works a little bit differently from the one mentioned in the first place. Instead of using some obscure term to explain what she does, the real teacher Ms Jia selected the word “gardener” with dual meanings to make a self-introduction. Apparently, the package proved to be a success regarding Xiaoming’s father’s misunderstanding.

Here is another example taken from Jia Ling’s autobiographical sketch comedy “Hi, mom!” (《你好，李焕英》)debuted on the stage of “Comedy General Mobilisation”(《喜剧总动员》) in 2016. “Hi, mom!” was a play in which the heroine Jia Ling travelled through space and time to the 1980s to spend some time with her mother who had passed away in a car accident in the 21st century. In the prologue where the two heroines made their first appearance, here comes their dialogue:

Li Huangying: Come on, go inside and stay a while with your grandma!

Jia Ling: I can’t!

Li Huanying: What do you mean you can’t? She loves you a lot! How could you say such hurtful things?

Jia Ling: Because she can’t stop sewing my ripped trousers!

In the example above, Jia used ambiguity in her reply to her mother’s question. It was not until the viewers watch further that they found out why the granddaughter would be so reluctant when it comes to her grandma’s sewing trousers, an act that was supposed to seem loving and caring----it was about the contradiction in aesthetic taste between generations. In this way, Humour comes along with the explanation.

===Conclusion===
Humour plays an important part in people’s daily conversation which conveys abundant cultural connotations. Grice’s cooperative principle as the core of pragmatics, is also a guiding principle according to which people converse. Once CP is violated, pleasure in humour which comes along with it could be felt. As an artistic form playing an important role in modern China, Chinese sketch comedy has been entertaining its audience of all ages with its funny plots and packages embedded in verbal humour. This thesis selected the sketch comedy performed by Mahua FunAge and Big Bowl Entertainment on the stage of Spring Festival Gala as its corpus and studied the mechanism of verbal humour under the guidance of Cooperative Principle. It has been found that to a large extent, it is the violation of quantity maxim, quality maxim, relation maxim and manner maxim that generated the humour in sketch comedy. As an integral part of Chinese sketch comedy, verbal humour was created through constant violation of Cooperative Principle and its maxims.

However, limitations are inevitable as a result of time and the limited knowledge of the writer. Moreover, as the theories on linguistics are becoming increasingly abundant, analysis about verbal humour should be made from different perspectives and with diversified texts as well. Only through this process could verbal humour and its mechanism be further understood and Cooperative Principle further applied in research and studies.

===References===
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*Dang Fengxiao，Cheng Xiongyong (2021). Analysis of Humorous Speech Act in the Skit Help or Not Help[J]. International Journal of Education and Management, 6(1).

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*Yao Xiaomin, Song Liya.Verbal(2019). Humour in English Jokes from the Perspective of Violation of Cooperative Principle[J]. Harbin: Northeast Forestry University.

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*Ge Lingling 戈玲玲. (2011). 论幽默文本中本源概念的翻译模式——基于汉英双语平行语料库的研究[On the Pattern of Translating Alien Sources in Humourous Texts—— A Study Based on a Chinese-English Bilingual Parallel Corpus]. 外语学刊Foreign Language Research(01):117-122.

*Hu Zhuanglin 胡壮麟. (2017). 语言学教程[Linguistics: A Course Book]. Beijing: Peking University Press北京: 北京大学出版社.

*Li Lanping 李兰萍. (2002). 语用原则与英语幽默[On Pragmatic Principles and English Humour]. 天津外国语学院学报Journal of Tianjin Foreign Studies University(02):32-36.

*Wei Ya’e 魏亚娥. (2022). 幽默的产生与逻辑规律的违反——以沈腾春晚小品为例[The Generation of Humour and the Violation of Logic Law -- A case Study of Shen Teng's Spring Festival Gala]. 今古文创 JinGu Creative Literature(02): 95-97.

*Xu Jie, Zeng Xianmo 徐洁, 曾贤模. (2020). 以言致笑——从言语行为理论视角解析小品《扰民了您》中的幽默[Laughter through Words -- An Analysis of Humour in You Are Disturbing from the Perspective of Speech Act Theory]. 汉字文化Sinogram Culture(23):22-24.

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===Terms and expressions===
Chinese sketch comedy 小品

Cooperative Principle 合作原则

quantity maxim 数量原则

quality maxim 质量原则

relation maxim 关系原则

manner maxim 方式原则

Spring Festival Gala 春节联欢晚会

packages “包袱”

sweet-scented osmanthus 桂花

===Questions===
1. What are the maxims of Cooperative Principle?

2. What’s the name of the first sketch comedy in China?

3. How do you categorise Chinese sketch comedy?

===Answers===
1. There are four maxims in total, namely quantity maxim, quality maxim, relation maxim and manner maxim.

2. The first sketch comedy in China is “eating noodles” played by Chen Peisi and Zhu Shimao in 1984.

3. Chinese sketch comedy could be divided into different types with different names in accordance with the changing measurements. For example, from the size and scale of the art, Chinese sketch comedy could be classified into two types: multi-act ones and one-act ones. When looked from the perspective of the era of its theme, it could be divided into historical and modern ones. However, if it is categorised according to the effects of its artistic expressions, there are three kinds of Chinese sketch comedies, namely tragedy, comedy and tragicomedy.

==英语笔译肖佳莉 Xiao Jiali 202170081600==
<center>'''The Various Schools of Thought and Their Exponents During the Period from Pre-Qin Times'''</center>

<center>Xiao Jiali</center>

===1.Abstract===
The hundred schools of thought are the general name of various academic schools in the pre-Qin period. Among them, the three most influential schools are Laozi, Confucius and Shang Yang, and their views are different. The period from the sixth century BC to the third century BC, that is, the Spring and Autumn and warring States period, was the rejuvenation period of all schools of thought in the pre-Qin period. This period basically laid the foundation of Chinese traditional culture or Sinology, and there has been almost no major breakthrough since then. In this article, we divide the content of the paper into three parts, and respectively discuss the thought and background of Laozi, Confucius and Shang Yang, as well as their characters, and compare the differences and reasons between them. Through the above analysis to emulate the predecessors to face the reality, put forward new problems, put forward new ideas, and open up a channel for our future survival.

===Key words===
The Various Schools of Thought; The Period from Pre-Qin Times; Laozi; Confucius; Shang Yang

===2.Introduction===
There is an interesting phenomenon that between the sixth century BC and the third century BC, a group of thinkers who established early human civilization appeared in various parts of the world. For example, Confucius and Laozi in China, such as Sakyamuni in India, and a group of scholars represented by Isaiah who created the text of the Bible in the ancient Jewish state, such as ancient Greece from Thales to Aristotle. We will find that around the sixth century BC, the birth of human civilization in various parts of the world coincided with the emergence of a group of thinkers, known as the Axis Age.Why did this happen?

The writing purpose of this paper is not only to review the path of the development of ancient ideas, but also to let everyone know that when you are faced with a social transformation, a major social confusion is constantly spreading and the amount of information is increasing. How do you follow the example of your predecessors to face the reality, ask new questions and put forward new ideas? In this way, human beings will open up a channel for their future survival, which is the most important enlightening significance of this paper.

===3.Background of the genesis of the hundred schools of thought===
The pre-Qin period is the first great social transformation of Chinese society, we open our horizons, it is actually the first great social transformation of all mankind. How to transform? It took a very long time to transform and shape the way of life from gathering and hunting to the civilized way of agriculture and animal husbandry. The early days of agricultural civilization was only a marginal supplement to the hunting way of life. By around 600 BC, the civilization of agriculture and animal husbandry was fully mature, and the semi-agricultural and semi-industrial and commercial civilization of ancient Greece around the Mediterranean was also mature.

Therefore, the pre-Qin era of China caters to the axis era of the world has three major characteristics. First, the first great social transformation of Chinese society; second, the mature and fixed period of the first civilization of all mankind; third, the dazzling exposure period of the sprout of industry and commerce in ancient Greece, these three gathered together into the axis era. The pre-Qin era in China is the branch and manifestation of this axis era in East Asia.

So why has this era become a platform for many thinkers to think? There are three reasons.

First, there are a lot of problems in social transformation, which belongs to the exploration and inquiry in confusion and confusion. As we all know, in the period of human social transformation, the complexity of social structure presents many social and survival problems that human beings have never seen and never happened before, and these problems will make human beings face great confusion at that time. Thinkers seek answers on the basis of this confusion. Therefore, the period of confusion and confusion is a hotbed for the birth of a new culture. Therefore, when faith is broken and confused, we should not think that it is just a bad thing, it indicates that another crop of new culture and new ideas is about to happen.

Second, the complexity of survival increases, which can also be said to improve the difficulty of survival, the cost of survival, the degree of difficulty of survival and the degree of differentiation of survival structure. In this case, the amount of information is soaring, so people have to face the new survival structure and living environment, which is the second feature of the axis era and the pre-Qin era.

Third, the fragmented feudal system provides a relatively free and relaxed social and cultural atmosphere. In the pre-Qin period, China was typical and the only feudal era. At this time, ancient Greece was a city-state culture, that is, a small political bloc. The feudal states were also common in Europe until the Middle Ages. Therefore, it provides some social conditions for freedom of thought. For example, Confucius, if he could not stay in Lu, he could travel around the world; for example, Descartes and Voltaire in modern times, if he could not stay in France, he could go into exile to other countries and develop his own thoughts. So the fragmented political structure of that era provided a relatively free and relatively relaxed cultural atmosphere.

As for the cultural differences between the East and the West. Ancient Greek philosophers and Chinese sages faced different problems.

Because East Asia is a closed landform and is one of the three primitive agricultural bases of human beings, it is unable to exchange industry and commerce, so it is the most typical and concentrated agricultural civilization in the world. Agricultural civilization immediately led to a sharp increase in population and hundreds of times, so interpersonal and resource relations were particularly tense. So people in the pre-Qin period in China had to apply their wisdom to the discussion of human relations and social issues. And ancient Greece, because it was faced with a small Mediterranean, could obtain food through commercial exchange in North Africa and the near East, while the geographical conditions of ancient Greece were very poor, which forced them to develop a semi-agricultural and semi-industrial way of life, while industrial and commercial civilization obtained resources across localities, so their interpersonal and resource relationships were less tense than in East Asia. Moreover, its social structure is relatively simple, and its social problems are not prominent enough. in addition, industrial and commercial civilization needs innovation and the computing power of equipment manufacturing. this makes the ancient Greek philosophers devote their main energies to natural problems and to the study of mathematical precision and logic in geometry.

Therefore, in the face of a social transformation, it is inevitable to solve many problems, thus giving birth to great ideas.

===4.Different schools of thoughts===

===4.1The thought of Laozi===
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)
===4.1.1The introduction of Laozi===
The foundation of the whole thought of Sinology in China all took place in the pre-Qin period, that is, before Qin Shihuang unified China. Since then, China has hardly made any great achievements in the development of ideology and culture. With one exception, Indian Buddhism was introduced into China in the middle of the Eastern Han Dynasty. Even in the pre-Qin era, in the pre-Qin era, the highest point of thought is still the first ancestor of pre-Qin thought. Laozi and Confucius have a teacher-apprentice relationship. Confucius left a comment on this teacher: "I see Laozi today, like he is a dragon." This is the famous saying of Yulong. When I saw Laozi today, I finally knew what the dragon looked like.

At that time, Laozi was the national preservation history of the Zhou Dynasty, which was equivalent to the "national teacher", the consultant of all the knowledge of the Zhou royal family and various princes, and the highest representative of the national culture. It is said that in the 22nd year of Lu Zhaogong, that is, 520 BC, a major event occurred, that is, the then son of Zhou, King Zhou died. Due to the issue of succession to the throne, his more than a dozen children fought for the throne, serious royal infighting broke out, and the tug-of-war broke out for more than a decade, which was called the chaos of the prince, and the prince himself was defeated.

It is said that he fled to the State of Chu with a large number of Zhou royal books. And Laozi, a historian of the Zhou royal family, is equivalent to the current director of the National Archives Library. if all books and documents are taken away, Laozi will naturally lose his job, so Laozi resigned to travel around the world. This is why it is recorded in the history books that Laozi is in Chu, Laozi is in the State of Chen, Laozi is in the State of Song, and Laozi returned to Qin in the west. In the end, Laozi returned to his roots and died in Shaanxi. This is the historical relics of Laozi.

In order to understand Laozi's thought, we can only start with his Daojing. Laozi's so-called morality is a far cry from our literal meaning today. The moral Sutra is divided into two volumes, the Tao volume, the outlook on the universe and nature, the moral volume, and the social outlook and outlook on life. The so-called Tao is the general law of the operation of heaven and earth, and the so-called virtue is to comply with the Tao of heaven. The core of Taoism is weakness, and the core of moral theory is inaction. Laozi constantly criticizes that the development of human civilization is a process of deviating from the way of heaven and losing material morality.

===4.1.2The interpretation of Tao===
Laozi said, "Tao gives birth to one, one to two, two to three, and three to all things." This sentence means that Tao derives a chaotic state that even heaven and earth does not appear, chaotic state derives heaven and earth, heaven and earth derives animals, plants and people, animals and plants and people finally derive all things in the world, and all things refer to life and matter. This shows that Laozi believes that all things in heaven and earth evolved gradually. The concept of evolution did not exist until the 18th century, and it is indeed unusual for Laozi to hold such a deep idea that everything evolved from the first system of everything 2600 years ago.

Then, "Heaven is Tao, Tao is long" expresses the difference between persistence and stability in this evolutionary sequence, so what is not Tao is not lasting, and there is no stability to speak of. Therefore, Laozi believes that the stability of matter is gradually lost in the process of evolution.

Then he said, "Heaven and earth are not benevolent, and we regard all things as ruminant dogs." The saints are not benevolent and regard the people as ruminant dogs. " The ruminant dog here is a dog that is only sacrificed with grass, referring to lowly things. It means that heaven and earth are not as fastidious as human civilization, and he treats all things equally and will not give special care to anyone. As a result, all things follow the trend and exist forever. Then the way of man should conform to the way of heaven, so the people who manage the world should do nothing, do not use civilization to derive too many tricks, this is against the way of heaven, it will only destroy the state of human existence.

"it is as good as water. Therefore, it is better than the way. " Laozi uses figurative water to describe the natural way in which Heaven operates, and the best state is like water. Nourish all things without competing with them, and flow downward, in the lowest position and hated by all, which is closest to the Tao.

Laozi is taking this opportunity to criticize the competition pattern of human civilized society against the way of heaven. Primitive gentile society, property public ownership, there is no private property, there is no competition, after privatization, the fierce competition pattern is formed, everyone strives for the top, so the world is in disorder and life is restless. But the operation of heaven and earth does not have such a competitive pattern, so there is no such impulse.

"Heaven and earth can't last long, but it doesn't matter to people?" The most primitive derivative of all the heaven and earth can not be eternal, how weak people are. "the softest in the world, the strongest in the world." To be gentle, the weakest of course refers to human beings, but people can control things that are much stronger than we are. He found that the weakest human beings with a very low degree of existence have the ability to control objects with a very high degree of existence.

Finally, the Taoist scroll summed up the two words "weak", which appeared as many as 11 times in Laozi's text of 5000 words.

===4.1.3The interpretation of De===
The original word of de's oracle bone inscription is a person walking on a road with a fork in the road, staring only at the front and moving forward wholeheartedly. In other words, to act in accordance with the way of heaven is virtue. Therefore, Laozi's morality is not the same thing as what we call morality. The general law of the operation of heaven and earth is for Tao; to comply with the way of heaven is to act for virtue.

He added: "supplement the nature of all things and dare not do it." Follow the way all things run, do not have any superfluous action, called virtue.

He continued to criticize human beings: "morality leads to morality, morality leads to benevolence, benevolence leads to righteousness, and unrighteousness leads to propriety." When we advocated virtue, we had already lost the Tao, and then we also lost it, so we began to talk about benevolence. Recently, we could not even keep our heart of benevolence, and we could only give handouts. In the end, we lost all Tao, virtue, benevolence and righteousness. The so-called etiquette is the sum of national political law and folk etiquette. It was only when we discarded all these that human civilization began the violent control of severe punishment and draconian laws.

There is also a very clear indication of this meaning: "those who are virtuous are better than those who are naked." only babies born within 7 days have virtue. Civilized people develop their own wisdom, form a highly intelligent group, release their greed, and constitute a competitive society. In fact, this is a process of deviating from the way of heaven and losing material morality.

So what are we supposed to do? Laozi said: "plug its exchange, close its door, frustrate its sharp, solve its dispute, and its light, with its dust, is called Xuantong." It means that we should close our channels of facial features, do not accept too much external information, close the door of the spiritual world, and frustrate the great aspirations of civilization. only in this way can we resolve disputes in civilized society.

Therefore, the center of Laozi's theory of morality is this sentence: "there is nothing to do but nothing to do." Virtue means walking along the way, and nothing else is needed. It can be summed up as two words "inaction". Inaction means opposing all civilized actions.His ideal is to return to the primitive gentile society, the country is small and the people are few, even if they have advanced tools, the people value life and death and do not leave their hometown, and they are not bound by beliefs such as brave sacrifice. Even if there are cars, boats and weapons, no one uses them. People all return to the simple state of knot recording and enjoy the simplest happiness of life. Countries also return to the animal kinship society, wolves can eat sheep is no problem, but wolves will never eat wolves, the same kind of division of territory between life, there will never be slaughter. To return to the uncivilized state of existence. "the country is smaller, the people are more stupid, the things are simpler, and the things are simpler." this is Laozi's real ideal.

We ordinary people only have a forward perspective, while thinkers can complement the backward perspective and mobilize omni-directional thinking to know the facts. The most important thinkers in the history of human thought, such as Laozi, Confucius, Plato and Rousseau, all expressed the tendency of anti-civilization.
===4.1.4The cause of the thought of Laozi===
Why did Laozi have such a reactionary moral theory and social view?

At that time, East Asian civilization was limited to the Central Plains, which I talked about in my previous lecture. He was surrounded by uncivilized people. Laozi saw helplessly that he could find out intuitively without logical reasoning. In the civilized Central Plains, interpersonal relations are tense, intrigues, wars are everywhere and bloody. Shang destroyed Xia, Zhou destroyed Shang, to the Spring and Autumn period, more than 180 vassal states became one, while looking around the primitive clan society, the uncivilized and uncivilized society was peaceful.

Therefore, by intuitive comparison, Laozi can find that civilization is a disaster and the trend of civilization is bad. In Laozi's text, his view of reactionary society is expressed very clearly. Many ancient thinkers held a critical attitude towards civilization, because civilization was only a small seedling at that time, they could see the whole picture and development trend of civilization, and they could see that it was a process of disaster. This is the basic social view of the Chinese sages in the pre-Qin period. This was also the cause of the tone of conservatism in Chinese culture at that time, in which there was a far-reaching vision, which laid an important foundation for China's stable survival for more than 2000 years.

===4.2The thought of Confucius===

===4.2.1The characteristics of Confucius' theory: insipid===
Confucius and his Confucianism are almost the soul and benchmark of Chinese traditional ideology and culture, leading Chinese mainstream ideology for more than two thousand years. This is a situation that we can hardly see anywhere else in the world except religion. However, compared with Laozi, Confucius' theory is shallow and straightforward. Because Confucius is concerned with the real social and political problems, while Laozi is concerned with the ultimate problem. Therefore, Confucius' theory is very insipid.

In fact, the core of Confucius theory is eight words: monarch and subjects, father and son. The first word is a noun and the second word is a verb.
What he means is to be like a king, a minister like a minister, a father like a father, and a son like a son. The doctrine of Confucius is such a straightforward statement. Hegel said, he said, "Confucius' books are just full of old moral lessons." These are his exact words. He even said that it would be better not to translate his books, which would damage his glorious image. Obviously, there is a gap in Hegel's expectations of Confucius. The West was in a state of religious repression at that time. At that time, Westerners knew that there was an empire governing the country by virtue in the East, and its management model established social order on the basis of human ethics and morality, which was much milder than the suppression of human nature by the theocracy in the West. Therefore, they were extremely envious of the East, coupled with some untrue legends at that time, they thought that the East was extremely rich. Therefore, the western philosophers and academic and cultural circles at that time regarded China as the paradise of the East.

===4.2.2The characteristics of Confucius' time===
The degree of social unrest and the development trend of civilization

1. Confucius was born at the end of the Spring and Autumn period, the phenomenon of national destruction occurred constantly, and the monarch was killed constantly. Only 43 cases were recorded in the history books in the past 255 years. The world was in chaos and the males sprang up.

There is no war between human beings and animals before civilization, and the struggle within the animal species only occurs during estrus for reproductive resources, and this is also an individual struggle. As soon as the outcome is divided, the struggle stops immediately. You don't want to kill each other, let alone a collectivized war. It is only after human civilization that brutal internal killings occur.

2. In ancient times, there was no severe punishment and severe law, and the country was ruled by virtue. The clan tribal society has always maintained social stability with a soft moral system.

