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Xiong Jialing: /* 英语笔译熊嘉玲 Xiong Jialing 202170081602 */

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==英语笔译卞王倩 Bian Wangqian 202170081563==
<center>'''Europeanized Chinese and Cultural Factors Behind it'''</center>

<center>卞王倩</center>

===Abstract===
Europeanized Chinese language is directly originated from translation, and first appeared in the translation of scriptures by western missionaries in China in the early 18th century. Translation activities in the late Qing dynasty and Modern Vernacular Chinese Movement and New Culture Movement in 1915 contributed to the Europeanization of the Chinese language. Europeanized Chinese language is mainly manifested in the fact that Chinese has been influenced by English via translation, and thus shows the characteristics of English word formation from the lexical level and syntactic level. In terms of cultural factors behind it, the literary translation boom at the end of the Qing Dynasty and the beginning of the Republic of China promoted the formation of a “western paradigm” in Chinese writing; during the May Fourth Era, scholars rejected traditional literature and favored foreign literature, while advocating the Europeanization of translations; after May Fourth, translators pursued a literal translation style in translating foreign literary works to retain the heterogeneous character of foreign language, mainly English. In terms of the effect, Europeanized Chinese language can be divided into benign Europeanization and malignant Europeanization, the former being the positive and the latter negative. In fact, the malignant Europeanized Chinese language has long been criticized by literary scholars and critics in China, but nowadays, against the backdrop of increasingly close cultural exchanges between China and western countries, a fresh look at the Europeanized Chinese language will bring us new inspiration.

===Key words===
'''Europeanized Chinese; Cultural Factors; Literary Translation, Modern Vernacular Chinese Movement; New Culture Movement'''

===Introduction===
This paper mainly discusses Europeanized Chinese language and its cultural factors. It consists of a literature review and three main parts. The first part is a cases analysis of Europeanized Chinese language, that is, specific examples are given here to illustrate nine elements of Europeanized Chinese language, which are: abuse of subjects and passive voice as well as longer modifiers in a sentence and longer sentences, the former four being counted from the syntactic level; abuse of nouns, conjunctions, articles, pronouns and “的”, the latter five being discussed from the lexical level. The second part is the classification of Europeanized Chinese language, malignant Europeanization and benign Europeanization respectively. Most of the nine elements in the first part can be included as malignant Europeanization, while for benign Europeanization, four types are introduced here, they are more disyllabic words, the multi-class and class shift of words, conjunctions and adverbs that makes sentences’ logic clearer and loanwords, which all remind us of the positive effect of cultural exchange in a certain background. The third part, also the last part, explains what leads to the Europeanization of the Chinese language: one is the importation of strong western culture, and the other is the Chinese language being in a transition around the May Fourth period, both contributing to the Europeanized Chinese language.

===Literature Review===
According to Yu Guangzhong, a great scholar in modern China, Europeanized Chinese language was massively introduced during the May Fourth period, when the Modern Vernacular Chinese Movement was initiated and the vernacular Chinese came to take place of the classical Chinese as the language mainly used by the literary field and New Culture Movement significantly popularized the vernacular Chinese that was later used by the ordinary people. In the beginning, new-born vernacular Chinese was actually not mature, so such famous scholar and reformist as Lu Xun advocated the introduction of western language forms, especially of English, into the new-baby vernacular Chinese so as to transform it by enriching this new form of language featuring simplicity and being easily understood. In fact, this can be seen as a cultural interchange, to which translation is the best bridge. As a result, translation has emerged as the main source of Europeanized Chinese language, which is mostly seen in translated works. (Wang Li, 1954: 209). Moreover, literary translation contributed to the majority of the formation of Europeanized Chinese language. Accordingly, Europeanized Chinese language initially often existed in translated foreign works and the literary circles and therefore was often appeared in many works by some famous writers and literary men.

As a result, the vernacular Chinese came to carry many characteristics of English in terms of expression forms. The scholars during that period and later were no doubt hit by this wave, there being famous essayists Zhu Ziqing, Zhou Zuoren, Yu Pingbo and master of Chinese culture Qian Mu (Si Guo, 2002: 88). Put it specifically, their works, especially proses, all presented prominent Europeanized features in the use of words and sentence structures, which include the abuse of the abstract nouns, indefinite articles, owner pronouns, conjunctions, prepositions and the increasing loanwords and passive voice and long attributive modifiers and so on, which were often seen in English compared with Chinese. Some literary critics, therefore, criticized the use of Europeanized elements in the Chinese language ruining the independent identity of Chinese and its purity and distinctions and even led to the falling of Chinese. This is eventually reduced to what Yu Guangzhong called “Malignant Europeanized Chinese” (Yu Guangzhong, 2014: 129). In contrast, benign Europeanized Chinese is often seen in high-quality works by excellent writers or translators who have been proficient in both Chinese and any other foreign language.

Actually, Europeanized Chinese language not only presents the negative side as has been mentioned above but also carries the positive side. Foreign languages forms and expressions in Chinese have greatly enriched the treasury of Chinese, making it a multi-genres language and thus a distinctive national language. What’s more, it is the result of Sino-foreign exchanges and the reflection of the great impact of cultural factors. As China opens up wider to the outside world, Europeanized Chinese language is no longer abrupt and intolerable. Instead, it comes to be an integral part of the modern Chinese language and gets increased in popularity among international learners.

However, as Yu Guangzhong stressed, benign Europeanized Chinese is a good tool for those able masters, while the rest or most of the translators or translation learners are dealing with malignant Europeanized Chinese language and thus produce awkward Chinese and Chinese translations. And this impact extends to modern times and the field of translation. Europeanized expressions in Chinese are often seen in modern Chinese translation students and even professional translators. In this respect, this is what this writing aims for: to clarify the Europeanized Chinese language and find out its cultural factors. it’s hoped to bring some inspiration for how to correct this mistake and relieve the negative consequences of Europeanized Chinese after this concept and phenomenon is realized and made clear.

===Section One Cases Analysis of Europeanized Chinese Language===
As has been mentioned before, Europeanized Chinese Language can be found in Europeanized features in the use of words and sentence structures(Peng Xuan, 2003: 88), mainly in terms of the syntactic level and lexical level.
The Europeanization seen from the syntactic aspect can be evidenced by the frequent use of subject, long modifiers and passive voice in a sentence and longer sentences and more judgment sentences.

'''(1)More Subjects in a Sentence'''

As we all know, Chinese has been seen as a parataxis language while English a hypotaxis language(Dong Xiaobo, 2013: 156). That is to say, Chinese is logically implicit, and is not closely tied by all conjunctions, even the subjects in Chinese sentences are often not a must, as it unfolds around some certain theme. In contrast, English is logically explicit, and often forms a close sentence structure by means of all complete sentence components and conjunctions and so on, especially a subject that almost is never absent. But as the Chinese came to get Europeanized and carry the features of English, more subjects can be seen in the sentences worked out by some famous writers.

Example 1我在康桥时虽没马骑，没轿子坐，却也有我的风流，我常常在夕阳西下时骑了车迎着天边扁大的日头直追。（徐志摩，《我所知道的康桥》）

Example 2脊背微俯，双手松松拢住车把，他活动，利落，准确；看不出急促而跑得很快，快而没有危险。（老舍，《骆驼祥子》）

From Example 1 and Example 2, we can see Chinese is loosely organized and thus contains many clauses. Example 1 and Example 2 both have a personal subject, “I” and “he” respectively. But compared with Example 1, Example 2 is more in accordance with the features of Chinese expression, that is, simplicity, straightforwardness and subject omission. To put it specifically, the same personal subject was used three times in Example 1, while the figure is one in Example 2, which depicts a skillful coachman as the hero clearly.

'''(2)Longer Modifiers in a Sentence'''

Example 3 那些自骗自的相信不曾把他们自己的人格混到著作里去的人们，正是被那最谬误的幻见所欺的受害者。（周作人，《文艺批评杂话》）

Example 3 vividly shows how long an attributive modifier could be. Of course, we never deny there are modifiers or modified clauses in Chinese, but not those awkward ones. For Example 3, a more Chinese version could be as follows:

Example 4 有些人自己骗自己，相信不曾把自己的人格混到著作里去，这种人实在是被那谬误的幻见所欺。（王力，《中国现代语法理论》）

Compared with Example 3, Example 4 transformed such a long attributive into two descriptive clauses, providing a smooth and natural premise for the following conclusion “这种人……”.

'''(3)Passive Voice in a Sentence'''

Despite a thematic language, Chinese has seen a more active voice in its writing unless there is a necessity or intention to emphasize some information or to describe something unsatisfied or unwanted. (Wang Li, 1954: 340) English, instead, usually prefers passive voice in expression, and so the major information that is placed at the beginning of a sentence as the subject is well emphasized. As a result, Europeanized Chinese language is dotted with “被”, a Chinese character marking a positive voice.

Example 5 昨天捉着的嫌疑犯，经警察局证明无罪，已被释放了。

For the suspect, his release is never a bad thing or unwanted. Therefore, “被” in this sentence can naturally be deleted, so we get: 昨天捉着的嫌疑犯，经警察局证明无罪，已经释放了。

There are many other similar examples:

a.English expression b.Europeanized translation with “被” c.Natural Chinese

a.Be murdered or killed b.被害 c.遇害

Be buried 被埋葬下葬

Be regarded as 被视为算是、算得上

Be guided 被领着有人领着

Be passed 被通过予以通过

Be protected 被保护受到保护

Be entrusted 被委托受人之托、受到委托

Be reduced 被处于……（某种不好的境地）沦为

Be reported 被报道据报道

So we can see that translated Chinese with “被” is totally influenced by English expressions with positive voices, which can be changed into active voice via translation and thus tend to be more authentic and acceptable for Chinese.

'''(4)Longer Sentences'''

Given the difference between Chinese and English, the same information will be expressed in simple and short sentences in Chinese due to its less use of conjunctions, while organized and relatively complicated ones in English via conjunctions or prepositions. But as the Europeanization spread in Chinese, longer sentences are emerging.

Example 6 我这本书只预备给一些“本身已离开了学校，或始终就无从接近学校，还认识些中国文字，置身于文学理论、文学批评，以及说谎造谣消息所达不到的那种职务上，在那个社会里生活，而且极关心全个民族在空间与时间下所有的好处与坏处”的人去看……

According to this long sentence, the major part is “I’m writing this book for those who…”. It will never mind if there is a long sentence that serves as an attributive clause after “who” in English, but it will be never the way a Chinese writes by inserting a long long attributive clause inside a sentence with a simple structure. So Yu Guangzhong criticized it as the “aftermath of malignant Europeanization”.
From the perspective of vocabulary, the Europeanization of the Chinese language can be seen from the abuse of abstract nouns, indefinite articles, owner pronouns, conjunctions, prepositions and the increasing number of loanwords and so on.

'''(5)Noun Plague'''

One of the distinct differences between Chinese and English lies in the fact that Chinese is a dynamic language as it favors verbs, while English a static one as it is rich in abstract nouns and prefers practicing nouns (Dong Xiaobo, 2013: 67).
Example 7 It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.
This famous line comes from Pride and Prejudice written by Jane Austen, and could be a convincing example of the generous use of nouns in English. Not only literary texts. As a result, the Europeanization of the Chinese language directly leads to the popularity of nouns among Chinese scholars and talents.

One is the increased affixes in Chinese. For words ending with the suffix “-ism”, “主义” is coined in Chinese; for words ending with the affix “anti”, “反” is created in Chinese. So we get 科学主义(scientism)爱国主义(patriotism)、形式主义(to practice formalities for formalities’ sake)、反帝反封建(anti-imperialism and feudalism)、反倾销(anti-dumping) and so on. Second is a growing number of loanwords, mainly nouns. 谷歌 translated from Google and推特 from Twitter; 可口可乐 from Coca-Cola and 瑞幸 from Luckin; 福特 from Ford and 粉丝 from fans; 辉瑞from Pfizer and 新型罐装病毒 from Covid-19, etc., all of those words have been known to Chinese and even used in their daily life. Third, stiff translation transplanting of abstract nouns in English results in the presence of such suffixes of Chinese noun phrases as “度”（-th or -ity）, “性(-ity or -ce)”, “化(-ize)”, “感(-ness)”, which are often seen in “相关度(relativity)” “宽度(width)” “可能性(possibility)” “重要性(importance)” “现代化(modernization)” “挫败感(sadness)” “幸福感(happiness)” and so on.

'''(6)Abuse of Conjunctive Words'''

As it is stressed before, Chinese sentences are loosely organized, as it uses few conjunctive words. But in English, all kinds of conjunctions and prepositions both contribute to the close structure of sentences. Affected by such an impressive feature, the Chinese is unavoidably getting assimilated.

For example, 和 is translated from and; 而且 from what’s more or moreover; 然而、但是、可是 from but; 因此、于是、结果 from therefore or as a result; 倘若、如果、要是 from if; 在……中、里 from in or on; 对于……、关于……、就……而言 from as for, with regard to or in terms of. According to Wang Li (1954: 352), there were really no some of those conjunctive words, but Europeanized Chinese language took advantage of some verbs in traditional Chinese to create such responses, and finally get what we have been universally using today.

Example 8 宝玉说丫头们不会放，自己放了半天，只起房高，便落下来了。急得宝玉头上的汗都出来了。

These two lines are chosen from Cao Xueqin’s A Dream of Red Mansion, and lively depict Precious Jade’s poor skills at flying kites and consequent anxiety. But this information is conveyed in even two sentences that have been cut, and with few conjunctive words used.

'''(7)Abuse of the Articles'''

The articles are often used before nouns in English sentences, and can be classified into the definite article “the” and indefinite articles “a” and “an”. Once being translated into Chinese, they can be “这个” "那个”“一个” and “一种”. But in fact, there is no responding words in Chinese, so such expressions as “一个” and “一种” will never be a Chinese ones. But in Europeanized writing, such touch is everywhere to see. It can be said, wherever there is an indefinite article in English, there will always be a “一个”“一种” in Chinese. (Wang Li, 1954: 378)

Example 9 一个有钱的单身汉一定想要一个老婆，这是一条举世公认的真理。

This sentence is translated from Example 7, which is a good example that the articles are universally used before nouns in English. But it will never be a good translation as presented in Example 9 if we preserve those articles. The problem lies in that the Chinese use them little or never. In contrast, the version by Sun Zhiyi, a famous Chinese translator, is short and pithy, more Chinese most importantly:

有钱的单身汉总想要娶位太太，这是一条举世公认的真理。

English articles are seen not only in translated Chinese, but also in the Chinese works that were written by those writers affected by western philosophy and English grammar.

Example 10 但一个人要写他最心爱的对象，不论是人是地，是多么使他为难的一个工作？（徐志摩《我所知道的康桥》）

According to Si Guo(2002: 90), the two “一个” used in this sentence is never better than no use of them, even the second “一个” is a wrong use. Despite the wrong use, isn’t the sentence without superfluous articles more enjoyable for readers:

但人要写他最心爱的对象，不论是人是地，是多么使他为难的工作？

'''(8)Abuse of Pronouns'''

Here Europeanized Chinese language caused by personal pronouns and adjectival possessive pronouns is discussed here. Firstly, we have to make it clear that, the vernacular Chinese during May Fourth Period came to use personal pronouns in a frequent and general manner. But before that, “他” (he in English) could be the only choice. In English, however, personal pronouns are so diversified: first person singular “I”, first-person plural “we”, second person singular and plural “you”, for third-person singular, “he” is used to refer to man, “she” refer to woman, and “it” refers to inanimate objects or any living creatures except for humans, and their common plural “they”. So are adjectival possessive pronouns: my, your, his, her, its and their. Such rich expressions are once introduced, they will definitely affect the Chinese. As a result, “我”(I in English) “他”(he), “她”(she), “它”(it), “我们”(we) and even “他们”“她们”“它们” and “我们的”“我的”“他的”“她的”“它的”“他们的” and so on, all have joined the Chinese language.

Example 11 我们的祖母，我们的母亲的少女时代已无从想象了，因为即使是想象，也要凭藉一点亲切的记亿。我们的姊妹，正如我们，到了一个多变幻的歧途。最使我们怀想的是我们那些年青的美丽的姑姑，和那些快要消逝了的闺阁生活。何其芳，《哀歌》

He Qifang was an excellent poet and essayist in the 1930s literary circle in China and was just as famous as Xu Zhimo. This extract consists of three sentences, in which the writer should use the personal pronoun two times and the adjectival possessive pronoun four times. This is unimaginable. The same problem also appears in Zhu Ziqing’s Rush.

Example 12燕子去了，有再来的时候；杨柳枯了，有再青的时候；桃花谢了，有再开的时候。但是，聪明的，你告诉我，我们的日子为什么一去不复返呢？——是有人偷了他们罢：那是谁？又藏在何处呢？是他们自己逃走了罢：如今又到了哪里呢？

我不知道他们给了我多少日子，但我的手确乎是渐渐空虚了。

According to Yu Guangzhong, firstly, the abuse of pronouns in this part leads to a confusing reference; secondly, the third “他们” is indeed groundless, as we failed to find what it really referred to in this context.

'''(9)Abuse of “的”'''

The Chinese character “的” is generally placed after the adjectives in Chinese to form their unique suffix. And with its help, the adjectives can be used as the noun modifiers, along with the noun, forming the subject or attributive in a sentence; as the predicate placed at the end of a judgment sentence; or frankly as a noun to denote one’s identity or career.

Example 13 鲁镇的酒店的格局，是和别处不同的。（鲁迅，《孔乙己》）

The wine shops in Luchen are not like those in other parts of China. (Yang Xianyi)

For the Chinese sentence of example 13, the subject “酒店的格局” consists of a noun and an adjective as its modifier and is modified by a noun modifier with a suffix “的” to denote the wine shop’s location and where this story begins. And its predicate is an adjective ending with “的”. In general, it is a judgment sentence with “的” playing three roles. But it’s worth our attention that the translation from Yang Xianyi contains no adjective. So we can conclude that, for English, it can rely on all kinds of sentence components to form the modifiers to support and enrich the whole sentence, and even a list of adjectives arranged in a sentence will never look weird. But for Chinese, such coordinated modifiers as a list of adjectives in a sentence is tolerable but is never a good way to convey the same information as that in English.

Example 14 She had such a kindly, smiling, tender, gentle, generous heart of her own.

a. 她是厚道的、乐观的、温柔的、和蔼的以及大度的。

b. 她心地厚道，为人乐观，性情温柔，待人和蔼，气量又大。

So according to how Chinese is organized and Chinese expressions, for Example 14, translation b is always better than translation a, because the abuse of “的” is not what Chinese favors. However, the fact is that, even in modern times, affected by English grammar and poor ability to freely use Chinese, many translation learners, with the writer herself included, will often have the difficulty in avoiding using “的” too much while organizing the sentence in Chinese. Just as Yu Guangzhong (2014: 60) commented, “unfortunately, Chinese and the knowledge of Chinese literature have been the weak spots of those students in colleges of foreign languages, where most translation talents are cultivated.” It couldn’t be right anymore.