Confucius said, "Tao is governed by politics, Qi is punished, and the people are exempted and shameless." If the society is managed by penalty, people will not touch the bottom line of the law in order to evade the punishment of the law, but there will be people to do anything that is not prohibited by law and no matter how immoral it is. Moral ties are no longer enough to maintain social stability, so they have to be regulated in a violent way. Confucius called it the collapse of etiquette and music. The more civilization develops, the more complex the society becomes, and it becomes extremely difficult to survive only with a simple heart in a highly complex society.

3. The characteristics of this period Let's take a look at how the first great social transformation was carried out in the pre-Qin period from the economic, political and cultural aspects.

Economically, with the rapid development of productive forces in the pre-Qin period, agricultural civilization tends to be stabilized, farming techniques are widely used, bronzes are widely used, and iron has appeared in farming tools.

As we all know, in the early years of mankind, although agricultural civilization took place 8,000 or even 10,000 years ago, in the early thousands of years of agricultural civilization, the way of life of hunting was still dominant. Agricultural farming is still only an auxiliary part of human means of livelihood and food and food materials.

When agriculture develops to a certain scale, the scope of land reclamation becomes larger and larger, and forest vegetation is pushed far away, human beings will completely return to agricultural civilization from the way of life of hunting civilization and gathering civilization. Therefore, the full maturity of agricultural civilization requires large-scale population development, large-scale land reclamation, large-scale destruction of trees, and then people can not reach the forest. Only at this time can agricultural civilization be completely stable.

Therefore, after thousands of years, China's agricultural civilization did not take shape until the Zhou Dynasty, and hunting and gathering became a secondary source of feed for life. Not only that, in the Spring and Autumn period, the sprout of industrial and commercial civilization appeared in China's agricultural civilization.

With the development of agricultural civilization to a certain extent, due to the gradual complexity of agricultural production tools and people's life, a considerable number of products are made of non-agricultural products. The early production of non-agricultural products was done by the farmers themselves. Such as building houses, such as weaving, or even making pottery, but with the further development of the division of labor, with the further complexity of people's lives, a large number of things cannot be completed by farmers, such as more complex and diverse pottery production, such as the smelting of bronze and the production of tools, all of which will lead to the division of labor in agricultural civilization.

The emergence of the division of labor, that is, the emergence of professionals no longer farming, but only to make certain products for use by others.
We do not use this for our own use, but make it for use by others in exchange for goods. This product is called a commodity.

As soon as the commodity appears, the exchange takes place. As you can imagine, the exchange activity in the early years of mankind was barter, because there were very few kinds of goods. So if the variety of goods continues to increase, the other party does not need what you want to exchange, and you do not often have what the other party needs. Therefore, there is a need for some kind of unified scale of exchange and medium of exchange, also known as general equivalents, that is, such a commodity in which it can measure the value of any commodity, which is money.Therefore, the emergence of money marks the emergence of human exchange, or division of labor, or commodity economy, to a considerable extent. But you should know that in the pre-Qin period in China, money has already appeared. In the early stage, Beibei and ten thousand yuan marked the large-scale maturity of agricultural economy and the sprout of commodity economy in the pre-Qin period.

Let's take a look at the political form. The authority of the emperor of the Zhou Dynasty has fallen, and the original feudal social ties have been lax.
Not only that, the vassal states grew up, the activities of annexation of the world continued to occur, national annihilation events emerged one after another, international wars continued to occur, not only that, it unexpectedly appeared a major change in the form of social class.

As we all know, the monarch of Jin in the Spring and Autumn period was set up by four important officials, that is, the famous Han, Zhao, Wei and Zhi families. At this time, a famous political figure named Zhao Wut appeared in the Zhao family, which shocked the world. He announced the liberation of all slaves in Zhao and gave away 30 mu of land. at the same time, he announced to all countries in the Central Plains that if any slaves fled to Zhao from other countries, they would liberate their lives and give away land.

Zhao Xiangzi's move led to the instant collapse of slavery in the land of China. Why? Because the idea that the people are precious is a typical feudal thought.

That is, for any feudal lord, his best interest lies not in the size of his fiefdom, but in the number of hukou and population on his fief. Because the more hukou and population, the greater his tax revenue.

Therefore, Zhao Xiangzi liberated the slaves and he got the people. He got two major benefits. First, labor resources, the number of people; the second soldier. Therefore, this led to the liberation of slaves all over the surrounding countries, his citizens would flee, and slavery quickly disintegrated on the land of China.

The pre-Qin period, that is, the era in which Chinese traditional culture was fully formed.

===4.2.3Confucius theory===
The eight words at the core of Confucius' theory are "monarch and subjects, father and son". That is to say, Confucius used the most primitive blood social button to rectify the social structure of the super-blood unstable society, which is the core of Confucius theory.

And what is the consanguinity society? Called: love has difference and so on. This has something to do with sociobiology. In the middle of the last century, biologists found that all living things and all animals live in social groups. Social biologists have found that all animals, all creatures, their emotions, their love are different. For example, parents love their children most strongly, followed by brothers and sisters. The cub state of any creature needs to be cared for by its elders, otherwise he will not survive. So emotionally, the relationship between parents and children is the heaviest, and then between children, followed by brothers and sisters.

Human agricultural civilization took place in the era of clan tribes and in the era of consanguinity society. On every mu of land, we must work together and cultivate carefully in order to get enough food and clothing. This is the basic feature of agricultural civilization. The structure of consanguineous ethnic groups is the most readily available and favorable way to form this stable cooperation.

===4.3The thought of Shang Yang===
===4.3.1The introduction of Shang Yang===
The emergence of Legalism marks the retreat of Confucianism to the background.
With the high development of agricultural civilization to the pre-Qin and Spring and Autumn dynasties, large-scale population development, class social differentiation, interpersonal relations, resources gradually tense, the competition of human society is becoming more and more fierce. It can even be said to be getting worse and worse, and the legalists began to stand out temporarily, so the soft Confucian doctrine with the idea of governing the country by virtue as the core retreated as the background. Legalism fundamentally shows a very dark frame of reference at the bottom of human nature, and shows a major inferiority of human nature.

Shang Yang is the most representative figure of the Legalists, he did a very successful thing is Shang Yang reform. Decided to help Qin realize the reform from the rule of virtue to the rule of law. Shang Yang was able to reform and reform in the State of Qin. Of course, most of the credit went to Qin Xiaogong. We should know that Shang Yang is only a guest minister, and he does not have any political influence in the State of Qin.
And any reform must touch the interests of the original aristocratic interest groups in the State of Qin and cause the counterattack of the aristocratic groups. He relied on Qin Xiaogong to carry it all on his shoulder, so that Shang Yang could continue to reform Enron below.

Shang Yang was very lucky. although Xiaogong was under great pressure and died of illness at the age of 44, he accompanied Shang Yang's reform for more than 20 years. As soon as Xiaogong died, Shang Yang was immediately cracked by the aristocracy. Although the car of the next King Qin Huiwen cracked Shang Yang, it was not easy to solve the long-term accumulation of reform for Shang Yang. And King Huiwen of Qin was well aware of the effectiveness of the reform of Shang Yang, and continued the reform of Shang Yang, after the implementation of the later six kings, to the final unification of the government of King Qin, and from then on he was known as the first emperor. Therefore, we can say that the first founder of the Qin Empire was Shang Yang, who unified the world into Qin Shihuang and established the Da Qin Empire.

Shang Yang has a lot of characteristics in his political reform. He has two characteristics. First, it is determined to reform without regard for personal safety. Second, regardless of the world. As we all know, the average politician must be able to deal with personnel first and foremost, but this is not the case with Shang Yang. He is bent on political reform. Liang Qichao, the most famous scholar in the era of the Republic of China, once said that only six people in Chinese history could be called politicians, in other words, other people could only be called politicians, and one of these six politicians was Shang Yang.

===4.3.2Shang Yang's reform===
In the early days of the reform, he set up a big wood at its south gate in the wartime temporary capital of the State of Qin, called Yueyang. Then tell anyone in the public that if you carry this wooden rafter from the south gate to the north gate, you will reward ten gold. Gold in the pre-Qin period was not gold but bronze, but a jin of wealth was equivalent to the total harvest of a peasant family in a year, and ten gold was equivalent to the total harvest of a thousand years of farmers, which was a great opportunity to make a fortune. However, all the people watched and laughed, thinking that the official words could not be trusted, because it was too strange, and it also showed that the credibility of the Qin government was not high. Shang Yang saw that there was no way to increase the reward of 50. At this time, a young man came out. He said that I carried this piece of wood to the north gate. Even if the government lied to me, there would be no great loss. Try to carry it over. So carrying the wood to the north gate, Shang Yang immediately rewarded fifty gold, and this man became rich instantly, which is the famous allusion of Qianmu Lixin. What is Shang Yang doing? he is telling the people of the Qin Dynasty that Shang Yang's reform is true. Please abide by the law. We can see the wisdom of Shang Yang in practicing the law from this very small matter.

With regard to the detailed rules of Shang Yang's reform, we give a brief account of the main items.

First, to force people to learn the lowest level of etiquette, this etiquette is not a Confucian culture, but to get rid of the barbaric wind and establish a modern social configuration at that time.

Second, every citizen should be forced to have a legitimate job, and no one should be idle. What? Take measures to attach importance to agriculture, that is, to develop all the wasteland of Qin. Just like today's British princes are going to serve in the army for some time. Shang Yang stipulated that anyone, including the children of aristocrats and rich businessmen, who found that there were idlers, would conclude the frontier to open up wasteland. From this we can see that Shang Yang's reform is the same as Wu Qi, as long as he wants to change the national policy, he must deal with the original political structure formed by the original aristocracy, which is of course a serious violation of the interests of the aristocracy.

Third, he also stipulated the forced separation of two adult men in a family. There are two benefits: increasing labor enthusiasm and increasing taxes.
The reason is that in the big family system in ancient China, everyone ate in a big pot, and because communism was practiced within the family, everyone had no enthusiasm for labor. No matter how much I contribute, I will share it equally with everyone and distribute it according to needs, so when my labor enthusiasm is not as high as that of a society under the rule of law, I will establish a tax system. Tax is based on the family, if the family, the tax base is very weak. For these two reasons, Shang Yang's reform requires that any man must be separated once he is married as an adult.

Fourth, reward farming. Qin people banned business, that is, the people of Qin were not allowed to do business, but only allowed to engage in agriculture. The income of commercial activities is much higher than that of agriculture, so China has adopted the national policy of emphasizing agriculture and suppressing commerce since ancient times to suppress businessmen. Shang Yang is the clearest starting point, so where to deploy resources? Preferential treatment for foreign businessmen. That is, businessmen from other countries around the world will give preferential policies if they come to do business in the State of Qin. It is a bit like the situation in the early days of Deng Xiaoping's reform, which does not mean that we are advanced, but that we are similar to those of more than 2,000 years ago. Foreign businessmen went to Qin to do business to solve the problem of resource allocation, so they gave preferential policies to foreign businessmen, so the Qin people of Qin engaged in agriculture and foreign businessmen did business, forming an extremely reasonable national economic structure.

Looking back at Shang Yang's reform, we notice that Shang Yang's reform is as thorough as any revolution. It carried out reforms not only in the economic field, but also in the political field, and even changed the state system, before the feudal system, followed by the autocratic monarchy.
It is not a general political reform, it is a fundamental change of the state system. This kind of thing can usually be accomplished only through revolution. Shang Yang's reform basically adopted the way of no bloodshed and non-violence, and completed this revolutionary reform. This is very rare in history, which is why Liang Qichao said that Shang Yang is one of the only six major politicians in China.

===5.Conclusion===
With regard to the hundred schools of thought, we discussed in detail the three major factions: Laozi, Confucius and Shang Yang. The writing purpose of this paper is not only to review the path of the development of ancient ideas, but also to let everyone know that when you are faced with a social transformation, a major social confusion is constantly spreading and the amount of information is increasing. How do you follow the example of your predecessors to face the reality, ask new questions and put forward new ideas? In this way, human beings will open up a channel for their future survival, which is the most important enlightening significance of this paper.

===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==
<center>'''The Acrobatic Fighting in Peking Opera'''</center>

<center>Xie Xiaoying</center>

===Abstract===
Known as the quintessence of Chinese culture, Peking Opera is an intangible cultural heritage of China and the world with profound cultural heritage. Among the four basic skills of "singing, speaking, acting and combating" that Peking Opera emphasizes, "combating" is the highly artistic refinement of fighting scenes in daily life. The acrobatic fighting in Peking Opera have made great contributions to shaping the characters and enriching the plots, which has become a highly expressive and infectious dance language in Peking Opera performances. With a long history, it draws nourishment from the chivalry culture of ancient China, puts the traditional Chinese martial art culture on the stage, and develops distinguished artistic skills and aesthetic characteristics. Starting from the martial spirit and chivalrous culture of ancient China, this paper expounds the origin and development of acrobatic fighting in Beijing Opera, analyses the reasons of its significant place in Peking Opera based on its artistic techniques, and explores the development path of it in new era, so as to deepen people's understanding of the Peking Opera and carry forward the traditional culture of the Chinese nation.
===Key words===
acrobatic fighting; Peking Opera; martial spirit; chivalry culture; artistic techniques; inheritance and development
===Introduction===
Peking Opera is the most influential opera in China, with its center in Beijing and spread throughout the country. During its long artistic history, Peking Opera has continuously absorbed nutrients from the traditional Chinese culture and people’s daily life and developed into a magnificent flower in the opera garden (Zhang Yinhe 2013, 15). As the product of the merging in Peking of Anhui and Hubei opera styles in the late 18th and early 19th centuries, Peking Opera has a set of standardized forms of artistic expression in literature, performance, music, stage art and other aspects. There are four character roles in Peking Opera, that is, Sheng, Dan, Jing and Chou, each with a set of performance procedures and distinctive skills in singing, speaking, acting and combating. Historical stories are the main content of Peking Opera. There are more than 1300 traditional operas, of which more than 300 are often performed. As an important form of expression of traditional Chinese culture, Peking Opera has a wide influence all over the country, and various artistic elements of it are regarded as symbols of traditional Chinese culture.

"Combating", one of the four basic skills of Peking Opera, is not only an indispensable means of expression, but also clearly reflects the important position of martial arts in Peking Opera performance. As a traditional Chinese national art, acrobatic fighting is a kind of stage art that borrows offensive and defensive movements of martial arts as a means of physical expression. It absorbs action materials from martial arts and enriches performance skills. In Beijing Opera, the entertainment of acrobatic fighting comes from the acrobatic nature of martial arts. In performance of acrobatic fighting, there are often combat with knives, guns, sticks and other instruments, as well as pair combat and hand-to-hand combat performances, which are so intense that they can always attract the audience and give them associations and resonance. Therefore, although some acrobatic fighting performers are not excellent in singing and speaking, they are able to create distinctive characters with their excellent martial art skills and win great reputation (Liu Haikuan 2005, 58).

The acrobatic fighting represented by Peking Opera was an inexhaustible artistic treasure house for other art forms at that time in terms of costumes, martial arts, instruments, Qupai, performances and choreography, providing rich creative space for directors, scriptwriters and actors from generation to generation. However, the decline of the Peking Opera and the operas with both singing and martial characteristics in the current society is a cause for concern, and it is necessary to have a comprehensive understanding of Peking Opera and explore ways to continue its development in the contemporary society.

This paper consists of three chapters. Chapter one gives a brief overview of the origin of the acrobatic fighting in Peking Opera, including the inheritance of the martial spirit of the Chinese nation and the influence of ancient chivalry culture. Chapter two introduces the artistic skills of the acrobatic fighting in Peking Opera and analyzes the character of Zhao Yun and the performance Crossroads based on this skills. Chapter three discusses the inheritance and development of the acrobatic fighting in Peking Opera, such as digging out the lost plays by seeking experience from the predecessors and collecting drama notes from the veteran fans.
===Literature Review===
Peking Opera has a history of more than 150 years since its formal formation in the Tongguang Period in the late Qing Dynasty. Although it is impossible to give a standard answer to the question of the repertoire of acrobatic fighting in Peking opera, it is still possible to find almost all the repertoire in many books that record the repertoire of Peking opera. However, throughout the research on the artistic theory of Peking Opera for more than one hundred years, the research on the martial drama is relatively weak compared with the research on singing drama. On the one hand, the research results on the martial drama are fewer and more difficult than that on the singing drama. On the other hand, among the few articles and treatises on acrobatic fighting, most of them are about famous performers, repertoire, and techniques, while few of them are about the origins, development, current situation, and solutions of problems of acrobatic fighting in Peking opera, and few of them are about a comprehensive study of acrobatic fighting in the context of Chinese history and national psychology (Du Peng 2014, 5).

Over the past hundred years, the research works related to the acrobatic fighting can be roughly divided into the following categories: (1) The discussion of the performing skills of the acrobatic fighting. Most of the articles and books about it are summaries and records of technical skills, while some of them also have the requirements and explanations of famous artists for skills of acrobatic fighting, such as ''The Role of Acrobatic Fighting in Traditional Chinese Opera'' by He Jinhai. (2) Repertoire statistics and script compilation. As for the acrobatic fighting repertory in Peking Opera, one can find it in many books recording Peking Opera repertory, such as ''A Compilation of Traditional Peking Opera Scripts''. (3) Collection of art criticism by famous performers. These books contain both the actors' own experience of performing acrobatic fighting and memories of fans and the drama critics who have watched the performances of these famous artists, such as ''The Collection of Art Criticism about Yang Xiaolou'' edited by Dai Shujuan et al. (4) Treatises on memory of famous artists. Most of these works were written by famous Peking Opera masters and recorded by others, which are regarded as important first-hand materials, such as ''A Miscellany on the Performing Arts of Peking Opera'' narrated orally by Qian Baosen and compiled by Pan Xiaofeng . (5) The works of the drama critics. These works not only have a good account of some of the Peking Opera's acrobatic fighting and famous schools, but also have a great contribution to the study of the aesthetics and theories of Peking Opera, such as Qi Rushan's ''The Art of Chinese Opera''. (6) Biographies of famous performers. These works include the memory and summary of the life of the predecessors by later generations. Among them, there are performance materials of famous artists about acrobatic fighting and operas with both singing and martial characteristics, such as Song Danju's ''Stage Art of Song Dezhu''. (7) Dictionaries related to Peking Opera. Such books summarize the expression of special nouns of acrobatic fighting in Peking Opera, such as ''Dictionary of Peking Opera Culture'' by Huang Jun and Xu Xibo.
===Methods and Theories===
Based on the research method of discovering problems, studying them, and solving them, this paper takes the development of acrobatic fighting in Peking Opera as the main clue, involving the study and analysis of its origin, characteristics, current situation, and future development, and seeks effective methods and approaches for the rise and prosperity of acrobatic fighting in Peking Opera while exploring the inner artistic characteristics of it.

This paper starts from the origin of acrobatic fighting, which involves social culture, social psychology, national psychology and other aspects, aiming at the analysis of performance skills of acrobatic fighting in Peking Opera with justification and evidence, and also focuses on the practicality of the theory of the article with the research method of theory in practice. In addition, the breadth of the material requires a more sophisticated research method to be effective. The study of acrobatic fighting in Peking Opera involves a variety of knowledge, including social psychology, history, theater and operatic studies, and Peking Opera performance studies. Only after reading and inquiring enough literature information related to acrobatic fighting in Peking Opera can we have a more comprehensive understanding of it.
===Origin of the Acrobatic Fighting in Peking Opera===
'''1.Inheritance of the Martial Spirit of the Chinese Nation'''

Throughout the five thousand years of Chinese civilization, the Chinese nation has always been characterized by the endless worship of literature and active martial spirit. They influence each other, depend on each other, and cannot be separated from each other. It is the consistent requirement of the Chinese nation for social talents to be both civil and military. Just as Liang Qichao said, " The martial spirit of the Chinese nation is its original nature" (Liang Qichao 2006, 21).

The ancient Chinese people lived in the Yellow River basin with harsh natural environment, men hunting and women picking fruits, accompanied by inter-tribal strife, resulting in the worship of the primitive ancestors of force to the extreme. In following dynasties, in order to defend the country, the martial spirit continued: During the Spring and Autumn Period and the Warring States Period, the oftenness of war led to a great number of warriors; In the Western Han Dynasty, when the Hsiung-nu came south to invade the people, Wei Qing and Huo Qubing, two brave generals who were good at fighting defeated them; In the Tang Dynasty, during the Wu Zetian period, The system of selecting scholars for martial arts examinations inspired the poets to join the army and go to the frontier; At the end of the Qing Dynasty, when the western powers invaded China, many famous boxers, such as Huo Yuanjia, defeated the foreigners with martial arts and got rid of the title of “Sick Man of East Asia”... During these wars, the cohesion of the Chinese nation increased and the lives of the common people were greatly affected. Aggression inevitably leads to resistance. Force is the most direct and effective way of wage war of aggression, and it’s also the most advocated way of anti-aggression. With the outbreak, development and end of war of aggression, the military culture has infiltrated into the traditional culture of the Chinese nation stealthily (Du Peng 2014, 20). The social environment provides a strong accumulation of social psychology and national psychology for the generation of war culture, so it can be found in every corner of the traditional Chinese culture. It is not difficult to find the existence of war culture and martial spirit in characters, poems, novels, paintings, operas and dramas.