===Section Two Classification of Europeanized Chinese Language===
In fact, there is no clear classification of Europeanized Chinese language. But Yu Guangzhong, Si Guo and Jin Shenghua and other respectable experts all referred to this problem in their works, and explicitly called them examples of Europeanized Chinese language “malignant Europeanization”. Accordingly, they also approved the positive sides of the Europeanization of the Chinese language, which here is called “benign Europeanization.”

Let’s first come to malignant Europeanization. It is also called “servile Europeanization” (Si Guo, 2001: 99) Of course, such a saying is aimed at some cases of malignant Europeanization. That is, some awkward Chinese expressions are produced, as we stressed before, due to disqualified translators or writers who fail to get rid of the restriction of English texts and grammar. This is the relatively objective reason. But for another, the Europeanization of Chinese texts is some group’s progressive choice due to their applauding or blind imitation for English and its grammar. This is what we call “servile Europeanization”. Anyway, malignant Europeanization has caused a negative impact on translation and Chinese, blocking translators from producing high-quality translation works and writers from producing native and special works of all fields.

So what are the examples of malignant Europeanization of the Chinese language on earth? Actually, 9 aspects from the perspective of syntactic and vocabulary respectively listed above could be almost included in the category of malignant Europeanization. These problems are lingering now so that generations of Chinese are often unable to produce totally Chinese works. Especially for those students who major in English and are devoted to translation, they are exposed to such an environment where real and pure Chinese is far from their needs and in turn produce strange and unsatisfactory translations but fail to get the point of the problem. So for malignant Europeanization, we all should realize it on our own initiative and correct such problems while engaged in our translation practice.

Given the Europeanization of the Chinese language is the result of cultural exchange, there must be some positive impacts. So benign Europeanization is sure to emerge and has come to be integral of the Chinese.

Benign Europeanization can be seen from such aspects as follows:

'''(1)More Disyllabic Words'''

Classical Chinese is a monosyllabic language. As the vernacular Chinese was introduced and got popularized, disyllabic words were followed. And translation from English has promoted this trend and greatly increased the bank of Chinese vocabulary.
One is synonymous disyllabic words, such as 资本、权利、甜蜜、解放、活动。The other is disyllabic words evolved from monosyllabic words, such as 情感、丰富、健康、工作、旅行。

'''(2)The Multi-class and Class Shift of Words'''

In terms of word formation, the multi-class and class shift of words are distinctive features of English and other European languages. (Liu Zhengbing, Ding Yuanyuan, 2020: 21) Naturally, Europeanized Chinese language has caught this feature. For example, “科学”“迷信”“精神” in Chinese can serve as nouns and adjectives; “明白”“团结”“亲近” can be used as verbs and adjectives; and “便宜”“方便”“麻烦” even can be regarded as noun, verb and adjective respectively in different contexts. The diverse word classes, therefore, determine the flexible shift of word class according to specific contexts. As a result, the use of words is more flexible and Chinese expressions are more various.

'''(3)Conjunctions and Adverbs Make Logic Clear'''

Despite featuring being loosely organized, the Chinese have to rely on a certain number of conjunctions and adverbs to make clear or explicit the logic in their professional texts that are not as easy and understandable as the general texts. So the introduction of rich conjunctions and adverbs in English is not always a bad thing. Instead, it will make professional writing more friendly to its layman readers.

'''(4)Importation of Loanwords'''

A great many loanwords come to China as the exchange between China and western countries is increasingly close. With translation, more and more newcomer loanwords are known to Chinese people and are playing an important role in their daily life. For example, many smart acronyms are universally used by the Chinese when they refer to or describe something, such as WTO in trade, CCTV in media, PK or KO in game and so on.
In conclusion, although malignant Europeanization is more discussed and gets more criticism, benign Europeanization shouldn’t be overlooked. According to Yu Guangzhong, benign Europeanization is usually seen in first-class translation works and outstanding writings, as for the translators and writers involved, Europeanized Chinese can be flexibly used to better serve their translation or writing. The excellent is the minority. So there is still a long way for us most translators or translation learners to go.

===Section Three Cultural Factors Responsible for the Europeanization===
'''(1)Importation of Western Culture'''

Since the early Republic of China, western culture was imported in large quantities through English and translation. The disparity in the political situation at that time determined that western culture was in a strong position, and also determined that the Chinese people were more possibly forced or active to accept the western culture. At the same time, under the influence of the current philosophy of “create the knowledge and serve the society”, literary translations emerged in the late Qing, with the translation of novels playing an important role (Wang Hongzhi, 2000: 43). In this translation boom, in order to take into account the reading needs of the general public, the language used in translated novels was not only the classical one, but also the vernacular one, or a mixture of classical and vernacular. (Lin Yanmei, 2011: 51) Later, the concept of translated literature tended to preserve the heterogeneous elements of western literature that were different from Chinese literature, thus gradually forming a “western paradigm” of literary translation, and the influence of western literature and western culture on the language of translation or Chinese at that time had to have been penetrated into Chinese grammar and syntax.

'''(2)Chinese Language was in a Transition'''

During the New Culture Movement, the classical language had become rigid and failed to meet the needs of the times, while the development of the vernacular Chinese was still in its infancy, immature and limited in its ability to be used for expression, and therefore it entails further growth. At the same time, at the beginning of the New Culture Movement, various literary leaders advocated new literature and opposed traditional Chinese literature, and favored foreign literature. And the movement advocators in general (Qian Xuantong, Lu Xun, Fu Sinian, Zhu Ziqing, etc.) believed that western languages were more accurate than Chinese and thus advocated extreme Westernization or Europeanization, especially in the area of writing. During the May Fourth period, calls for total Europeanization was also made. As a result, the tide of Europeanization in the Chinese language was raging, and the Europeanization of translations even was a fashion.

The vernacular Chinese movement of the late Qing Dynasty, together with China's inherent tradition of the vernacular Chinese, led to the growing engagement of literary translation in vernacular Chinese (Deng Wei, 2010: 72), and the tendency to Europeanize the language of the translated literature became more and more obvious. Facing such a landscape, translators pursued the literal translation technique, which was the most direct technical reason for promoting Europeanization; and the original works were designed to imitate western grammar to achieve the effect of Europeanization.

To conclude, the Europeanization of the Chinese language is the result of joint efforts of the literary translation boom in the early Republic of China, the Modern Vernacular Chinese Movement and the New Cultural Movement. They are exactly the cultural factors behind this phenomenon.

===Conclusion===
In fact, Europeanized Chinese is a new and diverse literary style that has gradually formed since the New Culture Movement and late May Fourth Movement, and it encompasses simple and well-formed classical Chinese and orderly-organized English, and friendly and natural vernacular Chinese. Its influence continues to this day.

===References===
* Deng Wei邓伟.(2010).归化与欧化——试析清末民初翻译文学语言的建构倾向[Domestication and Europeanization: An Analysis of the Tendency to Construct the Literary Language of Translation in the Late Qing and the Early Republic of China]. 文艺理论研究 Theoretical Studies in Literature and Art,(03):72.

* Dong Xiaobo董晓波.(2013).''英汉比较与翻译''[English-Chinese Comparative Studies and Translation].北京：对外经贸大学出版社 Beijing: the University of International Business and Economics Press，第67、156页.

* Fu Jingmin, Yuan Yujun傅敬民、阮雨俊.(2020)汉语欧化的语言学特征及其规范[Linguistic Features of the Europeanization of Chinese and its Principles]. 当代外语研究， Contemporary Foreign Language Studies,(06)：123.

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==英语笔译曹姣 Cao Jiao 202170081564==
<center>'''Research on court culture in the Tang Dynasty from the perspective of poem -- take ''Changhenge'' for example'''</center>
<center>'''从诗歌视角浅谈唐朝宫廷文化——以《长恨歌》为例'''</center>
<center>曹姣CaoJiao</center>
===Abstract===
As a realistic poem with romantic characteristics, Bai Juyi's ''The Everlasting Regret'' tells the love story between Li Lung-chi(李隆基, an emperor in Tang Dynasty) and his beloved Yang Kuifei(杨贵妃, a concubine of the emperor). In addition, it has a unique literary aesthetics in which many of the sentences record the history in realistic details, so it has a profound significance for historical research, playing the role of complementing and interpreting history. This article, inspired by Chen Yinque's “mutual verification of poetry and history”, will analyze ''The Everlasting Regret'' from the perspective of history, and discuss it from three aspects: women's makeup and headgear, court banquet, and imperial palace and architecture. This will give us a more comprehensive and authentic look of the cultural life of the court in the Tang Dynasty.

===Keywords===
''Changhenge'' or ''The Everlasting Regret''; Tang Dynasty; court culture; mutual verification of poetry and history

===Introduction===
'''1.Research significance'''
Bai Juyi was a Chinese ancient realist poet. In many of his works, there are descriptions related to the cultural life of the Tang Dynasty court. These descriptions are not made up out of groundless rumor or supposition, but are from his careful observation and speculation on this kind of subject matter, which makes the descriptions appear meticulous and vivid. In this context, his poems not only carry aesthetic function, but also are of great historical significance. Among his masterpieces, "Changhenge", also known as ''The Everlasting Regret''(《长恨歌》), is a distinguished one, composed in realistic means with romantic characteristics, with a name of “a poetic masterpiece through the ages”.

''The Everlasting Regret'' is a long narrative poem, with 979 Chinese characters in total. It interprets Li Longji (also Tang Xuanzong) and Yang Yuhuan's love tragedy against the backdrop before and after the Anshi Rebellion（安史之乱） in the middle Tang Dynasty; meanwhile, it covers a variety of themes, such as eulogizing love, lamenting fate and admonishing Kings. The first part of ''The Everlasting Regret'' mainly describes Li and Yang's love story and the lavish and luxurious court life, implying an allegory of the emperor's adultery and mismanagement of the country. The second half is full of poignant and sympathetic description of Xuanzong's profound love for her, praising the constancy of their love. The whole poem adopts the realistic writing technique with romantic characteristics so that the narrative and lyric feelings complement each other, which has become the artistic feature of The Everlasting Regret, and also leaves an endless aftertaste and research space for the future generations. What’s particularly valuable is that it contains a lot of information reflecting Tang Dynasty court culture life details, and involves the depiction of characters, women’s dress and makeup, court architecture, music of court banquets and so on. In this sense, The Everlasting Regret as an unprecedented literary masterpiece unseen in ten centuries, is of great historical value in the study of court culture in the Tang Dynasty. (c.f: Yao Ronghua 2012,121-127)

'''2.Research background'''
China’s research on court culture has come to the fore for a long time. Throughout Chinese history, Tang Dynasty is a unique period when the aspects including culture, politics, economy, and diplomacy have registered very high achievements, symbolizing the golden age of China’s history. (The culture in Tang Dynasty represents the following features: first, the cultural system is inclusive and comprehensive, showing an increasingly high-level development; second, the culture of Tang Dynasty is very open; third, the Tang culture seemingly approaches the people, emphasizing the real world and not adhering to the ancient system. ) As a significant part of its culture, the court culture of the Tang Dynasty plays a complementary role. Therefore, understanding the court culture of the Tang Dynasty helps us to better comprehend the history of this dynasty.

Liu Zunming, a famous scholar from Hubei University, believes that court culture should be composed of material and non-material culture, and is the sum collection of lifestyles, ideologies and products created by the imperial aristocracy. Then the scope of court culture should include imperial architecture, politics, system, economy, religion, education, literature and art, lifestyles in court and so on.
In this context, many renowned scholars have studied court culture in the Tang Dynasty including the system of court diet, banquet music, eyebrow-painting, architecture, and so on. Zhang Yan conducted research on the system of court diet in the Tang Dynasty. His paper introduced the whole system of court diet from five aspects including its historical development, the supply and management of food materials in Tang Dynasty court, the court diet management institutions in Tang Dynasty (like Food Department, Guanglu Temple, Shangshi Bureau, and diet management institutions for the East Palace), the food system embodied in the court ceremonial activities and the bestowed dinning after the morning audience, and the characteristics of the system of court diet in the Tang Dynasty. In conclusion, the system of court diet was further embellished and perfected in the Tang Dynasty, which had a profound influence on the diet system of the later dynasties. Xu Shuqi, in A Study on the Music of Court Banquets in Ancient China in 2021, made a comparative analysis, through comparative research method, of the differences in music forms in the court banquets of past dynasties, and explored the development process of the music of ancient China’s court banquets. Tian Miao, in A Critical Exposition on the Development of Women's Eyebrow-painting in Tang Dynasty published in 2003, did a very detailed study of the characteristics of women's eyebrow makeup in different historical stages of the Tang Dynasty.

Concerning the poem Changhenge, many discussed whether it's a realistic or romantic one, and some argued whether it's a love story more than an allegorical one. At present, the academic circles have yielded fruitful results in the aspects of the composing purpose, artistic achievement, influence on later generations, and the situation of overseas dissemination. However, there are relatively few works on the analysis of court culture in Tang Dynasty based on the Everlasting Regret. The major works include Li Xiaojiao’s (李晓娇, 2020) Folkloristic Viewpoint for the Study of Song of Everlasting Regret; Deng Wenrui’s Reflections on Cultural Life in the Palace of Tang Dynasty Based on Everlasting Regret; Yao Ronghua’s “A Study of Song of Unending Sorrow and the Cultural Life of Palace in Tang Dynasty”, and “Research on the Poem “Changhenge” from the Perspective of Tang Dynasty’s Court Culture”, and so on. These works have made a detailed interpretation of the court culture of Tang Dynasty and the Everlasting Regret. But as the part of the court banquet in palace culture, they all neglected a very important part -- lychees. Lychees are Yang’s favorite fruit, which is too delicate to stand long journey. In today’s China, with developed science and technology, it is not difficult to eat fresh lychees; while in the Tang dynasty, it was not.
===Literature review===
With regard to the research on court culture in the Tang Dynasty from the perspective of the Everlasting Regret, there are some studies done by other researchers.

For example, Li Xiaojiao’s (李晓娇, 2020) Folkloristic Viewpoint for the Study of Song of Everlasting Regret elaborated on folkloric culture hiding in the Everlasting Regret. She introduced folkloric culture encompassing three respects: folkloristic costume, activities and Taoism of the Everlasting Regret. Inspired by Chen Yinque's(陈寅恪) method of “mutual verification of poetry and history”, her paper compared and verified the original text of the Everlasting Regret with relevant historical documents and artistic works of the Tang Dynasty, explored the folk elements in it, and tried to make a comprehensive analysis and research.

Deng Wenrui’s(邓文睿，2019) Reflections on Cultural Life in the Palace of Tang Dynasty Based on Everlasting Regret, from women's jewelry and hair accessories, women's makeup, and the Tang Dynasty spring outing in the Everlasting Regret, expounded that this poem has not only shown that cultural life of the court of Tang Dynasty, but also provides the basic theoretical material for the scholars to study the culture of Tang dynasty.

Yao Ronghua’s （姚榕华，2012）“A Study of Song of Unending Sorrow and the Cultural Life of Palace in Tang Dynasty”, and “Research on the Poem ‘Changhenge’ from the Perspective of Tang Dynasty’s Court Culture”, made even more comprehensive explanations of the cultural life of court of the Tang Dynasty. Yao, in his dissertation, also adopted Chen Yinque’s “mutual verification of poetry and history” to talk about his topic in six respects: in chapter 1, he talked about the hairstyle jewelry and the ornamental of hairpins in the poem; in chapter 2, he studied women’s makeup style of in Tang Dynasty; in chapter 3, he talked about the sleeve patterns of women’s dresses; then, he expounded the music and dance in the poem in the 4th chapter; he also elaborated court banquets and springtime excursion in Tang Dynasty; finally, he stressed the significance of the historical and cultural study of ’’the Everlasting Regret’’. At last, he pointed out: ’’the Everlasting regret’’, after all, is a long poem rather than a history book; it’s a work of art, not a historical record. His dissertation is of strong logicality and is well-argued and precisely reasoned.

These works have made a detailed interpretation of the court culture of Tang Dynasty and the Everlasting Regret. Thereby, on the basis of previous studies, my paper adds the transport of lychees, which are Yang’s favorite fruit, to confirm the poetry with historical materials, and outline the authentic and complete appearance of the cultural life of the palace in the turning period of the Tang Dynasty.

===Methods and Theories===
This paper adopted the literature research method and the theory of “mutual verification of poetry and history ”.

By the literature research method, a large number of relevant literature is collected through a variety of ways and channels. In the literature collection channels, the author draws support from CNKI, Baidu Scholar and Google Scholar, etc.; two main ways to search the literature are utilized, searching in light of keyword or subject, and reference. Moreover, the author in the search for literature with a clear direction. For example, the keywords of this article are "palace culture" or “court culture” and "The Everlasting Regret," so the author enters these two keywords to search the pertinent literature, selects the appropriate one to study, and also searches the literature listed in the references, to help the author form a clear and systematic understanding of the research topic.

The theory of "mutual verification between poetry and history" was first put forward by Huang Zongxi, and the academia unanimously recognized that Chen Yinque and other people made exemplary contributions to this theory. The reason that poetry and history can be each other’s "mutual evidence" is that poetry, as a literary form of expressing aesthetic emotion, can not be separated from the specific historical figures, time and space; the apprehension of poems depends on rich historical details. Mr. Chen, in his "Manuscript of the Investigation of Yuan’s and Bai's Notes and Commentary on Poetry", made an explanation of the " mutual verification between poetry and history ": first, using poetry to verify historical records or supplement historical information, namely, "to prove history with poetry"; second, explaining poetry by means of history, so as to obtain the complete meaning of the poetry, that is, "to explain poetry with history."