"Once the traditional thinking mode of a nation is formed, it will have the tendency to constrain the nation's mental activities, which some people call psychological stereotypes in psychology" (Jia Zhigang 1996,129). The martial spirit, which has been existing in the blood of the Chinese nation for thousands of years, has a great influence on the heroes on the stage of Peking Opera and the production of acrobatic fighting plays. The national heroes and heroines emerging in various dynasties have provided prototype materials for the characters of martial arts in Peking Opera. Out of the desire for the description of fighting and war between gods and ghosts, and the call for punishing evil and praising national heroes, a large number of acrobatic fighting elements appear in Chinese operas. Among them, the creation and expression of characters of famous generals like Ban Chao, Han Xin, Xue Rengui and Yue Fei are all from real characters in Chinese history, rather than mythological characters and stories. Although there are exaggerations, they are generally based on historical evidence, different from a large number of ethereal characters in ''Journey to the West''.

'''2.Influence of Ancient Chivalry Culture'''

The various schools of thought and folk customs have a profound influence on the martial spirit of the state. Conversely, the martial spirit of the state also acts on the courageous characteristics of the people. In a cultural environment with orderly royal control and distinct social hierarchy, it is very unlikely to challenge the traditional social norms including royal power by force (Li Xiaojing 2013, 23). Since the middle of the Spring and Autumn period, with the profound economic, political, social and cultural upheavals, a series of unprecedented new factors constantly emerging, the chivalry culture was born.

"Chivalry" contains three characteristics: commitment, righteousness, and lightness of life and death. Life is inevitably critical, coupled with social injustice and not all-inclusive law, "chivalrous justice" is indispensable. And these chivalrous and righteous people always put other people instead of themselves first, strive to solve other people's difficulties and match their words with their deeds. During the Three Kingdoms period, Liu Bei was fond of making friends with chivalrous men when he was young; In the Eastern Jin Dynasty, Zu Ti got up upon hearing the crow of a rooster and practised with the sword day by day only to serve his country; In Tang Dynasty, many poets wrote to praise the quality of chivalrous men; In the Ming Dynasty, famous novels such as Water Margin enriched the image of chivalrous men...

With the gradual enrichment of martial novels, a large number of commentary artists changed them into various versions of sung commentaries and preached them around to popularize them. Later, the storytelling artist Deng Guangdou even created a new style of comment which added the boxing skills in storytelling. In other words, he showed the boxing skills when commenting on Wu Song, making the audience not only feel like seeing Wu Song, but also marvel at the storytellers' excellent boxing skills. This style of performance, in which the chivalry of the book is expressed in the real kung fu of the storyteller, fully demonstrates the brilliance of the chivalrous characters depicted in the novel and the richness of the storyteller's own performance techniques, and promotes the development of the book review (Du Peng 2014, 34). And these novels and book reviews depicting chivalry had a huge impact on the emergence and development of acrobatic fighting repertoire in the art of opera: The chivalrous characters in the books provided a rich cast of characters for Peking Opera; The novel reviews were interpreted into acrobatic fighting repertoire in Peking Opera; The depiction of characters in the novel reviews permeated Peking Opera costumes; Many of the language and customs from the book reviews were directly inherited from Peking Opera... Thus it can be seen that chivalry culture and crime novels of Ming and Qing Dynasties have a profound psychological impact on Chinese people, and have a direct impact on opera art, especially the acrobatic fighting in Peking Opera.
===Artistic Skills of the Acrobatic Fighting in Peking Opera===
'''1.Aesthetic Techniques'''

Nourished by traditional aesthetic thought, the acrobatic fighting in Peking Opera originates from traditional Chinese culture and have a consistent aesthetic sense of it. As the embodiment of the characters' valor happening in the fierce battle scenes, acrobatic fighting in Peking Opera is characterized by being absolute aesthetic, which is also the feature of the art of Peking Opera. Turning martial art into dance and then turn it into beauty, acrobatic fighting in Peking Opera makes what is originally a cruel and bloody scene into aesthetic stage art, showing the charm of Peking Opera. Therefore, whether it is a tumble or a move, it is possible to find their common characteristics in the traditional aesthetic thought of "observing objects and taking images", "integrating movement and stillness", and "combining both form and spirit". (Du Peng 2014, 60).

Due to the characteristics of the means of expression, the plot of the acrobatic fighting is relatively simple, and the psychology of the characters is not so delicate, which makes it more difficult to reflect the ideological content that makes people recall repeatedly and think deeply. The audience understands and recognizes these limitations, and even needs and appreciates them out of preference. The requirements of acrobatic fighting are different from those of singing operas. While acrobatic fighting should certainly teach people patriotism, noble virtues and historical knowledge, the direct manifestation of its value lies in its aesthetic role, i.e., to give the audience its unique healthy aesthetic enjoyment and beauty, and to enrich and enhance the appreciation of the public (Liu Haikuan 2005, 58).

The formal beauty of acrobatic fighting is typical of masculine beauty. What it generally reflects is either military hardware and magnificent battle scenes, or fierce and hand-to-hand combat, or fearless heroes with lofty ideals. These characters are brave and tenacious with superb martial power, moving forward under the fierce music on stage. They have a kind of majestic beauty without decadent and depressing mood, inspiring people to move on. And it is a reflection of the traditional moral concepts and aesthetic requirements of the Chinese people in the art of opera, which has the charm crossing time and space.

The formal beauty of acrobatic fighting has three characteristics: Firstly, the performer's skilled and exquisite somersault skills and kung fu; Secondly, the performer's shapely and beautiful bodies; Thirdly, the beauty of composition formed by the collective cooperation on the stage. The performers combine these three characteristics in a integrated manner, presenting a gorgeous picture of acrobatic fighting. They present a magnificent ancient war scene or a fierce fight in a specific situation in a limited stage space, which reflects the high artistic wisdom of the Chinese people (Liu Haikuan 2005, 58). The acrobatic fighting in Peking Opera generalizes, refines, exaggerates and beautifies life. Not only the actions of the characters are completely choreized, but also the emotions are transformed into the forms of martial arts skills. Everything is unified under the premise of paying attention to the depiction of the inner world of the characters and the authenticity of their thoughts and feelings, and is subject to the overall requirements of formal beauty.

'''2.Typical Characters and Performances'''

The martial spirit of the Chinese nation has a profound influence on Chinese culture. During the two thousand years of feudal rule, most of the warriors and generals carried the martial culture. The military generals and swordsmen of all dynasties exerted significant influence on Chinese society and culture, among which famous military generals include: Sun Wu in the Spring and Autumn Period, Bai Qi in the Warring States Period, Chen Qingzhi in the Northern and Southern Dynasties, Huo Qubing and Han Xin in the Western Han Dynasty, Ban Chao in the Eastern Han Dynasty, Li Jing and Gao Xianzhi in the Tang Dynasty, Yue Fei in the Song Dynasty, and Xu Da in the Ming Dynasty. Famous swordsmen include: Zhuan Zhu and Yu Rang in the Spring and Autumn Period, Nie Zheng, Lu Zhonglian, Hou Ying and Jing Ke in the Warring States Period, etc. While inheriting the martial spirit, they make the chivalry spirit and heroic integrity known to the extreme. These characters are the common archetypes of roles of acrobatic fighting in Peking Opera and the operas with both singing and martial plays. They are also the heroes that people are interested in talking about, playwrights constantly create and artists try their best to show. Among them, Zhao Yun in the Three Kingdoms Period was one of the most special, resourceful and brilliant general characters in Peking Opera. He was brave and courageous with wisdom. His rescue of the master on Steepslope Bridge was recorded and praised by later generations and presented in numerous literary and operatic works. Among the existing drama in the Yuan Dynasty, there are 21 kinds of drama of the Three Kingdoms, among which 8 are about Zhao Yun; In the Ming and Qing Dynasties, there are more than 20 kinds of drama of the Three Kingdoms, of which 7 are about Zhao Yun. The performances of Yang Xiaolou, Gao Shenglin and Li Huiliang have always been praised.

In addition to the image of Zhao Yun, the Peking Opera "Crossroads" is also a representative of acrobatic fighting performances. The play is about Jiao Zan, who escorted the prisoners and stayed in a hotel at crossroads in the border of Song and Liao areas, only to find it’s a ganster inn, where Ren Huitang was also there and saved Jiao Zan after fierce fights. On the one hand, this play combines Chinese martial arts and acrobatic movements into opera performances: It’s easy to find that these martial actors have outstanding martial arts skills. For example, the actor who plays the role of Ren Tanghui, strives to achieve unity and integrity from character personality, spiritual outlook to internal temperament and external image. When he appears on the scene, he raises his legs, leaves his feet and falls to the ground quickly, being light and steady. The first three flexible steps, the slight swaying of the upper body, together with the face looking around and observing the movement, show the resourcefulness and heroic spirit of this battle-hardened general. On the other hand, the play perfectly combines silent action with artistic beauty: With martial skills reaching a certain level, short-distance martial actors can perform with their bodies as light as swallow’s. The play "Crossroads" takes place in a specific place and environment, whose performance requires the actors to have such tumbling skills as "cheating legs", "seven feet". All these require the performer to go through hard exercises and profound kung fu, turning the body into a tool to reflect artistic beauty, in order to win the artistic effect of lightness of body (Fan Qiying Li Guanghui 2008, 50). When appreciating the play "Crossroads", we are often feeling the artistic perception brought by Chinese opera, which is expressiveness. In artistic creation, expressiveness is higher than reproducibility. It has long been recognized that our traditional art has incorporated expressiveness into our performance system. So it's no surprise that "Crossroads" has been so popular.
===Inheritance and Development of the Acrobatic Fighting in Peking Opera===
'''1.Current Situation of Acrobatic Fighting'''

In the mid-twentieth century, Chinese opera schools had rich performances of martial arts repertoire. At that time, there were hundreds of outstanding actors performing different operas. However, after the impact of the Cultural Revolution and the reform and opening up, new art forms emerged endlessly, and people no longer took the opera as a regular entertainment and leisure activity as before. The popular singing repertoire of Peking Opera has been greatly affected, and the acrobatic fighting has suffered a very obvious decline. It is very difficult to see the wonderful acrobatic fighting repertoire on the Peking Opera stage today as it was in the past. Even if there is, the quality of the performances is hardly guaranteed. And in the new performance of Peking Opera, it is hard to see any form of new repertoire that involves Wudan, Daomadan, or even Peking Opera martial arts. The shrinkage of traditional repertoire and the absence of new repertoire in Peking Opera have put the current comprehensive inheritance and development of Peking Opera and even the art of opera in a disadvantageous situation (Zhang Xiaocui 2017, 132).

The decline of acrobatic fighting in Peking Opera and the repertoire emphasizing both literary and military arts in the current society is worrying, which is caused by various reasons, both from the practitioners themselves and from the society. From the performer's point of view, the foundation of the martial arts actors is not good enough and the performance id not so authentic, so the audience is not really satisfied; Some singing actors do not pay attention to the overall development, blindly pursuing the progress of singing skills, so that a lot of operas both with singing and martial skills can not be well preserved, resulting in the shrinkage of the repertoire; The old and new inheritance system bear some difference, so many practitioners today do not practice can also get paid due to the monthly salary system, lacking the perseverance of their predecessors. In terms of the social environment, some plays were lost in the 1930s and 1940s; After liberation, some policies for maintaining unity had an impact on the repertoire of martial arts; The traditional acrobatic fighting ceased during the Cultural Revolution; There were few acrobatic fighting in the new repertoire; The number of actors of acrobatic fighting has decreased (Du Peng 2014, 108).

The disappearance of a large number of acrobatic fighting and the opera with both singing and martial skills has led to the serious division of singing and martial skills in Peking Opera performance, the loss of many acrobatic fighting plays, the deterioration of the performers' comprehensive ability of singing, speaking, acting and combating, and the serious tendency of "emphasizing the singing skills and neglecting the martial arts" in opera innovation. The innovation of Peking Opera should be a comprehensive innovation, rather than a single level of development. It can be said that such unbalanced development hinders the benign and comprehensive development of Peking Opera (Zhang Xiaocui 2017, 132).

'''2.The Innovative Ways of Development of Acrobatic Fighting in Contemporary Era'''
The analysis and concern about the current situation of Peking Opera is not pure criticism, but to raise and solve problems. The cultural environment of a particular era is complicated, and the acrobatic fighting in Peking Opera can not be easily recovered by shouting out a few words of revitalization. Here we try to propose some solutions for practitioners to think about.

First of all, opera schools should be the main body of the inheritance of acrobatic fighting and related repertoire. It is a realistic problem that the teaching repertoire of Peking Opera at all levels is in disorder nowadays, which restricts the development of Peking Opera and even the whole teaching of Peking Opera. Schools should increase acrobatic fighting in the teaching repertoire and standardize it. Secondly, it is necessary to restore the endangered or already lost acrobatic fighting repertoire. Some plays are performed repeatedly in various Peking Opera troupes, easily making the audience get bored. So for the sake of the troupes' future and the obligation of inheritance, it is necessary to restore the lost acrobatic fighting repertoire.

As for how to explore the lost repertoire, we can start from the following aspects :(1) ask the living predecessors for relevant performance skills and stage experience; (2) Make full use of the recordings and videos left by the seniors; (3) Collect notes from experienced theater fans. With the precious resources of the acrobatic fighting, the recovery of these plays can be considered from the following three aspects: Firstly, start restoring the repertoire from the traditional seasonal repertoire, that is, to find appropriate unpopular plays from each season of the year to resume the performance, so that the audience can not only watch the repertoire rarely seen on the stage, but also inherit and enrich the acrobatic fighting in Peking Opera. Secondly, restore the repertoire from the perspective of characters: It is also a good way to restore it from point to point as time goes by until the repertoire is serialized. Thirdly, select a specific kind of repertoire for recovery: In the process of recovering traditional repertoire, we should not only do it in a solemn and stirring mood, but also learn how to use effective methods and promote acrobatic fighting to the market, believing that they can be accepted and welcomed by audiences (Du Peng 2014, 116).
===Conclusion===
Since the end of the Qing Dynasty and the beginning of the Republic of China, all the artists who became masters of Peking Opera were able to perform both singing skills and martial skills in the martial arts. They were able to break through the limitations of their own lineage, which really pushed the art of Peking Opera to a whole new peak and developed each lineage comprehensively, making the art of Peking Opera of that era wonderful and brilliant. Now, in the twenty-first century, some aspects of Peking Opera seem to have returned to the situation that existed before the masters of Peking Opera, i.e., the singing skills and martial arts are divided, and there is an unprecedented dilemma that the acrobatic fighting repertoire may be lost. There are many reasons for this situation, but the result is the degradation of the ability of actors in various roles, the loss of plays, the fragmentation of plays, the homogenization of skills and so on.

As the younger generation, we should not only have reverence for the older masters and the heights they have promoted the art of Peking Opera, but also do our best to carry forward the opera skills. The Peking Opera troupes and actors of acrobatic fighting are hoped to spare no efforts to pass on the skills through constantly improving the level of business, modestly consulting and learning from the predecessors and strengthening the theoretical accomplishment, so as to inherit acrobatic skills through traditional martial plays. They’re also supposed to explore new ways of innovating acrobatic fighting according to the troupe's actual situation, to "revitalize" the acrobatic fighting in Peking Opera, so that they can be inherited, developed and innovated in the tradition, thus comprehensively promoting the prosperity of the Peking Opera performance market and better serving the socialist cultural market.
===References===
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*Du Peng 杜鹏. (2014). 京剧武戏研究——兼论以文为主、以武为辅的剧目表演 [The Study of Acrobatic Fighting in Chinese Peking Opera—Mainly about Chinese Peking Opera characterized by Singing and Acting, Acrobatic Fighting as a Supplement]. 中国艺术研究院博士论文 Chinese National Academy of Arts 5, 34, 60, 108, 116.
*Fan Qiying, Li Guanghui 范齐英, 李光辉. (2008). 小议京剧《三岔口》的表现性 [A Brief Discussion on the Expressiveness of Peking Opera ''Crossroads'']. ''大众文艺'' Popular Culture and Arts (7)50.
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==英语笔译熊嘉玲 Xiong Jialing 202170081602==
<center>'''Yue Opera'''</center>

<center>Xiong Jialing</center>

===Abstract===
Yue Opera, an important local opera in China, is one of the five types of Chinese opera. From the original "Chinese Folk Rap"（落地唱书）, it has developed into the second most popular opera in China and is one of the first batch of national intangible cultural heritage. Therefore, Yue Opera plays a very important role in China's art field. This article will give a general introduction to Yue Opera. The first is a brief introduction to the general situation of Yue Opera; In the first chapter, the author will introduce the historical origin and development of Yue Opera. In the second chapter, the author will focus on the introduction of the performance characteristics of Yue Opera, including its singing voice, role of business and so on; In the third chapter, the author will talk about the value of Yue Opera, such as its cultural value, social value and so on. The fourth chapter will mention the inheritance and development of Yue Opera. As one of Chinese operas, Yue Opera has a long history and rich cultural connotation. In today's cultural diversity and economic globalization, it can promote the spread of traditional Chinese culture to let the world see and hear Yue Opera.
===Key words===
Yue Opera;traditional Chinese culture;Chinese opera
===Introduction===
Yue Opera (Yueju in Pinyin) is the second largest opera genre in China, and some scholars consider it to be "the largest local opera genre". It is also one of the five major Chinese opera genres (Peking Opera, Huangmei Opera, Yue Opera, Pingju opera and Henan Opera). Originated in Shengzhou, Zhejiang province, prosperity in the whole country, spread to the world, it has experienced a historical evolution from male to female Yue Opera.In the development, it absorbed the elements of kunqu opera, drama, Shaoxing opera and other operas. It is called "Chinese opera" abroad. It is also known as "the most popular local opera".
Yue Opera is long in lyric, mainly singing, beautiful voice, real and moving performance, beautiful and elegant, with the spirit of jiangnan. Most of them are based on the theme of "talents and beauties", and there are various artistic schools. There are as many as 13 recognized schools. It was mainly popular in Shanghai, Zhejiang, Jiangsu, Fujian, Jiangxi, Anhui and other southern regions, as well as most northern regions such as Beijing and Tianjin. In its heyday, professional troupes existed all over the country except xizang, Guangdong, Guangxi and a few other provinces and autonomous regions. (Qian Hong, edited by the editorial board of Chinese Yue Opera Canon，2006)

Yue Opera is also the first batch of national intangible cultural heritage list. Among the modern emerging operas in China, the Yue Opera bred from the regional culture and modern art of the Yangtze River Delta is undoubtedly the most influential. Once upon a time, "Liang Shanbo and Zhu Yingtai" produced by "Shaoxing Women's Literary Opera" and "Shaoxing Women's Opera" were popular in Shanghai. The heroic deeds of the ten Sisters of Yue Opera, represented by Yuan Xuefen, against the bullying of the dark forces shocked the Chinese cultural circle; After the founding of the People's Republic of China, With the help of the movie a Dream of Red Mansions, Yue Opera became a national hit. Premier Zhou Enlai took the film liang Shanbo and Zhu Yingtai as one of new China's diplomatic means to promote the Opera overseas.(Liu,2022)
===The Historical Origin of Yue Opera===
Shengzhou, The Birthplace of Yue Opera

Yue Opera is one of the five major operas in China and the second largest in China at present. Yue Opera is called "the second in China" in terms of the number of performances and social popularity. In terms of its performing arts history and popular areas, it is probably far inferior to kunqu opera and Huangmei Opera. Due to language limitations, it is mainly popular in Jiangsu, Zhejiang and Shanghai. Yue Opera is generally spread in Shanghai, Zhejiang, southern Jiangsu and other places which are usually said wu language area. So Yue Opera is still a typical local opera. It originated from Shengzhou of Shaoxing in Zhejiang Province, which is the shengzhou city of Shaoxing in Zhejiang Province today. It is evolved from local folk songs and formed by absorbing the characteristics of Kunqu opera and Shaoxing opera in the development process. Shengzhou, the birthplace of Shaoxing opera, has been attracting celebrities from all sides to visit with its unique charm since ancient times. The beautiful scenery here, surrounded by beautiful mountains, with a long history, and its unique dynamic temperament, has created a unique charm and beauty in Shengzhou. The enchanting natural scenery has given here the magic charm, attracting the high sages and celebrities in succession to enjoy the scenery, leaving many immortal chapters spread through the ages for the later generations. With the growing popularity of folk poetry and lyrics, shengzhou people who are good at singing have integrated songs into their lives. Versatile shengzhou people thus became the original creator of Yue Opera art, Shengzhou has also become a fertile soil for the birth of Yue Opera art.