===Make-up and headgear in ''The Everlasting Regret''===
'''1. On eyebrow makeup'''
“That she outshone in six palaces the fairest face”（六宫粉黛无颜色）, “Until the Lady Yang was killed before the steed”（宛转蛾眉马前死）, “Willow leaves like her brows and lotus like her face”（芙蓉如面柳如眉） and “Eunuchs and waiting maids looked old in palace deep”（椒房阿监青娥老） these four lines depict the female makeup in the imperial court. In the first sentence, "Fendai"（粉黛） refers to beauties in the imperial palace except for Yang, because aristocratic women in the heyday of the Tang Dynasty often adorned their faces and eyes with makeup. However, the two words "fen"(粉) and "dai"（黛） have their own meanings respectively: "fen" is the powder used by ancient women to lighten their complexions; "Dai" is the brunet mineral used when drawing eyebrows, especially in ancient times. According to the differentiated shades, they could produce different eyebrow make-up like black eyebrows or emerald green ones. In this case, “dai” refers to the color of eyebrow make-up. The other three sentences describe eyebrow makeup from the aspect of eyebrow shape, reflecting the two most popular eyebrow makeup forms in the Tang Dynasty – “the willow-leaf shaped eyebrow”（柳叶眉） and “the moth eyebrow”（蛾眉）. The moth eyebrow was the most prominent eyebrow makeup in the Tang Dynasty. It is broad in shape, vaguely ethereal in outline, light and natural in color, and looks like the wings of a moth in appearance, hence the name. As can be seen from the name, the willow-leaf shaped eyebrow is a slender eyebrow makeup similar to willow leaves. It is slightly thick in the middle and tapers at both ends, which can increase the charm of feminine charm. Historical data did not record Yang wearing willow-leaf shaped eyebrows clearly, but from a host of Tang poetry and painting materials, it is easy to judge willow-leaf shaped eyebrows are one of the popular eyebrow makeup styles in the Tang Dynasty, and whether court ladies or ordinary girls are happy to draw it to present their dignified and beautiful amorous feelings. (c.f: Tian Miao 2003,108-112)

'''2.On headgear'''
The description of female jewelry in ''The Everlasting Regret'' can be seen frequently, such as " flowerlike face and cloudlike hair, golden-headdressed"（云鬓花颜金步摇）, " golden bird and comb with which her head was crowned "（翠翘金雀玉搔头） and " for him to carry back, hairpin and case of gold "（钿合金钗寄将去）. In these sentences, descriptions like “golden-headdressed” or “Zan”（簪）, " golden bird "（金雀）, "Jade headdress"（玉搔头）, "golden hairpin"（金钗）, " case of jewelry "（钿盒） and other things related to women's headgear. Women’s headgears in ancient China were used mainly for hairstyles, with its original function as hair constraint. With the development of society, the specification of women’s headgear became increasingly complex. Consequently, a new feature appeared: headgear was not only the embodiment of a girl well into her adulthood, a demonstration of wealth, and a sign of social status, but also a part of etiquette. There are four main types of headgears mentioned in The Everlasting Regret: Zan, Chai, Buyao, as well as Dianhe or cases of jewelry (inlaid with gold, silver and jewels).

'''2.1 Zan'''

Zan（簪） is the most antique and widely spread in ancient China, also the oldest appliance for hair constraint in China. In the early days, most of them were made of natural materials such as wood, bamboo, animal bone, stone, etc., with practical function in general. By the Tang Dynasty, due to the social function of Zan becoming more and more obvious, great progress had been made in materials selection, production technology and decorative design, etc., and Zan, made of jade, gold and silver, emerald green feathers, and shells, appeared. On top of the change in material, its decorative graphics have also seen great changes, more complex and delicate.

'''2.2 Chai'''

The main function of the Chai（钗） tends to be a decorative one, compared with Zan. Women decorated hairstyles with them in order to project their charm, and show off wealth and status, so the Chai in the Tang Dynasty became the most important headgear. A set of Chai often contains two pieces each, with symmetrical patterns, inserted in hair with one on the left and the other right. However, women in the Tang Dynasty often wore multiple Chai at the same time, and the number of them varied in light of the height of chignon. The higher the chignon was, the more Chai there would be. Unlike Zan, the foot of the Chai is divided into two sides, which are inserted into the chignon to fix hairstyle, and were called "Chai thighs". In The Everlasting Regret, the sentence “keeping one side of the case and one wing of the Chai" tells that Yang Yuhuan broke the golden Chai into two from the part of the Chai thighs, which well embodies the modeling characteristics of Chai thighs.

'''2.3 Buyao'''

Buyao（步摇） is another kind of traditional Chinese women's headgear, which is interpreted in an ancient book as: Buyao, with drooping beads over it, will shake the beads as a wearer is walking. Therefore, the name of "Buyao" is taken from the meaning of "shaking as stepping". The buyao vibrates with the steps of women, and the intertwining of beads, jade, gold and silver makes it appear colorful, which can best reflect the graceful bearing of women's vigor and vitality. By the Tang Dynasty, with the increasing prosperity of the social economy and the increasing extravagance and pomp, the etiquette symbolized in gold Buyao started to tamper among the aristocracy and gradually became popular among ordinary people. The popular shape of Buyao in the Tang Dynasty was like " a gold phoenix, with a bottom at below, a pin at the front, decorated with colorful jade beads shaking as stepping by."(Yao Ronghua,2012)

===Court banquets===
'''1. Banquets'''

In addition to embodying the deep love between Yang and Li， those two sentences "in revels as in feasts she shared her lord’s delight"（承欢侍宴无闲暇） and “drunk with wine and spring at banquet in Jade Tower”（玉楼宴罢醉和春） can also reflect the frequency of holding court banquets or banquets for all. Court banquet（宫廷宴会） generally refers to the feast held by the emperor for rewarding reasons, attended by officials at all levels and envoys from all over the world, in which court music, dance and acrobatics performances on a certain scale would be arranged. If it was on a larger scale, where even ordinary people may attend, it was called "banquet for all"（酺会）, normally lasting for several days. Rulers held banquets for all, also known as "bestowing banquets"（赐宴）, and the whole country was covered in huge hilarity in the banquet hall during the events. Both the aristocracy and the common people could find their freedom and happiness in the private banquet. Concerning the purpose of bestowing banquets, on the one hand, it was to satisfy the cultural needs of the people as well as seek cohesiveness from them; on the other, was to consolidate its feudal regime, demonstrate the rulers' authority and give benefits to the people. (Yang Guoyu,2016)

'''2. The exclusive affection and lychees'''

'''2. 1 The exclusive affection for Yang'''
The Everlasting Regret also says,
" In revels as in feasts she shared her lord’s delight,
His companion on trips and his mistress at night.
In inner palace dwelt three thousand ladies fair;
Her beauty served the night when dressed in Golden Bower
Or drunk with wine and spring at banquet in Jade Tower.
On her alone was lavished royal love and care. "
These sentences reflect the inseparable love between the Emperor and Yang. These descriptions, especially “on her alone was lavished royal love and care”, are not fabricated by personal imagination, or merely literary exaggeration, but can be tested through history. New History of the Tang Dynasty (《新唐书》) has a record of Yang like eating litchi: "Concubine Yang is fond of lychees, especially fresh ones. So the post station knights travel day and night, speeding up tirelessly, running thousands of miles. Without changing the flavor, lychees have been sent to the capital. " This record indicates that the Emperor gave orders to the national post system, which was originally used to pass state documents and administrative personnel back and forth, to transport fresh lychees for Yang, which is enough to prove the high status of Yang in the eyes of the emperor. No wonder Du Mu, a poet in the Middle Tang Dynasty, once said,
" Viewed from Chang'an, Mount Li seemed a piece of embroidery;
Countless gates opened one after another on a hill-top.
At a horse raising red dust the imperial concubine smiled;
No one knew it was for the litchi fruit it had brought. "
--Passing Huaqing Palace(1) from Du Mu

'''2. 2 Lychees '''
Everyone knows that Yang Kuifei likes lychees. But where did lychees be sent from and how were they transported to Chang 'an, the capital of Tang Dynasty?

Yan Gengwang, a prestigious Chinese historian, had compared the records of lychee transporting in the Tang dynasty with the Song Dynasty’s, and found an intriguing phenomenon: Tang people generally believed that litchi comes from Lingnan, while after the middle of the Northern Song Dynasty, it is believed that litchi comes from Fuzhou, Sichuan Province (now Fuling District, Chongqing Province). However, litchi is a delicate fruit with characteristics of the color changing in one day, the fragrance changing in two days, and the taste changing in three days. From Lingnan to Chang 'an is no less than five thousand miles. If computed in line with the fastest speed available in that dynasty, it is difficult to avoid taste change. However, it is only more than 2,000 miles from Fuzhou to Chang 'an. Therefore, Scholars Li Long and Cai Dongzhou considering many factors such as mileage, lychee varieties, preservation technology and Yang's lot, believe that Yang's favorite lychees mainly comes from Fuzhou. Due to Yang's affection, combined with the high appraisal from the respectable prime minister Zhang Jiuling, officials probably have tried to transport lychees grown in Lingnan to the capital. (Li Long and Cai Dongzhou, 2016, p. 5)

So what could be the delivery route of lychee in that dynasty? In light of Yan Gengwang's fourth volume "Tianbao Litchi Road" in his book "Traffic Map Examination of Tang Dynasty", we can roughly outline the route map of litchi transportation: Fuling--Wanzhou--Dazhou--Wanyuan--Xixiang--Yang County--Meridian Valley--Chang 'an. Scholars Wang Fei, according to historical records, combined with field investigation, determines the basic route of Litchi Road more specifically: Fuling-Dianjiang-Liangping-Dazhu-Daxian-Xuanhan -Pingchang County (Yan Kou village, Ma 'an village) --Wanyuan City (Ying Bei village, Ming Yang town in Miao Ya village, San Guan Chang town in Qin He village, Yudai village, Wei village)--Tongjiang County (Longfeng village, Hong Kou village, Jibo village)--then Wanyuan City again (Zhu Yu village, Hongqiao village) --Zhenba County, Dingyuan, Yue Jiulong Zhai (Chen’s Tan) Yang Jiahe, Si Shang, Luo Zhenzhai-- Ziwu Town in Xixiang County, into the Meridian Road, and ultimately arrived in Chang’an City. [涪陵——垫江——梁平——大竹——达县——宣汉 ( 大成乡瓦窑坝折入三桥、隘口、马渡) ——平昌县 ( 岩口乡、马鞍乡) ——万源市 (鹰背乡、庙垭乡名扬、秦河乡三官场、玉带乡、魏家乡) ——通江县 (龙凤乡、洪口乡、澌波乡) ——再入万源市 ( 竹峪乡、虹桥乡) —— 镇巴县，定远，越九龙砦 ( 陈家滩) 杨家河、司上、罗镇砦——西乡县子午镇，进入子午道，到达西安] The whole journey was more than 1000 kilometers, which was more reasonable.(Wang Fei, 2016, p.2-3)

Although the Everlasting Regret does not mention the word "lychee" at all, the poem speaks of the two's affection, so I have to mention it to testify to their love, which is exactly one of the forms of the research method “mutual interpretation between poetry and history ”.

===Palaces and architectures===
Among the names of palaces or places mentioned in the poem, some of which are authentic, while some are fictitious for artistic reasons.

“She bathed in glassy water of Huaqing Pool”（春寒赐浴华清池）, “ in lotus-flower curtain she spent the night blessed”（芙蓉帐暖度春宵”）, “her beauty served the night when dressed in Golden Bower ”（金屋妆成娇侍夜）, “drunk with wine and spring at banquet in Jade Tower”（玉楼宴罢醉和春） etc., these parts describe the Huaqing Pool, Golden Bower（Jinwu）, Jade Tower and other palaces or places served as living rooms for the imperial family. These descriptions have three functions: First, they describe the places where Tang Xuanzong and Yang Yuhuan dated and spent time together; Second, the poet describes the content of their life submerged in love, selecting some representative scenes, including bathing in Huaqing Pool, daily feasts and playing scenes; Third, as royal palaces, the poet has depicted the magnificence and glory of these architectures, in order to foil the noble identity of Tang Xuanzong and Yang Yuhuan as Emperor and Keifei(贵妃), and also render their love story.

In the sentences of " Knocking at the western gate of palace hall, he bade"（金阙西厢叩玉扃）, " days and months appeared long in the fairyland halls"（蓬莱宫中日月长）, "Jin Que" or “ Palace Hall”（金阙）, and "Penglai Palace"（蓬莱阁） both are palaces existing only in Chinese mythology, which are set off as the background for the appearance of this imperial concubine. Sentences "love and happiness long ended within the wall of Zhaoyang Palace"(昭阳殿里恩爱绝) and “on the seventh day of the seventh moon when none was near the Eternal Youth Palace(七月七日长生殿)” are still closely related to the theme of the whole poem -- love, indicating Yang’s unswerving love to Li. Among those two sentences, "Zhaoyang Palace" (昭阳殿)refers to the palace where they lived together during those years, while "Golden House"（金乌） and "Jade Tower"（玉楼） are also set off with the sentence " on the seventh day of the seventh moon when none was near the Eternal Youth Palace". These palaces witnessed their sweet love, but this love no longer existed. However, "Penglai Palace" in the poem implied that Yang's longing for Tang Xuanzong was everlasting and would never die away.

===Conclusion===
In summary, descriptions of women’s makeup and dressings, the cultural life of the court, and architecture in ''The Everlasting Regret'' were meant to reflect the love between the two, and show us what the history was. On the other hand, regarding this poem as part of the historical materials provides a significant perspective on historical research.

===Preferences===
*Yao Ronghua姚榕华.(2012).唐代宫廷文化视野中的《长恨歌》研究[Research on the Poem ''Changhenge'' from the Perspective of Tang Dynasty’s Court Culture].''南京师大学报''(社会科学版)Journal of Nanjing University (Social Science Edition)(06),121-127.
* Yao Ronghua姚榕华.(2012).《长恨歌》与唐代宫廷文化生活研究[A Study of ''Song of Unending Sorrow'' and the Cultural Life of Palace in Tang Dynasty](博士学位论文,山东大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CDFD1214&filename=1013140595.nh
*Yang Guoyu杨国誉.(2016).“开禁”还是“飨宴”?——汉唐北宋赐酺举措缘起、背景与施行动因的再探讨[On the Causes of the “Giving Drink Feast” Measure in the Han，Tang and Northern Song Dynasties]. ''北京社会科学'' (Social Science of Bejing)(12),4-12. doi:10.13262/j.bjsshkxy.bjshkx.161201.
*Tian Miao田苗.(2003).唐代妇女眉妆演变考论[A Critical Exposition on the Development of Women's Eyebrow-painting in Tang Dynasty]. ''西北大学学报''(哲学社会科学版)Journal of the Northwest University (Philosophy and Social Sciences Edition)(02),108-112.
*Li Long & Cai Dongzhou李龙 & 蔡东洲.(2016).杨贵妃所嗜荔枝贡地考辨[Exploration of the Provenance of the Tribute Litchi to Yang Guifei]. ''西南石油大学学报''(社会科学版)Journal of Southwest Petroleum University (Social Science Edition)(05),86-90.
*Wang Fei王飞.(2016).荔枝道与杜甫荔枝诗[Litchi Road and Litchi Poems of Du Fu ]. ''杜甫研究学刊''Journal of Dufu Studies(04),16-22.

===Terms and Expressions===
The Everlasting Regret 《长恨歌》
the Anshi Rebellion 安史之乱
eyebrow makeup 眉妆
headgear 头饰
the willow-leaf shaped eyebrow 柳叶眉
the moth eyebrow 蛾眉
golden-headdressed; Zan 簪
Chai 钗
Buyao 步摇
court banquet
banquet for all 酺会
bestowing banquet 赐酺
Huaqing Pool 华清池
Golden Bower（Jinwu）金屋
Jade Tower 玉楼
Jin Que or Palace Hall: 金阙
Penglai Palace：蓬莱阁

==英语笔译陈路瑶 Chen Luyao 202170081565==
<center>'''Ancient Chinese Values Handed Down Until Today'''</center>

<center>Chen Luyao</center>

===Abstract===
Values exist in every society, and with the development and progress of society, values will continue to change and progress. This process is very long. When we study the values of a certain group, we can not only understand the development history of this group, but also investigate the role of social, economic, political, cultural and other conditions that have caused changes in values. Based on the analysis of the development and changes of China's values in different periods, we can grasp the development direction of China's values. At the same time, we can learn from previous experience, take its essence, discard its dross, educate the younger generation with better values,and lead the development of Chinese society.

===Key words===
Ancient values; Development; Conditions

===Introduction===
This paper mainly discusses the ancient Chinese values that have been handed down to this day. It includes literature review and five main parts. The first part introduces the definition and origin of values. The second part classifies the values. According to the different communication objects, the values are divided into three categories: the values generated by the interaction between people, the values generated by the interaction between people and nature, and the values generated by the interaction between people and themselves. The third part expounds the main values from Xia, Shang and Zhou Dynasties to modern times. The fourth part is to screen the values mentioned above and summarize the retained values. The fifth part explains the influence of the values that have been spread to this day on Contemporary China.

===Literature Review===
At present, the research on Chinese values mainly has the following achievements: first, it discusses the basic theoretical issues such as the concept, basic content, basic characteristics, significance and ideological resources of Chinese values; second, it studies the practical issues such as the construction and dissemination of Chinese values. The main deficiencies in the study of Chinese values are: at the basic theoretical level, there are inconsistent definitions and content induction. Looking forward to the future, the study of Chinese values should focus on the deepening of basic theories, and at the same time, it should further understand the problems of the construction subject and the communication subject at the practical level.

From the current research results, the academic research on the basic theory of Chinese values mainly involves some of the most basic issues, such as concept definition, basic content, basic characteristics, significance and ideological resources. There is no consensus on the definition of Chinese values in the academic circles. Most researchers confuse Chinese values with Chinese cultural values, and only a few scholars define this concept from different angles. Luo Ping defines "Chinese values" from the perspective of significance and function, and believes that "Chinese values are a value system that reflects the spirit of the times, fully displays China's national image and reflects the soul of China's national soft power". Liu Minzhu defined "Chinese values" from the perspective of practical basis and theoretical origin, It holds that "Chinese values are the overall understanding of value relations formed by the Chinese people in the process of participating in the great practice of socialism with Chinese characteristics. They are a value system formed by the Chinese people based on the requirements of the times, practice and their own demands, and integrating many essence of socialist core values, Chinese traditional cultural values and western modern cultural values. They have the attributes of socialism and contemporary China". Chen Guofu defines "Chinese values" from the perspective of essence and function, and points out that "as an important part of socialist ideology with Chinese characteristics, Chinese values are not only the source of social theory, but also the driving force to promote economic and social development, but also conducive to highlighting the discourse power of socialism with Chinese characteristics."

===Methods and Theories===
This paper mainly adopts the literature research method in the writing process. Literature research method is to collect and analyze a large number of relevant literature through multiple channels. The author first puts forward the subject of this paper, designs the framework of the paper, then collects the literature, and finally compiles the review after the literature is sorted out. The literature method transcends the time and space constraints. Through the investigation of ancient and modern Chinese and foreign documents, we can study a wide range of social situations. This advantage is impossible for other investigation methods.

===Introduction===
'''1.The Introduction to Values'''

In modern society, 'values' is a common word. According to Marxism, values are the understanding, theory and doctrine of value, and the fundamental views of people on what is value and how to create value. Yanhui, a scholar, defines values as: values are the understanding of whether an object has value and how much value it has formed by individuals and organizations in a specific environment. In short, values are the cognition, understanding, judgment or choice made by people based on certain thinking senses, that is, a kind of thinking or orientation that people identify things and distinguish right from wrong, so as to reflect the certain value or function of people, things and things.