The Real Birth of Little Choir, the Predecessor of Yue Opera

From the year of 1906 , Yue Opera entered the stage role playing period. Therefore, it can be regarded as the origin of Yue Opera as the identity of opera. However, the little choir did not come into being suddenly, nor did it start out dressed up for the stage. From the xianfeng period in the 1850s and 1860s, it went through decades of embryonic stages. In terms of art classification, Chinese Folk Rap does not belong to opera, but to quyi. Therefore, it can not be called the "predecessor" of Yue Opera, but its original form of performance.

The origin of Chinese Folk Rap is that when farmers were resting in the fields after work, many people would compose and sing ditty that could reflect the aspirations of the common people, which always aroused the praise of farmers and gradually spread among them. The last few popular songs, everyone can sing. Researchers on the history of Yue Opera generally believe that the sign of the emergence of Chinese Folk Rap is that Jin Qibing and others began to sing Buddhist songs and folk tunes in front of rich households in the nearby countryside in order to make a living.(Pan,2009)

The early Chinese Folk Rap performers did not completely break away from agriculture while singing Chinese Folk Rap. For many performers, farm work is the main thing to support their families and is the job left to them for generations. It is unimaginable for them to completely break away from farm work. Therefore, during the spring ploughing season from January to February and March, the artists went back to their hometown in Sheng County to work on their fields. Qian Jingsong, Li Shiquan, Gao Binghuo and other artists who had been invited to the "stage" in Yuhang and Yuqian (now part of Lin 'an) talked with the villagers about their debut experience, which aroused the interest of many villagers. They urged artists to do the same at home. Guangxu period (1906) on the qingming Festival on the third day of march in the lunar calendar, on the vacant lot of dongwang village in Sheng County, the village civilian used rice barrel, the door panel set up the stage, invited many artists coarsely-dressed up to sing the Chinese Folk Raps, unexpectedly caused a stir in the countryside, attracted people from many villages to watch. The popularity of this form of singing book in the village even exceeded the artists' expectations.(Edited by Cultural and Historical Data Committee of Shengxian CPPCC,1992)

So they began to think about organizing theater groups to put on more scripted performances, and they came up with a low-key and elegant name for the form: Little Choir". In general, such performance formula has met the basic conditions of opera, so many researchers have always regarded this performance as the origin of Yue Opera. Stage at this time, not only clothing is very simple, Musical Instruments are also very simple. Although the form of "Little Choir" is primitive, the singing is monotonous, and the costumes are simple, but this pioneering move alone is enough to leave a brilliant first in the history of Yue Opera.
Since the birth of the "Little Choir" in Sheng County, it has spread quickly to the surrounding areas. As a literature and art originating in country life, it is not surprising that it first established itself in the country. At the same time, it is constantly exploring transformation, slowly infiltrating into the city,
After 1907, the "Little Choir" has been all over Athens County, and gradually to the neighboring Xinchang, Shangyu, Shaoxing, Yuyao, Fenghua and other places spread, both in the village and the town theater, where are warmly welcomed. For example, in Xinchang, only three or five years after the first contact with the "Little Choir", the number of newly established local opera troupe has reached 30 or 40 classes.

Performing in the countryside, the troupe must suffer from displacement. Therefore, it is always the ideal of the troupe to perform in a city with a large population, both male and female. Large and medium-sized cities for "Little Choir", is always tempting. On the one hand, large and medium-sized cities have strong consumption capacity and can obtain higher economic benefits. On the other hand, the fact that "Little Choir" can establish itself in big cities is the recognition of "Little Choir" by higher-level audiences, which is a kind of honor.(Pan,2009)

Shaoxing Civil Opera Period

In 1922, the development of Shaoxing Opera entered a new historical stage, that is, the Period of "Shaoxing Civil Opera". Because "Little Choir" was born in Shengzhou, which is subordinate to Shaoxing Prefecture, and the content of "Little Choir" is more focused on family ethics and love, so it is called "Shaoxing Civil Opera". Shaoxing Civil Opera period is the mature stage of the development of Yue Opera. It can be divided into two periods. In the early stage, there are all male actors, so it is called Shaoxing Civil Opera Male Troupe; in the later stage, there are mixed performances of male and female actors, and the transition to female troupe is called Shaoxing Civil Opera Female Troupe.

The Period of Women's Improvement in Shaoxing Civil Opera

In the history of The development of Yue Opera, the outbreak of the Anti-Japanese War is an important dividing line. Before this, Shaoxing Civil Opera, which was dominated by male classes, was in its heyday, with famous actors concentrated in Shanghai and female classes flourishing, but the activity area was mainly in Zhejiang. Although there were female classes in Shanghai, most of them were mobile, so their status was not high and their influence was limited in the whole Cultural pattern of Shanghai.

In the late 1930s, after the outbreak of the Anti-Japanese War, a large number of female classes came to Shanghai for development and rose rapidly. At the same time, male classes declined sharply and were soon replaced by female classes, gradually forming a kind of operas featuring all-female performances. Almost all the famous actors and drama companies were concentrated in Shanghai. The social and cultural environment of Shanghai has provided rich nutrition for the progress of Yue Opera art, promoted the reform of Yue Opera in the new environment, and provided a rare historical opportunity for its rapid development.

"New Yue Opera" Period

The reform of Yue Opera, which started in October 1942, opened up a new era in the history of Yue Opera and had a profound influence on the establishment of the form and style of Yue Opera. The "new Yue Opera" rising in the wave of reform in this period is obviously different from the original women's Yue Opera in terms of repertoire, music, stage image, deconstruction and operation mechanism of troupe. During the period of "New Yue Opera", Yue Opera achieved rapid development. A group of young actors, such as Yuan Xuefen, Yin Guifang, Fan Ruijuan and Fu Quanxiang, became the representatives of the new generation of Yue Opera.

The Development of Yue Opera After Liberation

After the founding of the People's Republic of China in 1949, under the leadership of the Communist Party of China, opera art began to enter the process of planned, deployed and focused reform, and Yue Opera also began to adapt to the new era of profound reform. In the early 1950s, a drama reform movement was launched nationwide. During this period, professional drama troupes in Shanghai and Zhejiang carried out the work of "Three reforms" to different degrees successively, which brought new changes to the appearance of Yue Opera. In March 1955, Shanghai Theatre was formally established, gathering a large number of professional talents with high artistic quality in the field of yue Opera, such as editing, directing, acting, music, beauty and so on.

The Revival of Yue Opera in the New Period

The "Cultural Revolution" that began in 1966 severely destroyed Yue Opera. After the end of the "Cultural Revolution", especially after the third Plenary Session of the eleventh Central Committee of the Communist Party of China in 1978, Yue Opera began a comprehensive revival in a new period, ushering in a new spring in the development history of Yue Opera

Under the influence of historical conditions, the revival of Yue Opera started from the modern opera performed by men and women. In 1977, the Shanghai Yue Opera reenacted the drama with a co-performance of male and female and was a great success, setting off the wave of the revival of Yue Opera. Soon after that, Shanghai Film Studio made "Xiang Lin's wife" into the first color widescreen style art film of Yue Opera and screened it in the whole country, re-expanding the influence of Yue Opera in the whole country. Traditional and historical operas have also been resumed, and women's Yue Opera has gained recognition and new vitality.
In 2006, on the 100th anniversary of the birth of Yue Opera, it was listed in the first batch of national intangible cultural Heritage list with the approval of The State Council. The future of Yue Opera will be more brilliant.

===The Performance Characteristics of Yue Opera===
First, the selection of materials for the Yue Opera plays is mainly based on the love and marriage stories of ancient talents and beauties. Such as Liang Shanbo and Zhu Yingtai, Jia Baoyu and Lin Daiyu, Fan Li and Xi Shi, Lu You and Tang Wan and so on. These stories have long been written and interpreted into various literary and artistic works and passed down from generation to generation among the people. After these stories were compiled into The Yue Opera, the artistic atmosphere of the story and the tragic color of the characters were enhanced, giving people a more vivid and profound impression.

Second, the music of Yue Opera is good at showing the feelings of young men and women. The singing style is based on the "Chinese Folk Rap" of Wuyue water town in the south of Yangtze River, absorbing the folk music of Sheng County. After Yuan Xuefen and lute zhou Baocai cooperation, so that the opera singing form a gentle lingering lyric style.

Third, the performances of Yue Opera are vivid, natural, elegant and moving. They are full of beauty and talent in the south of the Yangtze River, especially the performances of young girl's role, which combine the scholarliness of scholars with the beauty of young girls. The principle of "virtuality" and "stylization" and the aesthetic pursuit of "symbolism" and "freehand style" formed in the long-term artistic practice of Chinese opera performance have provided a theoretical basis for the formation of the performing art of young women in Yue Opera, so that female actors can play male roles without being restricted by their own gender. Under the guidance of virtual drama and freehand brushwork principle, the female students can not completely imitate the performance of men and force the unity of actors and roles, actors can use stylized performance to look at the male roles in the drama from the perspective of women. What she interprets is not the man in real life, but the man in the woman's mind, that is, the man that the woman idealizes, the man that the woman plays to the audience. This is just like the plum blossom and bamboo painted by Chinese painters in traditional Chinese paintings. They are not plum blossom and bamboo in nature, but plum blossom and bamboo in the artist's mind. Of course, the course of this success is not follow one's inclinations, is not subject to any condition, also need actors themselves have a certain external conditions and mental qualities, such as the tall figure, elegant temperament, generous demeanor, etc., so as to better shape the character image, conveys the verve of male role. Various schools of Yue Opera have blossomed.

Fourth, the stage presentation of the Yue Opera is fresh and elegant, which is often refreshing. The makeup of Yue Opera has absorbed the methods of drama and film, and is characterized by being close to nature, fresh and elegant, rather than exaggerated and colorful. Based on the paintings of ancient ladies in costume, the costumes are changed from complex to simple and gorgeous to clear and beautiful with the characteristics of simplicity and clarity. The scenery is simple and lively, the combination of virtual and real, with the performance of the actors, making full use of modern sound and light technology, giving people an immersive artistic feeling.(Liu,2022)

===The Value of Yue Opera===

Cultural Value

Cultural creation is based on traditional culture and under the influence of modern culture, absorbing new tunes, new choreography, new themes, new talents and new music of modern culture to generate a new round of cultural wave and a "new culture" that is different from the past and more adaptable. Yue Opera is "rich in expressive force, plain and smooth melody, fresh and beautiful with local flavor". It has beautiful melody, graceful and touching pronunciation, beautiful appearance but not coqueness. Both civic and military opera have their own strengths, and it is different from the softness and beauty of Peking Opera. It has a very high viewing value, which is why in recent years, Yue Opera has gained more and more audience's love, causing more and more attention. This is the cultural creation value of Yue Opera.(Jin,2012)

From the point of view of Marx's theory of literature and art, all arts (including literature, calligraphy, architecture, painting, opera, etc.) are the reflection of people's lifestyle and cultural psychology in a particular era and region. In the field investigation, we found that most of the people who adhere to Yue Opera are the older generation, because it used to be a part of their life, carrying their joys and sorrows, and relying on their understanding of life. Yue Opera touches the softest part of the heart of a generation in a casual way at some point. These cultural memories, no matter joyful, sad, beautiful or ugly, will become a kind of cultural nutrition and melt into the bones and blood of the whole regional culture and even the national culture, giving us reasons and directions to move forward. This is the cultural creation value of Yue Opera.This is the cultural inheritance value of Yue Opera.(Yang,2021)

Social value

Yue Opera originated in Shengzhou, Zhejiang province, China, so it is easy to explain why all the people in Shaoxing and Shengzhou can hum it and find pleasure in it. Obviously, in the region where It originated and developed, It has become a topic of conversation among the masses after dinner. In the folk, people are also used to organizing various performances and singing competitions of It to enrich their amateur cultural life. Therefore, in the traditional cultural matrix of Yue Opera, there is a kind of aesthetic value called social value, which has laid a solid foundation for extensive social communication among the masses. Therefore, Yue Opera gradually became a social means, which was of great significance in promoting social harmony and stability. Of course, with the continuous expansion of the overseas market of Yue Opera, it is also playing an important role in developing sino-foreign relations, consolidating sino-foreign friendship and realizing the combination of Chinese and foreign culture and art.(Jin,2012)

The Entertainment Value of Yue Opera.

As a unique type of traditional culture, History and culture have endowed it with a unique development environment, unique artistic charm, which make It a popular art form among the public. From the emergence and development of Yue Opera to its prosperity and growth, its entertainment value has been accompanied by it. Yue Opera can not only give people visual and auditory satisfaction, but also give the audience great psychological satisfaction, so as to relieve the pressure for the masses and delight the masses physically and mentally. A large number of excellent Plays of Chinese traditional Yue Opera, such as Butterfly Lovers and Peony Pavilion, brought people spiritual sustenance and was one of the important ways for people to interest their heart and soul at that time. For example, the twists and turns of the Story, the beautiful love story and the artistic stage design of the Yue Opera Peony Pavilion not only relieved people's living pressure, but also promoted people's self-cultivation.(Ye,2016)

The above research on the value of Yue Opera shows that this local opera has strong charm and development potential. Thus, we can see the reasons behind the "centennial brilliance" and strong influence of Yue Opera. Yue Opera has rich cultural value, including cultural creation value and cultural inheritance value. Shaoxing Opera also has certain social communication value, which can be called a social means. Yue Opera not only promotes social harmony, but even plays a great role in promoting the spread of Chinese culture and cultural exchanges. In addition, Yue Opera has its entertainment value. In daily life, it has enriched the lives of ordinary people and provided them with certain spiritual sustenance, which is of great significance.

===The Inheritance and Development of Yue Opera===
Yue Opera is one of the most important local operas in China. It has developed into the second most popular opera in China from the original Chinese Folk Rap. However, with the popularization of TV, the establishment of cinemas and the continuous expansion of the Internet, the influx of pop songs, European and American blockbusters and the change of modern people's value orientation, the traditional Yue Opera has been plunged into unprecedented crises. In today's era of vigorously protecting intangible cultural heritage and building a new socialist countryside, how to protect, inherit and develop folk Yue Opera is not only related to the survival of the opera itself, but also an important topic of "intangible cultural heritage" protection, as well as an important content to be studied in mass cultural work.(Zhang,2010)

Review the Inheritance Status of Yue Opera

Through visits to local cultural departments and literature review, we know that the performance of Yue Opera is faced with fewer and fewer audiences, and the troupe cannot survive. The number of professional Yue Opera troupes has decreased from more than 260 in the 1950s and 1960s to less than 35 now. Most folk yue troupes mainly cover the rural market, but because the market is small, they can not get a greater development. However, under the influence of various cultural and entertainment activities, the audience is mainly around 40 years old, and the younger generation is less interested in it. It can be seen that the audience of Yue Opera rarely come from the youth group, and the audience of Yue Opera is increasingly aging. Although Shengzhou is the birthplace of Yue Opera, its inheritance and development are not good. In terms of relic buildings, the original buildings about Yue Opera are very rare, and the original birthplace of Yue Opera for women can only be found in the only small village. The exhibition stand protecting the original Yue Opera props is also in disrepair and covered with dust. In terms of museums, most of the objects in the museum are restored by later generations. Props, costumes, Musical Instruments and singing stage are re-made by later generations.(Yang,2021)

Problems Faced by the Development of Yue Opera

From the early 1980s to the present, the significant reduction in the number of Yue Opera troupe is the primary problem facing the development of Yue Opera. In the early 1980s, there were seven professional Yue troupes and two professional folk Yue troupes in Jiaxing, while in the mid-1980s, there were only two professional yue troupes. Secondly, from the city to the countryside, the audience of Yue Opera is getting smaller and smaller, and the performance market is getting smaller and smaller. In the past, a company could put on a new play for two or three months. Now it can only put on two or three performances. The audience's enthusiasm for watching Yue Opera has also declined significantly. The third problem facing the development of folk Yue Opera is talent. The performance of Yue Opera has high requirements for talents. It not only requires actors to have beautiful looks and a loud voice, but also to be able to perform. Generally speaking, a good actor can play a role on the stage, no ten or five years is not out, that is to say, one minute on the stage, ten years of work off the stage. Now there is a shortage of talent in the field of Yue Opera. Fourth, repertoire creation is increasingly contracted. In the mass culture system, Yue Opera also received unprecedented cold. At present, cultural centers and art centers around the country mainly focus on the creation of music, dance and fine arts, and there is little interest in the Yue Opera of traditional Chinese opera. There are also few full-time cadres of Yue Opera of drama. In some cultural centers at the county level, full-time cadres of Yue Opera no longer exist.

The Reason Why Yue Opera Faces Confusion

Confusing in today's Yue Opera face of reason is various, but the main reason is that with the change of society and the continuous improvement of living standards. The broad masses of TV and home theater has been gradually into the people, families, people's interest constantly updated, more diverse cultural needs, and a variety of popular songs have taken young people's life. Culture is diverse, Yue Opera was gradually forgotten; Secondly, the propaganda of Yue Opera is not enough. Although the traditional Yue Opera has been quite popular with the masses, the propaganda is far less than that of Peking Opera in the whole country, which causes the dilution of Yue Opera in people's mind. The third is the lack of new strength of Yue Opera. Since the 1990s, fewer and fewer young people like Yue Opera, even fewer professional Yue Opera actors, and now the children basically do not even know what Yue Opera is; Fourth, the operating mechanism of the troupe is not working. It is far from enough for the professional troupe to rely on the financial allocation from the government alone. They have to perform outside to increase their income. (Zhang,2010)

Thoughts on Inheritance and Innovation of Yue Opera

1. Intensify Efforts to Cultivate Professional Yue Opera Actors

In the early 1950s, the period when Yue Opera flourished and developed was also the period when a large number of Art masters of Yue Opera came out. They internalized the art of Yue Opera into their lives, and their personalities and drama forms reached a harmonious unity, which became the highest condensation mode of Yue Opera art. Even when people at that time recalled the development of Yue Opera, the names of a large number of Yue Opera actors first appeared in their mind. Therefore, training a number of young actors to carry forward the Yue Opera with independent artistic life will be the first condition for Yue Opera to obtain its new development.

2. Intensify the Creation of Scripts for Yue Opera

In particular, the audience should choose the most concerned good subject matter, in the spread of "Butterfly Lovers", "Xianglin Sister-in-law" and other classic bridge based on the new culture and people's appeal, innovation. If shaoxing opera wants to get enough attention and attention in the contemporary era, it must have scripts that can reflect the values of The Times and express the demands of the people as a guarantee. This should give enough care and attention to the playwright, establish a long-term mechanism to stimulate and protect their creative enthusiasm.

3. Innovate the Promotion Method of Yue Opera

In the past, the art of Yue Opera was born as a kind of market culture of residents, but now, as a cultural heritage, Yue Opera is gradually transforming from popular culture to elegant art. Therefore, when it comes to effectively dealing with the cultural watch and spiritual breakout of Yue Opera, the first thing we need is to adjust our mentality towards the cultural phenomenon of Yue Opera. We do not advocate the Yue Opera itself directly to change to become a new culture, but should be advocated through the way of improvement and innovation make Yue Opera culture gradually in the masses of the people has the characteristics of a new era of traditional culture, such as development "Yue Opera" series of gen, create IP with Yue Opera character animation image, using new media communication way, Through a number of new channels, such as "live streaming of Internet celebrities", "school-enterprise cooperation" and "star endorsing", the new culture serves the traditional culture of Shaoxing opera and spreads the melody of Yue Opera among a wider social group. (Yang,2021)

===Conclusion===
As a traditional Chinese culture, Yue Opera has its own unique appreciation value. In today's multicultural world, we cannot abandon our traditional culture. We should try our best to inherit and carry forward our traditional culture, so that they can adapt to the changes of The Times and keep pace with The Times. But at the same time retain the traditional culture, let the world hear the voice of China.
===References===
*Jin Yingzi金英子(2012). 越剧传统文化基质和审美价值研究[Study on Traditional Culture Matrix and Aesthetic Value of Yue Opera]. 音乐探索Explorations in Music(02): 39-41.
*Liu Wenfeng刘文峰(2022). 扬长补短，再创辉煌——关于越剧传承发展的思考[Develop Strengths and Complement Weaknesses to create Brilliance -- Reflections on the Inheritance and Development of Yue Opera]. 中国非物质文化遗产China's Intangible Cultural Heritage(01): 35-39.
*Pan Yuqi潘玉琪(2009). 越剧的诞生、发展及其人文背景研究（1906-1949）[Study on the Birth, Development and Cultural Background of Yue Opera (1906-1949)].复旦大学Fudan University.
*Qian Hong, edited by the editorial board of Chinese Yue Opera Canon钱宏主编，《中国越剧大典》编委会编著(2006)．《中国越剧大典》[The Grand Ceremony of Chinese Yue Opera]．杭州市：浙江文艺出版社、浙江文艺音像出版社Hangzhou: Zhejiang Literature and Art Publishing House, Zhejiang Literature and Art Audio and Video Publishing house.
*Yang Ruyuan杨汝远(2021). 论非遗文化在现代化进程中的守望与传承——以越剧为例[On the Watch and Inheritance of Intangible Cultural Heritage in the Modernization Process -- Taking Yue Opera as An Example]. 汉字文化Sinogram Culture(06): 175-177.
*Ye Haixiong叶海雄(2016). 越剧传统文化基质和审美价值探讨[Discussion on Traditional Culture Matrix and Aesthetic Value of Shaoxing Opera]. 戏剧之家,Home Drama(06): 52.
*Zhang Peiying张配英(2010). 浅论民间越剧的传承与创新[On the Inheritance and Innovation of Folk Yue Opera]. 大舞台Great Stage(10): 79.
*Edited by Cultural and Historical Data Committee of Shengxian CPPCC嵊县政协文史资料委员会编(1992)﹐《越剧溯源》[The Origin of Yue Opera]. 浙江人民出版社Zhejiang People's Publishing House(5): 23

===Terms and expressions===
Yue Opera 越剧

Chinese Folk Rap 落地唱书

Pingju opera 评剧

Little Choir 小歌班

Shaoxing Civil Opera 绍兴文戏

Peony Pavilion 牡丹亭

===Questions===
1.What are the five major Chinese opera genres?