Values can be traced back to the written Xia Dynasty. At that time, the Chinese people gradually got rid of the savage lifestyle and emerged private ownership, followed by the concept of state and ruler. In general, the values of the Chinese people are influenced by the natural environment, cognitive level, scientific and technological level and other factors, and show a trend of progress and improvement. With the passage of time, the values inconsistent with China's social development gradually disappeared, while some values have been inherited for thousands of years. Values are characterized by stability and persistence, historicity and selectivity, and subjectivity. It plays a very important role in the orientation and regulation of people's own behavior, and determines people's self-awareness.

'''2.The Classification of Values'''

Chinese traditional values are different from the ancient Greek "truth-seeking" values, but a "goodness seeking" value focusing on the ethical relationship between people. The "good" here is manifested in paying attention to the realistic human relations, pursuing the harmonious coexistence of the realistic human relations, specifically advocating the harmonious coexistence between people and nature, and realizing the improvement and perfection of personal moral quality through self-cultivation.

Values are generated by the interaction between people and surrounding things. Specifically, it can be divided into two kinds: the values generated by the interaction between people, the values generated by the interaction between people and nature, and the values generated by the interaction between people and themselves.

===Contents in Different Periods===

In different periods, China has different values. The following introduces the background and reasons for the emergence of China's main values in five stages from three aspects.

'''1.Xia, Shang and Zhou Dynasties'''

The first is the values generated by interpersonal communication: women are required to maintain chastity.

In Chinese history, China belonged to the matrilineal society before the Xia, Shang and Zhou dynasties, and then changed into the paternal society, which lasted for thousands of years. The marriage form and female status in matrilineal society are determined by the level of productivity. The low level of productivity determines the division of labor between men and women. Women engaged in gathering can provide relatively stable means of living than men engaged in fishing and hunting. In addition, women are responsible for processing animal skins, grinding bone needles, sewing clothes and domesticating wild animals. With the development of productive forces, farming has become the main production activity, and men with strong physical strength gradually occupy a leading position in the production sector. The changes of the mode of production and lifestyle have shaken the material foundation of matriarchal society. At the same time, with the increase of products and uneven distribution, the gap between the rich and the poor arose, and the matriarchal clan public ownership was challenged. The differentiation of interests led to wars between groups, which strengthened the trend of male leaders' increasing power, status and wealth. Then they asked to change the tradition of lineage inheritance, that is, from female lineage to male lineage inheritance. At this time, the marriage and family system of monogamy and multiple concubines with paternal parents as the main body was gradually established. With the establishment of private ownership, in order to ensure that property is passed on to their own offspring, compulsory measures for women to maintain chastity have gradually emerged.

The second is the values generated by the interaction between man and nature: worship nature and revere nature.

In recent decades, archaeological data, documentary records, ethnological investigations and research results of related disciplines have been mutually confirmed and comprehensively analyzed, outlining a rough picture for the study of people's worship in ancient times. It is found that the God system of people in the Xia, Shang and Zhou Dynasties is a pluralistic and complex system. The worship of gods can be divided into natural God worship, ghost worship, totem worship and ancestor worship.

The earliest is the worship of nature. Nature is not only the giver and dependent object of human life, but also constantly brings various disasters to human beings. Because the ancients had a low level of understanding and could not correctly understand various natural phenomena, they had a sense of mystery, dependence and fear of natural gods. The ancients believed that there was a God behind everything. They were as conscious and thoughtful as people. These gods were omnipresent, mysterious and moody. They sometimes gave gifts and sometimes came disasters. They were the masters of human destiny. So the ancients regarded the sun, moon, stars, wind, rain, lightning, mountains, lakes, animals and plants as gods and worshipped them.

Finally, it is the values generated by the interaction between people and themselves: respecting morality and cultivating morality.

After the gradual formation of private ownership, the ruling tool of the state also appeared. But the worship of nature formed before this time is still deeply rooted. In order to gain more power, the rulers took measures to strengthen their status and required the people to follow certain self-cultivation concepts.

In order to prove the rationality of the regime, the rulers put forward the idea that "the emperor has no relatives, but morality is the auxiliary". As long as a ruler has virtue, heaven will give him rights, that is, endowments to virtue. Therefore, respecting and cultivating morality naturally became an important mission of social members in this period. So how to respect and cultivate virtue? The rulers took advantage of the situation and formulated the ethical norms of "respect for relatives" and "respect for respect" with the core idea of "respect for etiquette and performance, respect for ghosts and gods". Be close to the people you should be close to, and respect the people you should respect. The members of the society should follow the strict etiquette that conforms to their hierarchical status, so as to strengthen the monarchy, patriarchy and husband power, and sanctify the patriarchal concept of moral order and status hierarchy. In addition to solidifying class interests, from the perspective of governing the country and stabilizing the country, under the guidance of the consciousness of "respecting morality and cultivating morality", the people-oriented thought of "loving the people as a son" emerged as the parents of the people.

'''2.Spring and Autumn Period and Warring States Period'''

The first is the value of interpersonal communication: benevolence.

In dealing with the relationship between people, although there were many schools of thought and diversified values in this period, they came to the same goal through different paths, taking "heaven" as the root of "Virtue" and the real life of people as the focus of attention. Linking "heaven" with "Virtue" and "discussing virtue with heaven" were the ways for various schools of thought to prove the rationality of the values they advocated during this period. Mencius believed that "benevolence" was the necessary meaning of "good nature", while "good nature" was determined by "heaven". To achieve morality is to "know the heaven", "do the heaven" and "be worthy of the heaven". In order to persuade everyone to implement his value proposition of universal love, Mozi introduced the concept of "heaven" sanctions. The will of the emperor of heaven is that all people should love each other. If they practice universal love, they will be rewarded by heaven, otherwise they will be punished. Zhuangzi believed that "Virtue" means giving full play to self

However, the natural ability of nature, "Virtue" makes people human, and the only way to obtain "Virtue" is to conform to heaven. In addition to the view of heaven and man of "discussing heaven with virtue", various schools of thought in this period elaborated their concern for human beings from different ways. Confucius poured rich humanistic care into his thought of "propriety, filial piety and benevolence" and affirmed human dignity and value. Ritual is not only a form of life, but also a cultural phenomenon containing human nature and emotional needs. The thought of filial piety reflects the children's duty of serving their elders and their love for others. His benevolent thought of "benevolent, people also" expresses a high degree of concern for people themselves.

The second is the values generated by the interaction between man and nature: the unity of heaven and man.

In dealing with the relationship between man and nature, the ecological view of the unity of man and nature seems to have become the core value orientation of this period. Confucianism and Taoism have expounded this ideal in different ways. Confucius advocated that the moral code of interpersonal relationship "benevolence" should be applied to the field between man and nature. If man can love nature, his behavior will be good, otherwise it will be evil. At the same time, Taoism expressed the attitude of protecting natural resources with the idea that everything is the same and nothing is noble or inferior. Benevolence towards all things, the unity of heaven and man, starting from people's rational emotions, made the ecological protection thought in this period more active and conscious than the ecological concept of pursuing advantages and avoiding disadvantages and following the natural laws in the Xia, Shang and Zhou dynasties.

[[File:H B H A N.jpg]]

Finally, it is the values generated by the interaction between people and themselves: ideal personality.

"Ideal personality" of the national self-cultivation concept. During this period, the value concept of dealing with the relationship between people and themselves has made a breakthrough under the guidance of the humanistic spirit. All schools have put forward the concept of self-cultivation with the ideal personality as the goal, from the son of heaven to the common people, in order to make social members meet the requirements of "heaven" for people's "Virtue" cultivation. Confucius put forward the self-cultivation thought with "benevolence, righteousness, courtesy, wisdom and faith" as the core content, and advocated that individuals improve their personality cultivation through a series of self-education methods such as determination, diligent thinking and introspection. Mencius emphasized the main role of moral practitioners and learners, and advocated self-cultivation methods such as "being intentional, having few desires, nourishing qi, sharpening ambition, knowing shame, correcting mistakes, thinking sincerely, reflexively, loyal and forgiving". During this period, Taoism also put forward the concept of self-cultivation education, which was guided by the principles of imitating nature, practicing the harmony between nature and Taoism, embracing simplicity and truth, and being weak and indisputable, and followed the path of teaching without words, promoting moral education, promoting emptiness and quietness, and abandoning wisdom.

'''3.Qin and Han Dynasties'''

The first is the values generated by people's interaction: the three cardinal principles, namely, the monarch is the subject, the father is the son, and the husband is the wife.

"Three cardinal principles" refer to the three main ethical and moral relationships between people in feudal society, that is, "the monarch is the subject, the father is the son, and the husband is the wife". Han Fei, a representative of Legalist school, once talked about these three relations: "the minister is the king, the son is the father, and the wife is the husband. If the three go along, the world will be governed, and if the three go against, the world will be in chaos. This is the common way of the world. In the Ming Dynasty, the monarch, the virtuous minister, and the Buddha will change." Confucius also talked about the hierarchical relationship between the emperor and his subjects. In the Analects of Confucius, Yan Yuan said, "Duke Qi asked Confucius about governance. Confucius said to him, 'the emperor, his subjects, father and son.' the public said: good! Faith is like a king without a king, a minister without a minister, a father without a father, and a son without a son. Although there are millet, I will eat it. 'after clarifying the hierarchical relationship between the emperor and his subjects, father and son, and husband and wife, the society can be in order, and the country can be peaceful and harmonious. Dong Zhongshu's "three cardinal principles" thought obviously inherited the moral education thought of pre Qin Confucianism, and at the same time integrated the relevant thoughts of Legalists, and put forward the theory of the relationship between monarchs and officials that adapted to the feudal rule of the Han Dynasty, It also uses religious theology and the theory of yin and yang to demonstrate the rationality of the thought of "three cardinal principles": "the heaven is revealed for the king, and held by the officials. The Yang is born for the husband, and the Yin is helped by the woman. The spring is born for the father, and the summer is raised for the son. The autumn is a coffin for death, and the winter is a pain and funeral. The three cardinal principles of Wang Dao can be found in the heaven." "The righteousness of monarch and minister, father and son, and husband and wife is based on Yin and Yang. The monarch is Yang, and the minister is Yin; the father is Yang, and the son is Yin; the husband is Yang, and the wife is Yin. The vagina does nothing alone.