2.Where is the birthplace of Yue Opera?

3.How to inherit and innovate Yue Opera?

===Answers===
1.Peking Opera, Huangmei Opera, Yue Opera, Pingju opera and Henan Opera.

2.Shengzhou

3.Firstly, intensify efforts to cultivate professional Yue Opera actors.Secondly,intensify the creation of scripts for Yue Opera. Thirdly, innovate the promotion method of Yue Opera.

20220630 Classics 4

2022-07-03T08:45:11Z

Xie Xiaoying: /* References */

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==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===
With the rapid development of globalization, international cultural exchanges and interactions are increasingly frequent nowadays. As cross-cultural and interdisciplinary studies get more and more popular, new translations of ''The Analects'' continue to emerge, and there is growing calls for retranslation of Chinese classics, which reflects the inherent demand of Western sinology to re-understand Chinese culture and Chinese academia to reconstruct its own culture. ''The Analects'', one of the classics of Confucianism, concentrates on the thought of Confucius. Its translation and dissemination is not only a unity of translators, translation process and readers, but also a process of establishing connections with contemporary culture, ideology and social life through translation. Based on a brief review of the history of the translation of ''The Analects'', this paper gives an analysis of contemporary translators' translations of it in the context of the Chinese and Western cultural exchanges, and discusses the main innovative ways of the translation and dissemination of ''The Analects'' in the new era. It is aimed to seek better ways to interpret ''The Analects'' and provide new perspectives and ideas for the English translation and intercultural communication of Chinese classics.

===Key words===
''The Analects''; Confucius; Contemporary Era; English Translation

===Introduction===
Confucius, a famous thinker, educator and politician in ancient China, plays an important role in the history of Chinese ideology and world culture as the founder of Confucianism. Confucius was known as an omniscient sage for his knowledge and concern about world affairs, traveling around the world with his disciples for 14 years. Confucianism has evolved through dynasties and become the essence of Chinese traditional culture, not only as the tool of ideological domination, but also as the main body of Chinese feudal culture, preserving a rich cultural heritage and exerting a profound influence on both China and the world.

''The Analects'', compiled by the disciples of Confucius and his disciples, is one of the classical works of Confucianism. It is a record of the words and actions of Confucius and his disciples, mainly in the form of discourses and dialogues, concentrating on Confucius' political ideas, ethical thoughts, moral concepts and educational principles. ''The Analects'', together with the Great Learning, the Golden Mean and the Mencius, are known as the Four Books. It consists of 20 chapters with concise language and profound meaning, being an excellent collection of quotations and essays in the Spring and Autumn Period of China, many of which are still regarded as reasonable by the world today. Undeniably, ''The Analects'' is an embodiment of ethics, morality, and wisdom accumulated over thousands of years in ancient Chinese society, playing a great role in enlightening wisdom and passing on civilization (Lv Pengfei 2021: 61). Even today, many of the ideas in ''The Analects'' are still useful and valuable for the times.

In today's world with complex and changing international situation, national strength is not only reflected in hard power such as political, economic and military power, but also in soft power such as cultural attraction and influence. The English translation of classics has always been an important way to export Chinese traditional culture, and the change in China's overseas cultural image is also reflected in the study of English translations (Qiu Hemin 2019: 87). Therefore, focusing on the issues of translation strategies of ''The Analects'' and its dissemination paths in a new era in an ephemeral and dialectical manner can help us recognize the trend of translation, grasp translation strategies, promote the foreign dissemination of Chinese culture, and provide reference for further promoting the overseas dissemination and acceptance of Chinese classics.

This paper consists of three chapters. Chapter one gives a brief overview of the translation history of ''The Analects'', including the translation of ''The Analects'' in the late Ming and early Qing Dynasties and the English translation of ''The Analects'' in modern times. Chapter two discusses the English translation of The Analects under the contemporary cultural exchange between China and the West, taking the translation of Roger T. Ames and Henry Rosemont Jr., the translation of D. C. Lau and the translation of Xu Yuanchong as the main objects of study. Chapter three analyzes the innovative ways of translation and dissemination of ''The Analects'' in the new era, that is, retaining Chinese cultural characteristics, adopting translation strategy of foreignization appropriately, adapting to the needs of readers in the new era, and enhancing the functions of communication media.
===Literature Review===
In recent years, scholars at home and abroad have shown a tendency to strengthen their studies on the translation of ''The Analects'' with different methods and perspectives respectively. The following paragraphs will clarify the development of the translation studies of ''The Analects''.

Domestic research on the English translation of ''The Analects'' can be traced back to the early 20th century. However, after the founding of The People's Republic of China in 1949, there was a brief lag in the study of ''The Analects'' due to the tense domestic and international situation. It was not until the late 1990s that the study of the translation of ''The Analects'' developed rapidly and research papers continued to appear. In the past two decades or so, research on the English translation of ''The Analects'' has mainly focused on four aspects: translation study, translator study, Confucian terminology study, and comprehensive study (Lin Lin 2013: 2). For example, Huang Xuexia makes a comparative analysis of James Legge's translation and Ku Hung-Ming's translation under the guidance of Nida's functional equivalence theory; Yue Feng gives a comprehensive account of James Legge's attainments in sinology; Yang Ping compares and analyzes the translation of "仁" and its rationale in several translation versions of ''The Analects''; Li Yuliang and Luo Gongli introduce the dissemination of Confucianism by Western missionaries and Sinologists since the 19th century and analyze the dissemination strategies of Confucianism in the future.

Foreign translation studies of ''The Analects'' have been conducted over a long period of time, mainly in the commentaries, book reviews, and academic papers in the prefaces of the translations. Among them, book reviews were mainly published in journals and magazines of philosophy and sinology, and most of the early book reviews were brief descriptions of the publication. In recent years, book reviews and scholarly essays have become more wide-ranging in scope and diverse in perspective. For example, Jonathan Spence comments on Simon Pierre Ryckmans's translation of ''The Analects'' as beautiful, clear, and of great practical significance to addressing various issues in today's society; Lionel Giles points out that Arthur Waley's translation of ''The Analects'' was based on speculation rather than established fact, but his theory is reasonable and convincing; Stephen W. Durrant, an American Sinologist, deeply studies D. C. Lau's English translation of ''The Analects'', including the translation of specific words, the academic value of the preface and the lack of annotations in the translation. In addition, he also discusses the problems that should be paid attention to in the translation of Chinese classics.

The research on the translation of ''The Analects'' guides the translation of ''The Analects'' and makes it more and more mature. However, there are some shortcomings in the English translation studies of ''The Analects'' both at home and abroad: (1)The research objects are relatively concentrated. At present, translation studies on ''The Analects'' is excessively focused on the translation and the translators, among which the study of the translation is excessively on the translation of James Legge, Ku Hung-Ming, Arthur Waley and others. (2)The research perspective is relatively single. At present, most studies on the English translation of ''The Analects'' focus on the linguistic level or the translation techniques, but little on philosophy, history and culture, etc. (3)There is a lack of primary sources in domestic research. Most of the research on the English translation of ''The Analects'' in China focuses on the abridged version without annotations, appendices and introductions of the original text, which makes it difficult to accurately grasp the original meaning (Lin Lin 2013: 4).
===Methods and Theories===
As a masterpiece of the Confucianism, ''The Analects'' is a combination of history, culture, thought, and philosophy. There are numerous translations of it from a variety of perspectives, so the research methods should also be diversified. First of all, ''The Analects'' is a historical work, so it should be analyzed with historical methods. The historical background and the author's writing motivation should be taken into full consideration, and the profound connotation of the original text should also be explored. For example, do a textual research with the method of historical exegesis; explore the influence of the author's life experience and the background of the times on the translation with the historicity of the translator as the highlight; make vertical and horizontal comparisons of the purposes of English translations of ''The Analects'' in different times and by different translators; explore the meaning of key words such as "gentleman (jun zi)" "small man (xiao ren)" "benevolence (ren)" "wisdom (zhi)" in ''The Analects'' with the method of category studies, etc. (Liu Wenna 20). Secondly, it is necessary to use interdisciplinary research methods such as linguistics, history, and translation studies. Finally, we should give an objective and fair evaluation of different translations of ''The Analects'' by means of comprehensive induction.
===Translation History of ''The Analects''===
'''1.Translation of ''The Analects'' in the Late Ming and Early Qing Dynasties'''

In the history of cultural exchange between China and the West, the late Ming and early Qing dynasties is a very important historical stage with special significance. During this period, the economic development level and national strength of China and western countries bore little difference, and the cultural exchanges between China and the West took place in a relatively peaceful international context, so the cultural exchanges in this period happened in an equal and bilateral way (Lin Lin 2013: 10). Jesuits with higher cultural quality and educational level carried out extensive exchanges with the Chinese scholars. They recognized the profundity of Confucianism and its dominant position in Chinese culture in the process of preaching, and wrote a large number of notes and letters, devoting much effort to studying and translating the Chinese Confucian classics.

''Mirror of the Mind'', compiled by Fan Liben, is the first Chinese book translated to the West, which was written in the late Yuan and early Ming dynasties, recording the aphorisms and treatises of many philosophers such as Lao-Tzu, Confucius and Mencius; Michele Ruggieri was the first missionary to China to translate Chinese classics, who translated the Confucian classics into Western languages for the first time; In 1593, Matteo Ricci first translated the Four Books into Latin and named them ''Tetrabiblion Sinense de Moribus'', which had a great influence on European literature, religion and politics. The most widely influential translation of ''The Analects'' in the late Ming and early Qing dynasties was the Latin version ''Confucius Sinarum Philosophus'', which was edited by the Belgian Jesuit Philippe Couplet and published in Paris in 1687. Although there were few English translations of ''The Analects'' during the late Ming and early Qing dynasties, these translations created a "Chinese fever" in Europe and laid the foundation for later English translation of Confucian classics.

'''2.English Translation of ''The Analects'' in Modern Times'''

In the modern period, China was forced to open the door under the strong ships and cannons of Western invaders, so the second large-scale cultural exchange between China and the West was no longer as equal as in the Ming and Qing dynasties. In this period, Western culture was exported with an absolute advantage, and the cultural exchanges between China and the West were more extensive, richer in content and diversified in forms.

James Legge was the first person to systematically study and translate Chinese classics. He began his the translation of ''The Analects'' in 1840, translating the Four books and Five Classics into English and introducing them to the West for the first time, which was the earliest milestone in the history of English translation of Confucian Classics (Wang Yongqiang 2009: 25). His translation was elaborately annotated and heavily religious. Arthur Waley is one of the most distinguished British sinologists of the 20th century. His English translation of ''The Analects'' is the most popular in the English world, which is concise, clear, and easy to understand, suitable both for general readers and for scholarly to refer to because of its extensive quotations and detailed paraphrases.

Ku Hung-Ming was the first Chinese to independently translate ''The Analects'' into English, breaking the monopoly of missionaries and Western sinologists. He adopted flexible free translation, which inclined the language style, ideological connotation and unique cultural factors of the original text to the cultural system of the target language, so as to arouse the interest of western readers (Li Gang 2012: 79). Lin Yutang was a famous Chinese scholar, writer and translator whose translations focus on traditional Chinese classical culture. He translated parts of ''The Analects'' that he considers important with the pursuit of free translation and beautiful translation. He compared Confucianism and Western culture with each other from the perspective of internationalism, and gained a broad market and readership effect abroad with his popularization approach (Yang Liu 2005: 177).
===The English Translation of ''The Analects'' under the Contemporary Cultural Exchange between China and the West===
'''1.Contemporary Cultural Exchanges between China and the West under the Globalization'''

The culture of any country in the world cannot be developed in isolation. Instead, it should be communicated and exchanged with the culture of other countries, influence and complement each other, learn from and absorb the essence of other cultures, so as to better improve and develop itself (Lin Lin 2013, 28). With the advent of the era of globalization and the wide application of modern science and technology in the fields of transportation, communication, tourism and other fields, exchanges and cooperation among different cultures around the world have been increasing. The development of remote sensing technology, optical fiber communication technology and electronic computer technology make it possible for the unimpeded mass communication of information. The exchange between different cultures has broken through the restrictions of nationality, region and country, and the speed of cultural exchange has been greatly accelerated. Moreover, contemporary Chinese and western cultural exchange is not only related to literature, drama, art, education, tourism, and other aspects of communication, but also involves philosophical, religious and other aspects of communication, in the form of exchanges between governments, as well as cultural exchanges among academics, cultural circles and people, with unprecedented wide extent and deep degree.

However, the contemporary cultural exchange between China and the West is not only a rare opportunity but also a severe challenge for the cultural construction of China. On the one hand, the modern cultural exchanges between China and the West provide a broad vision for China's cultural construction, enabling Chinese culture to constantly absorb advanced western ideas, theories and experience, so as to realize its own perfection and development. On the other hand, the West is infiltrating China with its strong cultural power. In contemporary society, Western material civilization has been localized in China and integrated into the Chinese culture. The western system and culture are gradually understood and accepted theoretically. Their worldview and values are exerting a profound impact on the Chinese people, with the mainstream Chinese culture being sidelined and ignored. In this situation, it is a great challenge for today's cultural construction whether Chinese culture can absorb the essence of heterogeneous cultures, and take what benefit us and remove what we are redundant. We are required to make efforts in formulating a new type of "going out" culture, to vigorously promote and carry forward Chinese traditional culture, and to strengthen the ability of cultural innovation to improve its own competitiveness, so that Chinese culture can be invincible in the cultural exchanges between China and the West.

Therefore, in the contemporary era of increasing economic globalization, cultural diversity are becoming more and more prominent. The current situation of Chinese society leads to an urgent need of creative transformation of traditional culture, with growing call for foreign translation of Chinese classics (Li Bingquan 2015, 62).

'''2.Study on the Translations of ''The Analects'' by Contemporary Scholars'''

There has been a long history of the translation and study of ''The Analects'' by Western scholars. In contemporary times, with the ups and downs of the international situation and the gradual deepening of cultural exchanges between China and the West, the important value of Confucian classics has received more and more attention from Western scholars. They have begun to recognize the profound connotation and practical significance of Confucianism, whose translations of ''The Analects'' are often more faithful to the original text. For example, James Ware's translation of The Analects is in an extremely modern style, and he believes that "Confucius will one day once again be regarded as a model of social stability and national etiquette, and the teachings of The Analects will once again establish norms of behavior and the ideal of social harmony among all Chinese citizens" (Yang Ping 2011, 143).

Moreover, contemporary Western translators tend to highlight the differences between Chinese and Western cultures and avoid applying western religious and philosophical terms to the translation of ''The Analects''. In this regard, no one has contributed more prominently than Roger T. Ames and Henry Rosemont Jr., who advocated transliteration of Chinese philosophical terms, such as "仁" as "ren", "天" as "tian", and "道" as "dao". They try to make a new interpretation of Confucius' thought from the tradition of Chinese culture itself, trying to introduce the "original" Chinese thought to the Western world (Li Gang 2012, 134). The translation of The Analects by Roger T. Ames and Henry Rosemont Jr. better preserves the cultural connotations of the original text, reflects the differences between Chinese and Western cultures, re-establishes the status of Chinese philosophy, and makes an important contribution to correcting the cultural hegemony that has long existed in the western translation circle.

Immersed in and influenced by Chinese culture, Chinese scholars at home and abroad have a profound understanding of Chinese philosophy and ethics, so their translations of ''The Analects'' can more faithfully and accurately convey the spiritual essence of Chinese culture. Among them, D. C. Lau's English-Chinese bilingual translation of ''The Analects'' published in 1979 has received high praise from western scholars. Rigorous in his academic research, D. C. Lau carefully studied the exegesis of Chinese classical words and even the idiomatic usage and grammatical structure of each word in the sentence, and then translated it into English as accurately as possible (Liu Wenna 2012, 33). His translation of ''The Analects'' focuses on the connection between Chinese and Western cultures, with western philosophical and religious terms used to translate the core concepts, which receives warm welcome among readers. What’s more, Xu Yuanchong, a famous Chinese translator, also translated ''The Analects'' in order to promote Confucius' idea of governing the country with rites and music. His translation mainly adopted free translation, which is smooth, concise, literary and easy to understand, thus favored by many readers.
===The Innovative Ways of Translation and Dissemination of ''The Analects'' in the New Era===
'''1.Retaining Chinese Cultural Characteristics
'''
In today's society, the main purpose of translation is still cultural exchange. Only by constantly absorbing new nutrients from other cultures can the culture of a country or a nation maintain its vitality and healthy development. If the translator blindly caters to the target language culture, his translation will lose the original meaning of literary works and fail to achieve the purpose of cultural exchange and dissemination. When translating cultural texts, especially those with distinct cultural representativeness, we should try to retain the cultural characteristics as much as possible.

As one of the most important classical works of Confucianism, ''The Analects'' has a profound cultural connotation. How to reflect the national characteristics and spirit of Chinese culture while conforming to the aesthetics of the world in the foreign cultural communication of ''The Analects'' has become a problem faced by traditional Chinese culture to the world. President Xi Jinping pointed out that the promotion of traditional culture should be organically unified with the development of practical and a correct choice should be made in combination with new practices and the requirements of the times. We’re supposed to learn from the past, strive for the creative transformation and innovative development of traditional culture, and endow it with new connotation of the times(Xi Jinping 2017, 313). Accordingly, in the process of translating and disseminating The Analects, we should discard the negative elements of traditional culture and transmit the outstanding culture meaning in ''The Analects'' and the connotation of people-oriented spirit of the times to foreign countries. To this end, translators need to maintain their national characteristics based on their own culture, and translate and disseminate traditional Chinese culture with cultural consciousness. At the same time, translators also need to improve the translation and dissemination strategy of ''The Analects'' and spread the traditional Chinese culture across space and time, so that the world can know the Chinese discourse and help the Chinese translation discourse system go global (Fan Min 96).

'''2.Adopting Translation Strategy of Foreignization Appropriately'''

The translation of Chinese classics is not only a translation of texts, but also a process of cultural exchange and communication. Therefore, when translating Chinese classics, translators should consider the selection of translation strategies and methods from a historical and cultural perspective. In 1995, Lawrence Venuti first proposed the translation strategies of "domestication" and "foreignization" in his book ''The Translator's Invisibility''. The use of foreignization refers to "accepting the language and cultural differences of foreign text and bring readers into a foreign environment" (Liu E 2004, 98). In today's global culture communication, we should better understand and tolerate different cultures and pay more attention to their differences. Foreignization helps highlight cultural differences and enables readers to appreciate the distinctiveness of foreign cultures, thus strengthening their cultural identity.

The translation strategy of foreignization generally includes the following three methods: Firstly, transliteration. For example, the word "仁" in ''The Analects'' refers to a broad moral category with rich cultural connotations, so it is difficult to find a word perfect corresponding to it in English. Some scholars transliterate it directly as “ren”, which can not only accurately convey the cultural meaning of "仁", but also enrich the culture of the target language, preserving the cultural characteristics of the original language. Secondly, word-for-word translation. For instance, when translating “子曰：兴于诗，立于礼，成于乐” in ''The Analects'', Ezra Pound strictly followed the syntax of the original language and omitted both the subject and the tense verb, translating it as "He said: Aroused by the Odes. Established by the rites. Brought into perfect focus by music". Thirdly, word creation or paraphrasing. Matteo Ricci, for example, first translated "儒士" as “letterati”, which later became “literari” into English. And American sinologist James Ware translated "仁" as "manhood-at-its-best", which is also a good example.

Foreignization in translating ''The Analects'' is advocated. It doesn't mean that we should blindly pursue word-by-word translation or completely alienate the original text, but try our best to retain Chinese cultural characteristics while translating the text into fluent and authentic English. Especially when some core concepts with rich cultural connotation are involved, it is better to use the translation strategy of foreignization. Domestication and foreignization are not completely opposite, but complementary and indispensable to each other. Translators should recognize the differences between the two translation strategies and make full use of them in translations.

'''3.Adapting to the Needs of Readers in the New Era'''

The purpose of the reinterpretation of contemporary Confucian classics is to meet the needs of readers in the new era. And readers' acceptance is an important criterion to judge whether Chinese culture has successfully gone global. Studying the overseas dissemination and feedback of ''The Analects'' and focusing on the reinterpretation of Confucian philosophy helps to improve the exotic acceptance of ''The Analects'' in the context of world cultural diversity and promote the interaction and identification of global cultural convergence and localization. By using quantitative and qualitative methods, ''A Survey of Overseas Discourses on Chinese Discourse'' released by China International Publishing Group (CIPG) in February 2018 drew the characteristics of the top 100 words in terms of recognition: some traditional Chinese cultural words have entered the English discourse in the form of Chinese pinyin (Fan Min 97). This indicates that as China grows stronger, the current awareness and understanding of Chinese discourse among overseas people has increased dramatically, the international community's demand for knowledge about China is getting stronger, and the Chinese way of thinking is gradually influencing the world. The translation of Confucian philosophical concepts with Chinese characteristics in ''The Analects'' often becomes a difficult point of translation and dissemination because of cultural gaps and reader differences. Therefore, the translation trend of ''The Analects'' in the new era should also construct a discourse expression of Chinese and foreign integration, so as to help Chinese culture go global.

Take the translation of "德" as an example, James Legge translates it as “virtue, what is good”; Ku Hung-Ming translates it as “moral feeling, moral sentiment”; D. C. Lau translates it as “virtue, benign rule”; Roger T. Ames and Henry Rosemont Jr. translate it as “virtue (de 德), excellence (de 德)”; Edward Slingerland translates it as “kindness( de 德), character(de 德)”. The translation is kindness (de de), character (de de). Comparatively speaking, Roger T. Ames and Henry Rosemont Jr. and Edward Slingerland adapt to the requirements of readers in the new era, taking cultural communication as the starting point and adding the strategy of "Chinese Pinyin and Chinese characters" through constructing cultural identity and interpreting the connotation of cultural philosophy, so as to help the cultural implication of ''The Analects'' to be accepted by readers in the foreign cultural context.

'''4.Enhancing the Functions of Communication Media'''

Enhancing the functions of communication media makes great contributions to helping reinterpret the philosophy of Confucianism. Specific measures are as follows: 1)Enhance the cultural education of ''The Analects'' and strengthen the construction of the discourse system of ''The Analects'' for foreign communication as the national cultural soft power, integrating the mainstream values and national spirit and internalize them into their own needs, so as to strengthen people's identification with the country and the nation and thus unite people's hearts and enhance their strength; 2)Pay attention to the cultural interpretation strategy of the translation and dissemination of ''The Analects'' and the expression and influence of Confucian culture for foreign communication, so that the world can identify with the values of Confucian culture and promote China to become a culturally strong country; 3) Attach importance to the dissemination of the international output of ''The Analects'' with the development of information technology, and give full play to the important role of modern social media such as the Internet and government sponsorship in the translation and dissemination of The Analects; 4)Focus on the cultural export of ''The Analects'', build the classic culture brand and market pattern of ''The Analects'' in the form of foreign language websites, picture books, quoted lines in films and television, etc. In this information society, the ability of cultural communication has become an important factor of a country's cultural soft power. Therefore, we should attach emphasis to improving the translation and dissemination ability of ''The Analects'', and make traditional Chinese culture go international with the help of the cultural influence of ''The Analects''.
===Conclusion===
''The Analects'' has been translated into foreign languages for more than four hundred years, which is the most translated Chinese classic into Western languages except for ''Tao Te Ching''. Its translation has shown different characteristics at different historical stages of Chinese and Western cultural exchanges, playing an important role in promoting Chinese and Western cultural exchanges and spreading Chinese culture. With the enhancement of Chinese cultural communication to the outside world, the translation and dissemination strategy of ''The Analects'' should also keep pace with the times. Therefore, we should pay attention to the reinterpretation of modern Confucian philosophy in the process of translating and disseminating ''The Analects'', not only to respect the historical origin of the text and faithfully convey the spirit of the original text, but also to take into account the differences between Chinese and Western languages and cultures, so as to improve English readers' awareness and acceptance of ''The Analects'' culture and help Chinese traditional culture go global.
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==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.

*Cao Xue, Yin Xiaotang曹雪,尹晓棠(2020).《红楼梦》中人名的翻译策略[Translation Strategies of Chinese Names in A Dream of Red Mansions].作家天地[For Writers](8):17-18.

==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，

20220630 Classics 4

2022-07-03T08:41:32Z

Xie Xiaoying: /* 英语笔译谢晓莹 Xie Xiaoying 202170081601 CE */

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==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===
With the rapid development of globalization, international cultural exchanges and interactions are increasingly frequent nowadays. As cross-cultural and interdisciplinary studies get more and more popular, new translations of ''The Analects'' continue to emerge, and there is growing calls for retranslation of Chinese classics, which reflects the inherent demand of Western sinology to re-understand Chinese culture and Chinese academia to reconstruct its own culture. ''The Analects'', one of the classics of Confucianism, concentrates on the thought of Confucius. Its translation and dissemination is not only a unity of translators, translation process and readers, but also a process of establishing connections with contemporary culture, ideology and social life through translation. Based on a brief review of the history of the translation of ''The Analects'', this paper gives an analysis of contemporary translators' translations of it in the context of the Chinese and Western cultural exchanges, and discusses the main innovative ways of the translation and dissemination of ''The Analects'' in the new era. It is aimed to seek better ways to interpret ''The Analects'' and provide new perspectives and ideas for the English translation and intercultural communication of Chinese classics.

===Key words===
''The Analects''; Confucius; Contemporary Era; English Translation

===Introduction===
Confucius, a famous thinker, educator and politician in ancient China, plays an important role in the history of Chinese ideology and world culture as the founder of Confucianism. Confucius was known as an omniscient sage for his knowledge and concern about world affairs, traveling around the world with his disciples for 14 years. Confucianism has evolved through dynasties and become the essence of Chinese traditional culture, not only as the tool of ideological domination, but also as the main body of Chinese feudal culture, preserving a rich cultural heritage and exerting a profound influence on both China and the world.

''The Analects'', compiled by the disciples of Confucius and his disciples, is one of the classical works of Confucianism. It is a record of the words and actions of Confucius and his disciples, mainly in the form of discourses and dialogues, concentrating on Confucius' political ideas, ethical thoughts, moral concepts and educational principles. ''The Analects'', together with the Great Learning, the Golden Mean and the Mencius, are known as the Four Books. It consists of 20 chapters with concise language and profound meaning, being an excellent collection of quotations and essays in the Spring and Autumn Period of China, many of which are still regarded as reasonable by the world today. Undeniably, ''The Analects'' is an embodiment of ethics, morality, and wisdom accumulated over thousands of years in ancient Chinese society, playing a great role in enlightening wisdom and passing on civilization (Lv Pengfei 2021: 61). Even today, many of the ideas in ''The Analects'' are still useful and valuable for the times.

In today's world with complex and changing international situation, national strength is not only reflected in hard power such as political, economic and military power, but also in soft power such as cultural attraction and influence. The English translation of classics has always been an important way to export Chinese traditional culture, and the change in China's overseas cultural image is also reflected in the study of English translations (Qiu Hemin 2019: 87). Therefore, focusing on the issues of translation strategies of ''The Analects'' and its dissemination paths in a new era in an ephemeral and dialectical manner can help us recognize the trend of translation, grasp translation strategies, promote the foreign dissemination of Chinese culture, and provide reference for further promoting the overseas dissemination and acceptance of Chinese classics.

This paper consists of three chapters. Chapter one gives a brief overview of the translation history of ''The Analects'', including the translation of ''The Analects'' in the late Ming and early Qing Dynasties and the English translation of ''The Analects'' in modern times. Chapter two discusses the English translation of The Analects under the contemporary cultural exchange between China and the West, taking the translation of Roger T. Ames and Henry Rosemont Jr., the translation of D. C. Lau and the translation of Xu Yuanchong as the main objects of study. Chapter three analyzes the innovative ways of translation and dissemination of ''The Analects'' in the new era, that is, retaining Chinese cultural characteristics, adopting translation strategy of foreignization appropriately, adapting to the needs of readers in the new era, and enhancing the functions of communication media.
===Literature Review===
In recent years, scholars at home and abroad have shown a tendency to strengthen their studies on the translation of ''The Analects'' with different methods and perspectives respectively. The following paragraphs will clarify the development of the translation studies of ''The Analects''.

Domestic research on the English translation of ''The Analects'' can be traced back to the early 20th century. However, after the founding of The People's Republic of China in 1949, there was a brief lag in the study of ''The Analects'' due to the tense domestic and international situation. It was not until the late 1990s that the study of the translation of ''The Analects'' developed rapidly and research papers continued to appear. In the past two decades or so, research on the English translation of ''The Analects'' has mainly focused on four aspects: translation study, translator study, Confucian terminology study, and comprehensive study (Lin Lin 2013: 2). For example, Huang Xuexia makes a comparative analysis of James Legge's translation and Ku Hung-Ming's translation under the guidance of Nida's functional equivalence theory; Yue Feng gives a comprehensive account of James Legge's attainments in sinology; Yang Ping compares and analyzes the translation of "仁" and its rationale in several translation versions of ''The Analects''; Li Yuliang and Luo Gongli introduce the dissemination of Confucianism by Western missionaries and Sinologists since the 19th century and analyze the dissemination strategies of Confucianism in the future.

Foreign translation studies of ''The Analects'' have been conducted over a long period of time, mainly in the commentaries, book reviews, and academic papers in the prefaces of the translations. Among them, book reviews were mainly published in journals and magazines of philosophy and sinology, and most of the early book reviews were brief descriptions of the publication. In recent years, book reviews and scholarly essays have become more wide-ranging in scope and diverse in perspective. For example, Jonathan Spence comments on Simon Pierre Ryckmans's translation of ''The Analects'' as beautiful, clear, and of great practical significance to addressing various issues in today's society; Lionel Giles points out that Arthur Waley's translation of ''The Analects'' was based on speculation rather than established fact, but his theory is reasonable and convincing; Stephen W. Durrant, an American Sinologist, deeply studies D. C. Lau's English translation of ''The Analects'', including the translation of specific words, the academic value of the preface and the lack of annotations in the translation. In addition, he also discusses the problems that should be paid attention to in the translation of Chinese classics.

The research on the translation of ''The Analects'' guides the translation of ''The Analects'' and makes it more and more mature. However, there are some shortcomings in the English translation studies of ''The Analects'' both at home and abroad: (1)The research objects are relatively concentrated. At present, translation studies on ''The Analects'' is excessively focused on the translation and the translators, among which the study of the translation is excessively on the translation of James Legge, Ku Hung-Ming, Arthur Waley and others. (2)The research perspective is relatively single. At present, most studies on the English translation of ''The Analects'' focus on the linguistic level or the translation techniques, but little on philosophy, history and culture, etc. (3)There is a lack of primary sources in domestic research. Most of the research on the English translation of ''The Analects'' in China focuses on the abridged version without annotations, appendices and introductions of the original text, which makes it difficult to accurately grasp the original meaning (Lin Lin 2013: 4).
===Methods and Theories===
As a masterpiece of the Confucianism, ''The Analects'' is a combination of history, culture, thought, and philosophy. There are numerous translations of it from a variety of perspectives, so the research methods should also be diversified. First of all, ''The Analects'' is a historical work, so it should be analyzed with historical methods. The historical background and the author's writing motivation should be taken into full consideration, and the profound connotation of the original text should also be explored. For example, do a textual research with the method of historical exegesis; explore the influence of the author's life experience and the background of the times on the translation with the historicity of the translator as the highlight; make vertical and horizontal comparisons of the purposes of English translations of ''The Analects'' in different times and by different translators; explore the meaning of key words such as "gentleman (jun zi)" "small man (xiao ren)" "benevolence (ren)" "wisdom (zhi)" in ''The Analects'' with the method of category studies, etc. (Liu Wenna 20). Secondly, it is necessary to use interdisciplinary research methods such as linguistics, history, and translation studies. Finally, we should give an objective and fair evaluation of different translations of ''The Analects'' by means of comprehensive induction.
===Translation History of ''The Analects''===
'''1.Translation of ''The Analects'' in the Late Ming and Early Qing Dynasties'''

In the history of cultural exchange between China and the West, the late Ming and early Qing dynasties is a very important historical stage with special significance. During this period, the economic development level and national strength of China and western countries bore little difference, and the cultural exchanges between China and the West took place in a relatively peaceful international context, so the cultural exchanges in this period happened in an equal and bilateral way (Lin Lin 2013: 10). Jesuits with higher cultural quality and educational level carried out extensive exchanges with the Chinese scholars. They recognized the profundity of Confucianism and its dominant position in Chinese culture in the process of preaching, and wrote a large number of notes and letters, devoting much effort to studying and translating the Chinese Confucian classics.

''Mirror of the Mind'', compiled by Fan Liben, is the first Chinese book translated to the West, which was written in the late Yuan and early Ming dynasties, recording the aphorisms and treatises of many philosophers such as Lao-Tzu, Confucius and Mencius; Michele Ruggieri was the first missionary to China to translate Chinese classics, who translated the Confucian classics into Western languages for the first time; In 1593, Matteo Ricci first translated the Four Books into Latin and named them ''Tetrabiblion Sinense de Moribus'', which had a great influence on European literature, religion and politics. The most widely influential translation of ''The Analects'' in the late Ming and early Qing dynasties was the Latin version ''Confucius Sinarum Philosophus'', which was edited by the Belgian Jesuit Philippe Couplet and published in Paris in 1687. Although there were few English translations of ''The Analects'' during the late Ming and early Qing dynasties, these translations created a "Chinese fever" in Europe and laid the foundation for later English translation of Confucian classics.

'''2.English Translation of ''The Analects'' in Modern Times'''

In the modern period, China was forced to open the door under the strong ships and cannons of Western invaders, so the second large-scale cultural exchange between China and the West was no longer as equal as in the Ming and Qing dynasties. In this period, Western culture was exported with an absolute advantage, and the cultural exchanges between China and the West were more extensive, richer in content and diversified in forms.

James Legge was the first person to systematically study and translate Chinese classics. He began his the translation of ''The Analects'' in 1840, translating the Four books and Five Classics into English and introducing them to the West for the first time, which was the earliest milestone in the history of English translation of Confucian Classics (Wang Yongqiang 2009: 25). His translation was elaborately annotated and heavily religious. Arthur Waley is one of the most distinguished British sinologists of the 20th century. His English translation of ''The Analects'' is the most popular in the English world, which is concise, clear, and easy to understand, suitable both for general readers and for scholarly to refer to because of its extensive quotations and detailed paraphrases.

Ku Hung-Ming was the first Chinese to independently translate ''The Analects'' into English, breaking the monopoly of missionaries and Western sinologists. He adopted flexible free translation, which inclined the language style, ideological connotation and unique cultural factors of the original text to the cultural system of the target language, so as to arouse the interest of western readers (Li Gang 2012: 79). Lin Yutang was a famous Chinese scholar, writer and translator whose translations focus on traditional Chinese classical culture. He translated parts of ''The Analects'' that he considers important with the pursuit of free translation and beautiful translation. He compared Confucianism and Western culture with each other from the perspective of internationalism, and gained a broad market and readership effect abroad with his popularization approach (Yang Liu 2005: 177).
===The English Translation of ''The Analects'' under the Contemporary Cultural Exchange between China and the West===
'''1.Contemporary Cultural Exchanges between China and the West under the Globalization'''

The culture of any country in the world cannot be developed in isolation. Instead, it should be communicated and exchanged with the culture of other countries, influence and complement each other, learn from and absorb the essence of other cultures, so as to better improve and develop itself (Lin Lin 2013, 28). With the advent of the era of globalization and the wide application of modern science and technology in the fields of transportation, communication, tourism and other fields, exchanges and cooperation among different cultures around the world have been increasing. The development of remote sensing technology, optical fiber communication technology and electronic computer technology make it possible for the unimpeded mass communication of information. The exchange between different cultures has broken through the restrictions of nationality, region and country, and the speed of cultural exchange has been greatly accelerated. Moreover, contemporary Chinese and western cultural exchange is not only related to literature, drama, art, education, tourism, and other aspects of communication, but also involves philosophical, religious and other aspects of communication, in the form of exchanges between governments, as well as cultural exchanges among academics, cultural circles and people, with unprecedented wide extent and deep degree.

However, the contemporary cultural exchange between China and the West is not only a rare opportunity but also a severe challenge for the cultural construction of China. On the one hand, the modern cultural exchanges between China and the West provide a broad vision for China's cultural construction, enabling Chinese culture to constantly absorb advanced western ideas, theories and experience, so as to realize its own perfection and development. On the other hand, the West is infiltrating China with its strong cultural power. In contemporary society, Western material civilization has been localized in China and integrated into the Chinese culture. The western system and culture are gradually understood and accepted theoretically. Their worldview and values are exerting a profound impact on the Chinese people, with the mainstream Chinese culture being sidelined and ignored. In this situation, it is a great challenge for today's cultural construction whether Chinese culture can absorb the essence of heterogeneous cultures, and take what benefit us and remove what we are redundant. We are required to make efforts in formulating a new type of "going out" culture, to vigorously promote and carry forward Chinese traditional culture, and to strengthen the ability of cultural innovation to improve its own competitiveness, so that Chinese culture can be invincible in the cultural exchanges between China and the West.

Therefore, in the contemporary era of increasing economic globalization, cultural diversity are becoming more and more prominent. The current situation of Chinese society leads to an urgent need of creative transformation of traditional culture, with growing call for foreign translation of Chinese classics (Li Bingquan 2015, 62).

'''2.Study on the Translations of ''The Analects'' by Contemporary Scholars'''

There has been a long history of the translation and study of ''The Analects'' by Western scholars. In contemporary times, with the ups and downs of the international situation and the gradual deepening of cultural exchanges between China and the West, the important value of Confucian classics has received more and more attention from Western scholars. They have begun to recognize the profound connotation and practical significance of Confucianism, whose translations of ''The Analects'' are often more faithful to the original text. For example, James Ware's translation of The Analects is in an extremely modern style, and he believes that "Confucius will one day once again be regarded as a model of social stability and national etiquette, and the teachings of The Analects will once again establish norms of behavior and the ideal of social harmony among all Chinese citizens" (Yang Ping 2011, 143).

Moreover, contemporary Western translators tend to highlight the differences between Chinese and Western cultures and avoid applying western religious and philosophical terms to the translation of ''The Analects''. In this regard, no one has contributed more prominently than Roger T. Ames and Henry Rosemont Jr., who advocated transliteration of Chinese philosophical terms, such as "仁" as "ren", "天" as "tian", and "道" as "dao". They try to make a new interpretation of Confucius' thought from the tradition of Chinese culture itself, trying to introduce the "original" Chinese thought to the Western world (Li Gang 2012, 134). The translation of The Analects by Roger T. Ames and Henry Rosemont Jr. better preserves the cultural connotations of the original text, reflects the differences between Chinese and Western cultures, re-establishes the status of Chinese philosophy, and makes an important contribution to correcting the cultural hegemony that has long existed in the western translation circle.

Immersed in and influenced by Chinese culture, Chinese scholars at home and abroad have a profound understanding of Chinese philosophy and ethics, so their translations of ''The Analects'' can more faithfully and accurately convey the spiritual essence of Chinese culture. Among them, D. C. Lau's English-Chinese bilingual translation of ''The Analects'' published in 1979 has received high praise from western scholars. Rigorous in his academic research, D. C. Lau carefully studied the exegesis of Chinese classical words and even the idiomatic usage and grammatical structure of each word in the sentence, and then translated it into English as accurately as possible (Liu Wenna 2012, 33). His translation of ''The Analects'' focuses on the connection between Chinese and Western cultures, with western philosophical and religious terms used to translate the core concepts, which receives warm welcome among readers. What’s more, Xu Yuanchong, a famous Chinese translator, also translated ''The Analects'' in order to promote Confucius' idea of governing the country with rites and music. His translation mainly adopted free translation, which is smooth, concise, literary and easy to understand, thus favored by many readers.
===The Innovative Ways of Translation and Dissemination of ''The Analects'' in the New Era===
'''1.Retaining Chinese Cultural Characteristics
'''
In today's society, the main purpose of translation is still cultural exchange. Only by constantly absorbing new nutrients from other cultures can the culture of a country or a nation maintain its vitality and healthy development. If the translator blindly caters to the target language culture, his translation will lose the original meaning of literary works and fail to achieve the purpose of cultural exchange and dissemination. When translating cultural texts, especially those with distinct cultural representativeness, we should try to retain the cultural characteristics as much as possible.

As one of the most important classical works of Confucianism, ''The Analects'' has a profound cultural connotation. How to reflect the national characteristics and spirit of Chinese culture while conforming to the aesthetics of the world in the foreign cultural communication of ''The Analects'' has become a problem faced by traditional Chinese culture to the world. President Xi Jinping pointed out that the promotion of traditional culture should be organically unified with the development of practical and a correct choice should be made in combination with new practices and the requirements of the times. We’re supposed to learn from the past, strive for the creative transformation and innovative development of traditional culture, and endow it with new connotation of the times(Xi Jinping 2017, 313). Accordingly, in the process of translating and disseminating The Analects, we should discard the negative elements of traditional culture and transmit the outstanding culture meaning in ''The Analects'' and the connotation of people-oriented spirit of the times to foreign countries. To this end, translators need to maintain their national characteristics based on their own culture, and translate and disseminate traditional Chinese culture with cultural consciousness. At the same time, translators also need to improve the translation and dissemination strategy of ''The Analects'' and spread the traditional Chinese culture across space and time, so that the world can know the Chinese discourse and help the Chinese translation discourse system go global (Fan Min 96).

'''2.Adopting Translation Strategy of Foreignization Appropriately'''

The translation of Chinese classics is not only a translation of texts, but also a process of cultural exchange and communication. Therefore, when translating Chinese classics, translators should consider the selection of translation strategies and methods from a historical and cultural perspective. In 1995, Lawrence Venuti first proposed the translation strategies of "domestication" and "foreignization" in his book ''The Translator's Invisibility''. The use of foreignization refers to "accepting the language and cultural differences of foreign text and bring readers into a foreign environment" (Liu E 2004, 98). In today's global culture communication, we should better understand and tolerate different cultures and pay more attention to their differences. Foreignization helps highlight cultural differences and enables readers to appreciate the distinctiveness of foreign cultures, thus strengthening their cultural identity.

The translation strategy of foreignization generally includes the following three methods: Firstly, transliteration. For example, the word "仁" in ''The Analects'' refers to a broad moral category with rich cultural connotations, so it is difficult to find a word perfect corresponding to it in English. Some scholars transliterate it directly as “ren”, which can not only accurately convey the cultural meaning of "仁", but also enrich the culture of the target language, preserving the cultural characteristics of the original language. Secondly, word-for-word translation. For instance, when translating “子曰：兴于诗，立于礼，成于乐” in ''The Analects'', Ezra Pound strictly followed the syntax of the original language and omitted both the subject and the tense verb, translating it as "He said: Aroused by the Odes. Established by the rites. Brought into perfect focus by music". Thirdly, word creation or paraphrasing. Matteo Ricci, for example, first translated "儒士" as “letterati”, which later became “literari” into English. And American sinologist James Ware translated "仁" as "manhood-at-its-best", which is also a good example.

Foreignization in translating ''The Analects'' is advocated. It doesn't mean that we should blindly pursue word-by-word translation or completely alienate the original text, but try our best to retain Chinese cultural characteristics while translating the text into fluent and authentic English. Especially when some core concepts with rich cultural connotation are involved, it is better to use the translation strategy of foreignization. Domestication and foreignization are not completely opposite, but complementary and indispensable to each other. Translators should recognize the differences between the two translation strategies and make full use of them in translations.

'''3.Adapting to the Needs of Readers in the New Era'''

The purpose of the reinterpretation of contemporary Confucian classics is to meet the needs of readers in the new era. And readers' acceptance is an important criterion to judge whether Chinese culture has successfully gone global. Studying the overseas dissemination and feedback of ''The Analects'' and focusing on the reinterpretation of Confucian philosophy helps to improve the exotic acceptance of ''The Analects'' in the context of world cultural diversity and promote the interaction and identification of global cultural convergence and localization. By using quantitative and qualitative methods, ''A Survey of Overseas Discourses on Chinese Discourse'' released by China International Publishing Group (CIPG) in February 2018 drew the characteristics of the top 100 words in terms of recognition: some traditional Chinese cultural words have entered the English discourse in the form of Chinese pinyin (Fan Min 97). This indicates that as China grows stronger, the current awareness and understanding of Chinese discourse among overseas people has increased dramatically, the international community's demand for knowledge about China is getting stronger, and the Chinese way of thinking is gradually influencing the world. The translation of Confucian philosophical concepts with Chinese characteristics in ''The Analects'' often becomes a difficult point of translation and dissemination because of cultural gaps and reader differences. Therefore, the translation trend of ''The Analects'' in the new era should also construct a discourse expression of Chinese and foreign integration, so as to help Chinese culture go global.

Take the translation of "德" as an example, James Legge translates it as “virtue, what is good”; Ku Hung-Ming translates it as “moral feeling, moral sentiment”; D. C. Lau translates it as “virtue, benign rule”; Roger T. Ames and Henry Rosemont Jr. translate it as “virtue (de 德), excellence (de 德)”; Edward Slingerland translates it as “kindness( de 德), character(de 德)”. The translation is kindness (de de), character (de de). Comparatively speaking, Roger T. Ames and Henry Rosemont Jr. and Edward Slingerland adapt to the requirements of readers in the new era, taking cultural communication as the starting point and adding the strategy of "Chinese Pinyin and Chinese characters" through constructing cultural identity and interpreting the connotation of cultural philosophy, so as to help the cultural implication of ''The Analects'' to be accepted by readers in the foreign cultural context.

'''4.Enhancing the Functions of Communication Media'''

Enhancing the functions of communication media makes great contributions to helping reinterpret the philosophy of Confucianism. Specific measures are as follows: 1)Enhance the cultural education of ''The Analects'' and strengthen the construction of the discourse system of ''The Analects'' for foreign communication as the national cultural soft power, integrating the mainstream values and national spirit and internalize them into their own needs, so as to strengthen people's identification with the country and the nation and thus unite people's hearts and enhance their strength; 2)Pay attention to the cultural interpretation strategy of the translation and dissemination of ''The Analects'' and the expression and influence of Confucian culture for foreign communication, so that the world can identify with the values of Confucian culture and promote China to become a culturally strong country; 3) Attach importance to the dissemination of the international output of ''The Analects'' with the development of information technology, and give full play to the important role of modern social media such as the Internet and government sponsorship in the translation and dissemination of The Analects; 4)Focus on the cultural export of ''The Analects'', build the classic culture brand and market pattern of ''The Analects'' in the form of foreign language websites, picture books, quoted lines in films and television, etc. In this information society, the ability of cultural communication has become an important factor of a country's cultural soft power. Therefore, we should attach emphasis to improving the translation and dissemination ability of ''The Analects'', and make traditional Chinese culture go international with the help of the cultural influence of ''The Analects''.
===Conclusion===
''The Analects'' has been translated into foreign languages for more than four hundred years, which is the most translated Chinese classic into Western languages except for ''Tao Te Ching''. Its translation has shown different characteristics at different historical stages of Chinese and Western cultural exchanges, playing an important role in promoting Chinese and Western cultural exchanges and spreading Chinese culture. With the enhancement of Chinese cultural communication to the outside world, the translation and dissemination strategy of ''The Analects'' should also keep pace with the times. Therefore, we should pay attention to the reinterpretation of modern Confucian philosophy in the process of translating and disseminating ''The Analects'', not only to respect the historical origin of the text and faithfully convey the spirit of the original text, but also to take into account the differences between Chinese and Western languages and cultures, so as to improve English readers' awareness and acceptance of ''The Analects'' culture and help Chinese traditional culture go global.
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==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，

20220630 Classics 4

2022-07-03T08:38:13Z

Xie Xiaoying: /* 英语笔译谢晓莹 Xie Xiaoying 202170081601 CE */

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==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===
With the rapid development of globalization, international cultural exchanges and interactions are increasingly frequent nowadays. As cross-cultural and interdisciplinary studies get more and more popular, new translations of ''The Analects'' continue to emerge, and there is growing calls for retranslation of Chinese classics, which reflects the inherent demand of Western sinology to re-understand Chinese culture and Chinese academia to reconstruct its own culture. ''The Analects'', one of the classics of Confucianism, concentrates on the thought of Confucius. Its translation and dissemination is not only a unity of translators, translation process and readers, but also a process of establishing connections with contemporary culture, ideology and social life through translation. Based on a brief review of the history of the translation of ''The Analects'', this paper gives an analysis of contemporary translators' translations of it in the context of the Chinese and Western cultural exchanges, and discusses the main innovative ways of the translation and dissemination of ''The Analects'' in the new era. It is aimed to seek better ways to interpret ''The Analects'' and provide new perspectives and ideas for the English translation and intercultural communication of Chinese classics.

===Key words===
''The Analects''; Confucius; Contemporary Era; English Translation

===Introduction===
Confucius, a famous thinker, educator and politician in ancient China, plays an important role in the history of Chinese ideology and world culture as the founder of Confucianism. Confucius was known as an omniscient sage for his knowledge and concern about world affairs, traveling around the world with his disciples for 14 years. Confucianism has evolved through dynasties and become the essence of Chinese traditional culture, not only as the tool of ideological domination, but also as the main body of Chinese feudal culture, preserving a rich cultural heritage and exerting a profound influence on both China and the world.

''The Analects'', compiled by the disciples of Confucius and his disciples, is one of the classical works of Confucianism. It is a record of the words and actions of Confucius and his disciples, mainly in the form of discourses and dialogues, concentrating on Confucius' political ideas, ethical thoughts, moral concepts and educational principles. ''The Analects'', together with the Great Learning, the Golden Mean and the Mencius, are known as the Four Books. It consists of 20 chapters with concise language and profound meaning, being an excellent collection of quotations and essays in the Spring and Autumn Period of China, many of which are still regarded as reasonable by the world today. Undeniably, ''The Analects'' is an embodiment of ethics, morality, and wisdom accumulated over thousands of years in ancient Chinese society, playing a great role in enlightening wisdom and passing on civilization (Lv Pengfei 2021: 61). Even today, many of the ideas in ''The Analects'' are still useful and valuable for the times.

In today's world with complex and changing international situation, national strength is not only reflected in hard power such as political, economic and military power, but also in soft power such as cultural attraction and influence. The English translation of classics has always been an important way to export Chinese traditional culture, and the change in China's overseas cultural image is also reflected in the study of English translations (Qiu Hemin 2019: 87). Therefore, focusing on the issues of translation strategies of ''The Analects'' and its dissemination paths in a new era in an ephemeral and dialectical manner can help us recognize the trend of translation, grasp translation strategies, promote the foreign dissemination of Chinese culture, and provide reference for further promoting the overseas dissemination and acceptance of Chinese classics.

This paper consists of three chapters. Chapter one gives a brief overview of the translation history of ''The Analects'', including the translation of ''The Analects'' in the late Ming and early Qing Dynasties and the English translation of ''The Analects'' in modern times. Chapter two discusses the English translation of The Analects under the contemporary cultural exchange between China and the West, taking the translation of Roger T. Ames and Henry Rosemont Jr., the translation of D. C. Lau and the translation of Xu Yuanchong as the main objects of study. Chapter three analyzes the innovative ways of translation and dissemination of ''The Analects'' in the new era, that is, retaining Chinese cultural characteristics, adopting translation strategy of foreignization appropriately, adapting to the needs of readers in the new era, and enhancing the functions of communication media.
===Literature Review===
In recent years, scholars at home and abroad have shown a tendency to strengthen their studies on the translation of ''The Analects'' with different methods and perspectives respectively. The following paragraphs will clarify the development of the translation studies of ''The Analects''.

Domestic research on the English translation of ''The Analects'' can be traced back to the early 20th century. However, after the founding of The People's Republic of China in 1949, there was a brief lag in the study of ''The Analects'' due to the tense domestic and international situation. It was not until the late 1990s that the study of the translation of ''The Analects'' developed rapidly and research papers continued to appear. In the past two decades or so, research on the English translation of ''The Analects'' has mainly focused on four aspects: translation study, translator study, Confucian terminology study, and comprehensive study (Lin Lin 2013: 2). For example, Huang Xuexia makes a comparative analysis of James Legge's translation and Ku Hung-Ming's translation under the guidance of Nida's functional equivalence theory; Yue Feng gives a comprehensive account of James Legge's attainments in sinology; Yang Ping compares and analyzes the translation of "仁" and its rationale in several translation versions of ''The Analects''; Li Yuliang and Luo Gongli introduce the dissemination of Confucianism by Western missionaries and Sinologists since the 19th century and analyze the dissemination strategies of Confucianism in the future.

Foreign translation studies of ''The Analects'' have been conducted over a long period of time, mainly in the commentaries, book reviews, and academic papers in the prefaces of the translations. Among them, book reviews were mainly published in journals and magazines of philosophy and sinology, and most of the early book reviews were brief descriptions of the publication. In recent years, book reviews and scholarly essays have become more wide-ranging in scope and diverse in perspective. For example, Jonathan Spence comments on Simon Pierre Ryckmans's translation of ''The Analects'' as beautiful, clear, and of great practical significance to addressing various issues in today's society; Lionel Giles points out that Arthur Waley's translation of ''The Analects'' was based on speculation rather than established fact, but his theory is reasonable and convincing; Stephen W. Durrant, an American Sinologist, deeply studies D. C. Lau's English translation of ''The Analects'', including the translation of specific words, the academic value of the preface and the lack of annotations in the translation. In addition, he also discusses the problems that should be paid attention to in the translation of Chinese classics.

The research on the translation of ''The Analects'' guides the translation of ''The Analects'' and makes it more and more mature. However, there are some shortcomings in the English translation studies of ''The Analects'' both at home and abroad: (1)The research objects are relatively concentrated. At present, translation studies on ''The Analects'' is excessively focused on the translation and the translators, among which the study of the translation is excessively on the translation of James Legge, Ku Hung-Ming, Arthur Waley and others. (2)The research perspective is relatively single. At present, most studies on the English translation of ''The Analects'' focus on the linguistic level or the translation techniques, but little on philosophy, history and culture, etc. (3)There is a lack of primary sources in domestic research. Most of the research on the English translation of ''The Analects'' in China focuses on the abridged version without annotations, appendices and introductions of the original text, which makes it difficult to accurately grasp the original meaning (Lin Lin 2013: 4).
===Methods and Theories===
As a masterpiece of the Confucianism, ''The Analects'' is a combination of history, culture, thought, and philosophy. There are numerous translations of it from a variety of perspectives, so the research methods should also be diversified. First of all, ''The Analects'' is a historical work, so it should be analyzed with historical methods. The historical background and the author's writing motivation should be taken into full consideration, and the profound connotation of the original text should also be explored. For example, do a textual research with the method of historical exegesis; explore the influence of the author's life experience and the background of the times on the translation with the historicity of the translator as the highlight; make vertical and horizontal comparisons of the purposes of English translations of ''The Analects'' in different times and by different translators; explore the meaning of key words such as "gentleman (jun zi)" "small man (xiao ren)" "benevolence (ren)" "wisdom (zhi)" in ''The Analects'' with the method of category studies, etc. (Liu Wenna 20). Secondly, it is necessary to use interdisciplinary research methods such as linguistics, history, and translation studies. Finally, we should give an objective and fair evaluation of different translations of ''The Analects'' by means of comprehensive induction.
===Translation History of ''The Analects''===
1.Translation of ''The Analects'' in the Late Ming and Early Qing Dynasties

In the history of cultural exchange between China and the West, the late Ming and early Qing dynasties is a very important historical stage with special significance. During this period, the economic development level and national strength of China and western countries bore little difference, and the cultural exchanges between China and the West took place in a relatively peaceful international context, so the cultural exchanges in this period happened in an equal and bilateral way (Lin Lin 2013: 10). Jesuits with higher cultural quality and educational level carried out extensive exchanges with the Chinese scholars. They recognized the profundity of Confucianism and its dominant position in Chinese culture in the process of preaching, and wrote a large number of notes and letters, devoting much effort to studying and translating the Chinese Confucian classics.

''Mirror of the Mind'', compiled by Fan Liben, is the first Chinese book translated to the West, which was written in the late Yuan and early Ming dynasties, recording the aphorisms and treatises of many philosophers such as Lao-Tzu, Confucius and Mencius; Michele Ruggieri was the first missionary to China to translate Chinese classics, who translated the Confucian classics into Western languages for the first time; In 1593, Matteo Ricci first translated the Four Books into Latin and named them ''Tetrabiblion Sinense de Moribus'', which had a great influence on European literature, religion and politics. The most widely influential translation of ''The Analects'' in the late Ming and early Qing dynasties was the Latin version ''Confucius Sinarum Philosophus'', which was edited by the Belgian Jesuit Philippe Couplet and published in Paris in 1687. Although there were few English translations of ''The Analects'' during the late Ming and early Qing dynasties, these translations created a "Chinese fever" in Europe and laid the foundation for later English translation of Confucian classics.

2.English Translation of ''The Analects'' in Modern Times

In the modern period, China was forced to open the door under the strong ships and cannons of Western invaders, so the second large-scale cultural exchange between China and the West was no longer as equal as in the Ming and Qing dynasties. In this period, Western culture was exported with an absolute advantage, and the cultural exchanges between China and the West were more extensive, richer in content and diversified in forms.

James Legge was the first person to systematically study and translate Chinese classics. He began his the translation of ''The Analects'' in 1840, translating the Four books and Five Classics into English and introducing them to the West for the first time, which was the earliest milestone in the history of English translation of Confucian Classics (Wang Yongqiang 2009: 25). His translation was elaborately annotated and heavily religious. Arthur Waley is one of the most distinguished British sinologists of the 20th century. His English translation of ''The Analects'' is the most popular in the English world, which is concise, clear, and easy to understand, suitable both for general readers and for scholarly to refer to because of its extensive quotations and detailed paraphrases.

Ku Hung-Ming was the first Chinese to independently translate ''The Analects'' into English, breaking the monopoly of missionaries and Western sinologists. He adopted flexible free translation, which inclined the language style, ideological connotation and unique cultural factors of the original text to the cultural system of the target language, so as to arouse the interest of western readers (Li Gang 2012: 79). Lin Yutang was a famous Chinese scholar, writer and translator whose translations focus on traditional Chinese classical culture. He translated parts of ''The Analects'' that he considers important with the pursuit of free translation and beautiful translation. He compared Confucianism and Western culture with each other from the perspective of internationalism, and gained a broad market and readership effect abroad with his popularization approach (Yang Liu 2005: 177).
===The English Translation of ''The Analects'' under the Contemporary Cultural Exchange between China and the West===
1.Contemporary Cultural Exchanges between China and the West under the Globalization

The culture of any country in the world cannot be developed in isolation. Instead, it should be communicated and exchanged with the culture of other countries, influence and complement each other, learn from and absorb the essence of other cultures, so as to better improve and develop itself (Lin Lin 2013, 28). With the advent of the era of globalization and the wide application of modern science and technology in the fields of transportation, communication, tourism and other fields, exchanges and cooperation among different cultures around the world have been increasing. The development of remote sensing technology, optical fiber communication technology and electronic computer technology make it possible for the unimpeded mass communication of information. The exchange between different cultures has broken through the restrictions of nationality, region and country, and the speed of cultural exchange has been greatly accelerated. Moreover, contemporary Chinese and western cultural exchange is not only related to literature, drama, art, education, tourism, and other aspects of communication, but also involves philosophical, religious and other aspects of communication, in the form of exchanges between governments, as well as cultural exchanges among academics, cultural circles and people, with unprecedented wide extent and deep degree.

However, the contemporary cultural exchange between China and the West is not only a rare opportunity but also a severe challenge for the cultural construction of China. On the one hand, the modern cultural exchanges between China and the West provide a broad vision for China's cultural construction, enabling Chinese culture to constantly absorb advanced western ideas, theories and experience, so as to realize its own perfection and development. On the other hand, the West is infiltrating China with its strong cultural power. In contemporary society, Western material civilization has been localized in China and integrated into the Chinese culture. The western system and culture are gradually understood and accepted theoretically. Their worldview and values are exerting a profound impact on the Chinese people, with the mainstream Chinese culture being sidelined and ignored. In this situation, it is a great challenge for today's cultural construction whether Chinese culture can absorb the essence of heterogeneous cultures, and take what benefit us and remove what we are redundant. We are required to make efforts in formulating a new type of "going out" culture, to vigorously promote and carry forward Chinese traditional culture, and to strengthen the ability of cultural innovation to improve its own competitiveness, so that Chinese culture can be invincible in the cultural exchanges between China and the West.

Therefore, in the contemporary era of increasing economic globalization, cultural diversity are becoming more and more prominent. The current situation of Chinese society leads to an urgent need of creative transformation of traditional culture, with growing call for foreign translation of Chinese classics (Li Bingquan 2015, 62).

2.Study on the Translations of ''The Analects'' by Contemporary Scholars

There has been a long history of the translation and study of ''The Analects'' by Western scholars. In contemporary times, with the ups and downs of the international situation and the gradual deepening of cultural exchanges between China and the West, the important value of Confucian classics has received more and more attention from Western scholars. They have begun to recognize the profound connotation and practical significance of Confucianism, whose translations of ''The Analects'' are often more faithful to the original text. For example, James Ware's translation of The Analects is in an extremely modern style, and he believes that "Confucius will one day once again be regarded as a model of social stability and national etiquette, and the teachings of The Analects will once again establish norms of behavior and the ideal of social harmony among all Chinese citizens" (Yang Ping 2011, 143).

Moreover, contemporary Western translators tend to highlight the differences between Chinese and Western cultures and avoid applying western religious and philosophical terms to the translation of ''The Analects''. In this regard, no one has contributed more prominently than Roger T. Ames and Henry Rosemont Jr., who advocated transliteration of Chinese philosophical terms, such as "仁" as "ren", "天" as "tian", and "道" as "dao". They try to make a new interpretation of Confucius' thought from the tradition of Chinese culture itself, trying to introduce the "original" Chinese thought to the Western world (Li Gang 2012, 134). The translation of The Analects by Roger T. Ames and Henry Rosemont Jr. better preserves the cultural connotations of the original text, reflects the differences between Chinese and Western cultures, re-establishes the status of Chinese philosophy, and makes an important contribution to correcting the cultural hegemony that has long existed in the western translation circle.

Immersed in and influenced by Chinese culture, Chinese scholars at home and abroad have a profound understanding of Chinese philosophy and ethics, so their translations of ''The Analects'' can more faithfully and accurately convey the spiritual essence of Chinese culture. Among them, D. C. Lau's English-Chinese bilingual translation of ''The Analects'' published in 1979 has received high praise from western scholars. Rigorous in his academic research, D. C. Lau carefully studied the exegesis of Chinese classical words and even the idiomatic usage and grammatical structure of each word in the sentence, and then translated it into English as accurately as possible (Liu Wenna 2012, 33). His translation of ''The Analects'' focuses on the connection between Chinese and Western cultures, with western philosophical and religious terms used to translate the core concepts, which receives warm welcome among readers. What’s more, Xu Yuanchong, a famous Chinese translator, also translated ''The Analects'' in order to promote Confucius' idea of governing the country with rites and music. His translation mainly adopted free translation, which is smooth, concise, literary and easy to understand, thus favored by many readers.
===The Innovative Ways of Translation and Dissemination of ''The Analects'' in the New Era===
1.Retaining Chinese Cultural Characteristics

In today's society, the main purpose of translation is still cultural exchange. Only by constantly absorbing new nutrients from other cultures can the culture of a country or a nation maintain its vitality and healthy development. If the translator blindly caters to the target language culture, his translation will lose the original meaning of literary works and fail to achieve the purpose of cultural exchange and dissemination. When translating cultural texts, especially those with distinct cultural representativeness, we should try to retain the cultural characteristics as much as possible.

As one of the most important classical works of Confucianism, ''The Analects'' has a profound cultural connotation. How to reflect the national characteristics and spirit of Chinese culture while conforming to the aesthetics of the world in the foreign cultural communication of ''The Analects'' has become a problem faced by traditional Chinese culture to the world. President Xi Jinping pointed out that the promotion of traditional culture should be organically unified with the development of practical and a correct choice should be made in combination with new practices and the requirements of the times. We’re supposed to learn from the past, strive for the creative transformation and innovative development of traditional culture, and endow it with new connotation of the times(Xi Jinping 2017, 313). Accordingly, in the process of translating and disseminating The Analects, we should discard the negative elements of traditional culture and transmit the outstanding culture meaning in ''The Analects'' and the connotation of people-oriented spirit of the times to foreign countries. To this end, translators need to maintain their national characteristics based on their own culture, and translate and disseminate traditional Chinese culture with cultural consciousness. At the same time, translators also need to improve the translation and dissemination strategy of ''The Analects'' and spread the traditional Chinese culture across space and time, so that the world can know the Chinese discourse and help the Chinese translation discourse system go global (Fan Min 96).
2.Adopting Translation Strategy of Foreignization Appropriately

The translation of Chinese classics is not only a translation of texts, but also a process of cultural exchange and communication. Therefore, when translating Chinese classics, translators should consider the selection of translation strategies and methods from a historical and cultural perspective. In 1995, Lawrence Venuti first proposed the translation strategies of "domestication" and "foreignization" in his book ''The Translator's Invisibility''. The use of foreignization refers to "accepting the language and cultural differences of foreign text and bring readers into a foreign environment" (Liu E 2004, 98). In today's global culture communication, we should better understand and tolerate different cultures and pay more attention to their differences. Foreignization helps highlight cultural differences and enables readers to appreciate the distinctiveness of foreign cultures, thus strengthening their cultural identity.

The translation strategy of foreignization generally includes the following three methods: Firstly, transliteration. For example, the word "仁" in ''The Analects'' refers to a broad moral category with rich cultural connotations, so it is difficult to find a word perfect corresponding to it in English. Some scholars transliterate it directly as “ren”, which can not only accurately convey the cultural meaning of "仁", but also enrich the culture of the target language, preserving the cultural characteristics of the original language. Secondly, word-for-word translation. For instance, when translating “子曰：兴于诗，立于礼，成于乐” in ''The Analects'', Ezra Pound strictly followed the syntax of the original language and omitted both the subject and the tense verb, translating it as "He said: Aroused by the Odes. Established by the rites. Brought into perfect focus by music". Thirdly, word creation or paraphrasing. Matteo Ricci, for example, first translated "儒士" as “letterati”, which later became “literari” into English. And American sinologist James Ware translated "仁" as "manhood-at-its-best", which is also a good example.

Foreignization in translating ''The Analects'' is advocated. It doesn't mean that we should blindly pursue word-by-word translation or completely alienate the original text, but try our best to retain Chinese cultural characteristics while translating the text into fluent and authentic English. Especially when some core concepts with rich cultural connotation are involved, it is better to use the translation strategy of foreignization. Domestication and foreignization are not completely opposite, but complementary and indispensable to each other. Translators should recognize the differences between the two translation strategies and make full use of them in translations.
3.Adapting to the Needs of Readers in the New Era

The purpose of the reinterpretation of contemporary Confucian classics is to meet the needs of readers in the new era. And readers' acceptance is an important criterion to judge whether Chinese culture has successfully gone global. Studying the overseas dissemination and feedback of ''The Analects'' and focusing on the reinterpretation of Confucian philosophy helps to improve the exotic acceptance of ''The Analects'' in the context of world cultural diversity and promote the interaction and identification of global cultural convergence and localization. By using quantitative and qualitative methods, ''A Survey of Overseas Discourses on Chinese Discourse'' released by China International Publishing Group (CIPG) in February 2018 drew the characteristics of the top 100 words in terms of recognition: some traditional Chinese cultural words have entered the English discourse in the form of Chinese pinyin (Fan Min 97). This indicates that as China grows stronger, the current awareness and understanding of Chinese discourse among overseas people has increased dramatically, the international community's demand for knowledge about China is getting stronger, and the Chinese way of thinking is gradually influencing the world. The translation of Confucian philosophical concepts with Chinese characteristics in ''The Analects'' often becomes a difficult point of translation and dissemination because of cultural gaps and reader differences. Therefore, the translation trend of ''The Analects'' in the new era should also construct a discourse expression of Chinese and foreign integration, so as to help Chinese culture go global.

Take the translation of "德" as an example, James Legge translates it as “virtue, what is good”; Ku Hung-Ming translates it as “moral feeling, moral sentiment”; D. C. Lau translates it as “virtue, benign rule”; Roger T. Ames and Henry Rosemont Jr. translate it as “virtue (de 德), excellence (de 德)”; Edward Slingerland translates it as “kindness( de 德), character(de 德)”. The translation is kindness (de de), character (de de). Comparatively speaking, Roger T. Ames and Henry Rosemont Jr. and Edward Slingerland adapt to the requirements of readers in the new era, taking cultural communication as the starting point and adding the strategy of "Chinese Pinyin and Chinese characters" through constructing cultural identity and interpreting the connotation of cultural philosophy, so as to help the cultural implication of ''The Analects'' to be accepted by readers in the foreign cultural context.
4.Enhancing the Functions of Communication Media

Enhancing the functions of communication media makes great contributions to helping reinterpret the philosophy of Confucianism. Specific measures are as follows: 1)Enhance the cultural education of ''The Analects'' and strengthen the construction of the discourse system of ''The Analects'' for foreign communication as the national cultural soft power, integrating the mainstream values and national spirit and internalize them into their own needs, so as to strengthen people's identification with the country and the nation and thus unite people's hearts and enhance their strength; 2)Pay attention to the cultural interpretation strategy of the translation and dissemination of ''The Analects'' and the expression and influence of Confucian culture for foreign communication, so that the world can identify with the values of Confucian culture and promote China to become a culturally strong country; 3) Attach importance to the dissemination of the international output of ''The Analects'' with the development of information technology, and give full play to the important role of modern social media such as the Internet and government sponsorship in the translation and dissemination of The Analects; 4)Focus on the cultural export of ''The Analects'', build the classic culture brand and market pattern of ''The Analects'' in the form of foreign language websites, picture books, quoted lines in films and television, etc. In this information society, the ability of cultural communication has become an important factor of a country's cultural soft power. Therefore, we should attach emphasis to improving the translation and dissemination ability of ''The Analects'', and make traditional Chinese culture go international with the help of the cultural influence of ''The Analects''.
===Conclusion===
''The Analects'' has been translated into foreign languages for more than four hundred years, which is the most translated Chinese classic into Western languages except for ''Tao Te Ching''. Its translation has shown different characteristics at different historical stages of Chinese and Western cultural exchanges, playing an important role in promoting Chinese and Western cultural exchanges and spreading Chinese culture. With the enhancement of Chinese cultural communication to the outside world, the translation and dissemination strategy of ''The Analects'' should also keep pace with the times. Therefore, we should pay attention to the reinterpretation of modern Confucian philosophy in the process of translating and disseminating ''The Analects'', not only to respect the historical origin of the text and faithfully convey the spirit of the original text, but also to take into account the differences between Chinese and Western languages and cultures, so as to improve English readers' awareness and acceptance of ''The Analects'' culture and help Chinese traditional culture go global.
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==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.
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*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.

*Cao Xue, Yin Xiaotang曹雪,尹晓棠(2020).《红楼梦》中人名的翻译策略[Translation Strategies of Chinese Names in A Dream of Red Mansions].作家天地[For Writers](8):17-18.

==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，

20220630 Classics 4

2022-07-03T07:53:58Z

Xie Xiaoying: /* 英语笔译谢晓莹 Xie Xiaoying 202170081601 CE */

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==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===
With the rapid development of globalization, international cultural exchanges and interactions are increasingly frequent nowadays. As cross-cultural and interdisciplinary studies get more and more popular, new translations of ''The Analects'' continue to emerge, and there is growing calls for retranslation of Chinese classics, which reflects the inherent demand of Western sinology to re-understand Chinese culture and Chinese academia to reconstruct its own culture. ''The Analects'', one of the classics of Confucianism, concentrates on the thought of Confucius. Its translation and dissemination is not only a unity of translators, translation process and readers, but also a process of establishing connections with contemporary culture, ideology and social life through translation. Based on a brief review of the history of the translation of ''The Analects'', this paper gives an analysis of contemporary translators' translations of it in the context of the Chinese and Western cultural exchanges, and discusses the main innovative ways of the translation and dissemination of ''The Analects'' in the new era. It is aimed to seek better ways to interpret ''The Analects'' and provide new perspectives and ideas for the English translation and intercultural communication of Chinese classics.

===Key words===
''The Analects''; Confucius; Contemporary Era; English Translation

===Introduction===
Confucius, a famous thinker, educator and politician in ancient China, plays an important role in the history of Chinese ideology and world culture as the founder of Confucianism. Confucius was known as an omniscient sage for his knowledge and concern about world affairs, traveling around the world with his disciples for 14 years. Confucianism has evolved through dynasties and become the essence of Chinese traditional culture, not only as the tool of ideological domination, but also as the main body of Chinese feudal culture, preserving a rich cultural heritage and exerting a profound influence on both China and the world.

''The Analects'', compiled by the disciples of Confucius and his disciples, is one of the classical works of Confucianism. It is a record of the words and actions of Confucius and his disciples, mainly in the form of discourses and dialogues, concentrating on Confucius' political ideas, ethical thoughts, moral concepts and educational principles. ''The Analects'', together with the Great Learning, the Golden Mean and the Mencius, are known as the Four Books. It consists of 20 chapters with concise language and profound meaning, being an excellent collection of quotations and essays in the Spring and Autumn Period of China, many of which are still regarded as reasonable by the world today. Undeniably, ''The Analects'' is an embodiment of ethics, morality, and wisdom accumulated over thousands of years in ancient Chinese society, playing a great role in enlightening wisdom and passing on civilization (Lv Pengfei 2021: 61). Even today, many of the ideas in ''The Analects'' are still useful and valuable for the times.

In today's world with complex and changing international situation, national strength is not only reflected in hard power such as political, economic and military power, but also in soft power such as cultural attraction and influence. The English translation of classics has always been an important way to export Chinese traditional culture, and the change in China's overseas cultural image is also reflected in the study of English translations (Qiu Hemin 2019: 87). Therefore, focusing on the issues of translation strategies of ''The Analects'' and its dissemination paths in a new era in an ephemeral and dialectical manner can help us recognize the trend of translation, grasp translation strategies, promote the foreign dissemination of Chinese culture, and provide reference for further promoting the overseas dissemination and acceptance of Chinese classics.

This paper consists of three chapters. Chapter one gives a brief overview of the translation history of ''The Analects'', including the translation of ''The Analects'' in the late Ming and early Qing Dynasties and the English translation of ''The Analects'' in modern times. Chapter two discusses the English translation of The Analects under the contemporary cultural exchange between China and the West, taking the translation of Roger T. Ames and Henry Rosemont Jr., the translation of D. C. Lau and the translation of Xu Yuanchong as the main objects of study. Chapter three analyzes the innovative ways of translation and dissemination of ''The Analects'' in the new era, that is, retaining Chinese cultural characteristics, adopting translation strategy of foreignization appropriately, adapting to the needs of readers in the new era, and enhancing the functions of communication media.
===Literature Review===
In recent years, scholars at home and abroad have shown a tendency to strengthen their studies on the translation of ''The Analects'' with different methods and perspectives respectively. The following paragraphs will clarify the development of the translation studies of ''The Analects''.

Domestic research on the English translation of ''The Analects'' can be traced back to the early 20th century. However, after the founding of The People's Republic of China in 1949, there was a brief lag in the study of ''The Analects'' due to the tense domestic and international situation. It was not until the late 1990s that the study of the translation of ''The Analects'' developed rapidly and research papers continued to appear. In the past two decades or so, research on the English translation of ''The Analects'' has mainly focused on four aspects: translation study, translator study, Confucian terminology study, and comprehensive study (Lin Lin 2013: 2). For example, Huang Xuexia makes a comparative analysis of James Legge's translation and Ku Hung-Ming's translation under the guidance of Nida's functional equivalence theory; Yue Feng gives a comprehensive account of James Legge's attainments in sinology; Yang Ping compares and analyzes the translation of "仁" and its rationale in several translation versions of ''The Analects''; Li Yuliang and Luo Gongli introduce the dissemination of Confucianism by Western missionaries and Sinologists since the 19th century and analyze the dissemination strategies of Confucianism in the future.

Foreign translation studies of ''The Analects'' have been conducted over a long period of time, mainly in the commentaries, book reviews, and academic papers in the prefaces of the translations. Among them, book reviews were mainly published in journals and magazines of philosophy and sinology, and most of the early book reviews were brief descriptions of the publication. In recent years, book reviews and scholarly essays have become more wide-ranging in scope and diverse in perspective. For example, Jonathan Spence comments on Simon Pierre Ryckmans's translation of ''The Analects'' as beautiful, clear, and of great practical significance to addressing various issues in today's society; Lionel Giles points out that Arthur Waley's translation of ''The Analects'' was based on speculation rather than established fact, but his theory is reasonable and convincing; Stephen W. Durrant, an American Sinologist, deeply studies D. C. Lau's English translation of ''The Analects'', including the translation of specific words, the academic value of the preface and the lack of annotations in the translation. In addition, he also discusses the problems that should be paid attention to in the translation of Chinese classics.

The research on the translation of ''The Analects'' guides the translation of ''The Analects'' and makes it more and more mature. However, there are some shortcomings in the English translation studies of ''The Analects'' both at home and abroad: (1)The research objects are relatively concentrated. At present, translation studies on ''The Analects'' is excessively focused on the translation and the translators, among which the study of the translation is excessively on the translation of James Legge, Ku Hung-Ming, Arthur Waley and others. (2)The research perspective is relatively single. At present, most studies on the English translation of ''The Analects'' focus on the linguistic level or the translation techniques, but little on philosophy, history and culture, etc. (3)There is a lack of primary sources in domestic research. Most of the research on the English translation of ''The Analects'' in China focuses on the abridged version without annotations, appendices and introductions of the original text, which makes it difficult to accurately grasp the original meaning (Lin Lin 2013: 4).
===Methods and Theories===
As a masterpiece of the Confucianism, ''The Analects'' is a combination of history, culture, thought, and philosophy. There are numerous translations of it from a variety of perspectives, so the research methods should also be diversified. First of all, ''The Analects'' is a historical work, so it should be analyzed with historical methods. The historical background and the author's writing motivation should be taken into full consideration, and the profound connotation of the original text should also be explored. For example, do a textual research with the method of historical exegesis; explore the influence of the author's life experience and the background of the times on the translation with the historicity of the translator as the highlight; make vertical and horizontal comparisons of the purposes of English translations of ''The Analects'' in different times and by different translators; explore the meaning of key words such as "gentleman (jun zi)" "small man (xiao ren)" "benevolence (ren)" "wisdom (zhi)" in ''The Analects'' with the method of category studies, etc. (Liu Wenna 20). Secondly, it is necessary to use interdisciplinary research methods such as linguistics, history, and translation studies. Finally, we should give an objective and fair evaluation of different translations of ''The Analects'' by means of comprehensive induction.
===Translation History of ''The Analects''===
1.Translation of ''The Analects'' in the Late Ming and Early Qing Dynasties

In the history of cultural exchange between China and the West, the late Ming and early Qing dynasties is a very important historical stage with special significance. During this period, the economic development level and national strength of China and western countries bore little difference, and the cultural exchanges between China and the West took place in a relatively peaceful international context, so the cultural exchanges in this period happened in an equal and bilateral way (Lin Lin 2013: 10). Jesuits with higher cultural quality and educational level carried out extensive exchanges with the Chinese scholars. They recognized the profundity of Confucianism and its dominant position in Chinese culture in the process of preaching, and wrote a large number of notes and letters, devoting much effort to studying and translating the Chinese Confucian classics.

''Mirror of the Mind'', compiled by Fan Liben, is the first Chinese book translated to the West, which was written in the late Yuan and early Ming dynasties, recording the aphorisms and treatises of many philosophers such as Lao-Tzu, Confucius and Mencius; Michele Ruggieri was the first missionary to China to translate Chinese classics, who translated the Confucian classics into Western languages for the first time; In 1593, Matteo Ricci first translated the Four Books into Latin and named them ''Tetrabiblion Sinense de Moribus'', which had a great influence on European literature, religion and politics. The most widely influential translation of ''The Analects'' in the late Ming and early Qing dynasties was the Latin version ''Confucius Sinarum Philosophus'', which was edited by the Belgian Jesuit Philippe Couplet and published in Paris in 1687. Although there were few English translations of ''The Analects'' during the late Ming and early Qing dynasties, these translations created a "Chinese fever" in Europe and laid the foundation for later English translation of Confucian classics.

2.English Translation of ''The Analects'' in Modern Times

In the modern period, China was forced to open the door under the strong ships and cannons of Western invaders, so the second large-scale cultural exchange between China and the West was no longer as equal as in the Ming and Qing dynasties. In this period, Western culture was exported with an absolute advantage, and the cultural exchanges between China and the West were more extensive, richer in content and diversified in forms.

James Legge was the first person to systematically study and translate Chinese classics. He began his the translation of ''The Analects'' in 1840, translating the Four books and Five Classics into English and introducing them to the West for the first time, which was the earliest milestone in the history of English translation of Confucian Classics (Wang Yongqiang 2009: 25). His translation was elaborately annotated and heavily religious. Arthur Waley is one of the most distinguished British sinologists of the 20th century. His English translation of ''The Analects'' is the most popular in the English world, which is concise, clear, and easy to understand, suitable both for general readers and for scholarly to refer to because of its extensive quotations and detailed paraphrases.

Ku Hung-Ming was the first Chinese to independently translate ''The Analects'' into English, breaking the monopoly of missionaries and Western sinologists. He adopted flexible free translation, which inclined the language style, ideological connotation and unique cultural factors of the original text to the cultural system of the target language, so as to arouse the interest of western readers (Li Gang 2012: 79). Lin Yutang was a famous Chinese scholar, writer and translator whose translations focus on traditional Chinese classical culture. He translated parts of ''The Analects'' that he considers important with the pursuit of free translation and beautiful translation. He compared Confucianism and Western culture with each other from the perspective of internationalism, and gained a broad market and readership effect abroad with his popularization approach (Yang Liu 2005: 177).
===The English Translation of ''The Analects'' under the Contemporary Cultural Exchange between China and the West===

===The Innovative Ways of Translation and Dissemination of ''The Analects'' in the New Era===

===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.

*Cao Xue, Yin Xiaotang曹雪,尹晓棠(2020).《红楼梦》中人名的翻译策略[Translation Strategies of Chinese Names in A Dream of Red Mansions].作家天地[For Writers](8):17-18.

==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，