The beginning should not be dedicated, and the end should not be divided. It has both meanings. It is the reason why the minister owes both to the king, the son to the father, the wife to the husband, the Yin to the Yang, and the earth to the heaven. " According to the view that Yang respects Yin and is inferior to Yin in the theory of yin and Yang, in these three relationships, the monarch, father and husband are Yang, and the minister, son and wife are yin. Yin must be completely subject to Yang, so the minister, son and wife must also be subject to the monarch, father and husband. After Dong Zhongshu's demonstration, the thought of "three cardinal principles" has achieved the supreme status of being in harmony with the way of heaven, thus making the feudal autocratic concept of political power, monarchy and husband's power become a natural and inviolable creed, and its purpose is to make the hierarchical order of patriarchal society absolute and eternal. This set of theories, which is very naive today, played a role in maintaining the feudal autocratic rule under the historical conditions at that time.

The second is the values generated by the interaction between man and nature: the coexistence of traditional gods and newly created gods.

During this period, people had long-term contact with nature. Before this, people worshiped nature extremely, and then changed into the unity of heaven and man. In the Qin and Han Dynasties, the object and focus of people's worship changed again. People changed from worshiping natural gods to the supreme ruler, and then to some outstanding and representative figures. At this time, traditional gods and newly created gods coexist.

There are many gods inherited from the pre-Qin period, including various natural gods such as wind, rain, thunder and lightning related to agricultural production, various functional gods that protect people from old age and death, ancestral gods that shade future generations, as well as loyal gods who make unremitting efforts to consolidate the state power but eventually die of immorality The ancient sages and sages who have paid a lot of blood for the development of national culture and the progress of Chinese civilization, and the plague God who has brought serious threats to human production, life and health.

In addition to the traditional gods, many new gods appeared in the Qin and Han Dynasties, such as emperors such as Liu Bang, contemporary saints and sages represented by Xunli, loyal and virtuous men represented by Luan Bu and Liu Zhang, imaginary gods represented by Bao Jun and Shi Xianshi, and local ordinary gods introduced by local people. Such as emperor Gaozu of the Han Dynasty and Emperor Xuandi of the Han Dynasty can be regarded as symbols of their deification.

Finally, the values generated by the interaction between people and themselves: five constants, namely benevolence, righteousness, propriety, wisdom and faith.

"Wuchang" refers to the five moral concepts of "benevolence, righteousness, propriety, wisdom and faith", which are the moral principles that individuals should achieve. It reflects the moral principles of China's feudal autocratic society. Mencius discussed the "four ends" of human nature from the perspective of the original goodness, that is, "compassion, benevolence, shame, righteousness, respect, courtesy, right and wrong, wisdom. Benevolence, righteousness, courtesy and wisdom are not from the outside, but from the inside."

Dong Zhongshu's "three cardinal principles and five standing principles" has normative and mandatory characteristics compared with the ethics and moral concepts of the pre Qin period. For example, Confucius emphasized the mutual restraint of the morality of both sides when talking about the relationship between the monarch and the minister. "The monarch and the minister should be polite, and the minister should be loyal to the monarch." the monarch and the minister are equal, and the minister has a certain restrictive effect on the monarch, that is to say, the loyalty of the minister to the monarch is based on the courtesy of the monarch to the minister, otherwise the minister can not be loyal to the monarch. Dong Zhongshu's "three cardinal principles and five permanent principles" unilaterally emphasized the absolute obedience of the lower to the upper, which made the Confucian ethics and morality into a feudal hierarchical rule theory, which was mandatory, and its purpose was to maintain and strengthen the centralization of power. This has played a decisive role in the relationship between human relations and morality in the traditional Chinese society, and has a far-reaching impact on the Chinese people's ideas and interpersonal communication. This concept of hierarchy still affects the Chinese people's thinking and values, whether overt or covert, tangible or intangible, and affects the socialist democratic process. Its negative impact should be highly valued and should be clearly criticized and rejected.

'''4.Song, Yuan, Ming and Qing Dynasties'''

The first is the value of interpersonal communication: filial piety and universal love.

From the end of the feudal separatist regime of the Five Dynasties and Ten Kingdoms by zhaokuangyin in 960 A.D. to the establishment of the Song Dynasty, to the middle of the Qing Dynasty, moral education has developed rapidly in the history of more than 800 years. Both the content and the form of moral education are constantly developing and changing, showing unique characteristics. This is not an accident, but a certain historical inevitability.

The ethics education in feudal society has always been the top priority of its education. It "standardized the obligations of people to each other, and its purpose is to achieve the harmony of interpersonal relations". Therefore, the content of moral education advocated by moral education textbooks in the song, yuan, Ming and Qing Dynasties always put "filial piety" in the first place. Teach children to be filial to their parents, to love their brothers and sisters, to push themselves to others, not only to love and respect their parents and relatives, but also to respect other people, so as to "love all".

During the Ming and Qing Dynasties, the feudal autocracy was continuously strengthened and Neo Confucianism was constantly flourishing. The rulers needed to further strengthen the imprisonment of the people's thoughts, and the Confucian ethics became more and more rigid. In this way, the ethical principles of "filial piety, benevolence and righteousness" and "universal love for the people" became the focus of moral education. Therefore, the length of moral education textbooks in this period was reduced and shortened, However, the content of human relations education has not been reduced. Moral upbringing textbooks such as children's language and Di Zi Gui still retain this important educational content. They not only teach children to be filial to their parents and teachers, but also give specific guidance in their lives. Therefore, it can be seen that the educational content of "filial piety and universal love" occupied an important position and played an irreplaceable role in the moral education textbooks in the song, yuan, Ming and Qing Dynasties.

The second is the values generated by the interaction between man and nature: the use of nature.

Urban public gardens, which began to flourish and develop in the Song Dynasty, are the garden types that can best embody political economy, social culture and landscape aesthetics, and are most closely related to urban life and spatial form. As an important part of urban and rural space, public gardens affect the daily life of urban and rural residents and the composition of urban and rural spatial form. They are one of the important material carriers of China's historical landscape garden culture. Compared with the royal gardens and private gardens of the same period, urban public gardens not only embody the Confucian concept of "sharing happiness", but also, as the stage of daily life of all levels of society, show a close relationship with the corresponding development of social economy and folk culture, which is a subject worthy of attention in the history of cities and gardens.

The utilization of water in Song Dynasty also reached a new height. Water conservancy has been a national public project in China since ancient times, which also makes Chinese society branded as a water conservancy society. From the large-scale flood control and water conservancy projects for national security carried out by Dayu in ancient times, to Dujiangyan in Chengdu Plain, zhengguoqu in Guanzhong, Lingqu in Guangxi and Jiangnan canal completed only in the Sui Dynasty in the Qin and Han Dynasties, water conservancy projects before the Tang and Song Dynasties often focused on large-scale agricultural and transportation water conservancy projects at the national level. By the Tang and Song Dynasties, water conservancy projects were gradually combined with the process of urbanization, and urban water conservancy projects were generally rising. Scenic spots formed by suburban lakes such as Hanzhou West Lake, Fushun West Lake, Hangzhou West Lake, etc. had been praised by poets in the Tang Dynasty. Under the influence of the gradual maturity of the landscape culture and the popularization and secularization of cities, the water conservancy facilities in the Song Dynasty were more garden like than those in the Sui and Tang Dynasties, and had become a necessary measure for various water conservancy projects, thus becoming an important public garden carrier in various places, forming a number of famous cities for the construction of water culture gardens, such as Hangzhou, Suzhou, Yangzhou, Nanjing, Guilin, Ningbo, Jinan, Yingzhou, etc, It has become a mature era for the construction of urban water culture gardens in ancient China.

Finally, the values generated by the interaction between people and themselves: valuing morality; Let go of human desires and preserve natural principles.

The Chinese nation has always been famous for its civilization and morality, and has the reputation of "a land of etiquette". In the song, yuan, Ming and Qing Dynasties, moral education textbooks emerged in endlessly. They are part of Chinese traditional culture and the inheritance of traditional culture with "valuing morality" as the core, and have extremely important value. Because only by emphasizing the cultivation of the spirit of "filial piety, benevolence and righteousness, benevolence and love", can it be conducive to the cultivation of the concept of loving oneself and others; Only by attaching importance to the establishment of the concept of "determination and morality, diligence and honesty" can we strengthen moral education and improve the moral quality of the whole people; Only by attaching importance to the cultivation of moral concepts and the training of moral behaviors, can it contribute to the cultivation of social morality. In a word, the moral education textbooks in song, yuan, Ming and Qing Dynasties are of great benefit to inherit and carry forward the excellent Chinese traditional culture with "valuing morality" as the core, and to the construction of the spiritual civilization world of the Chinese nation, future generations and even the whole mankind.

'''5.Since the Founding of New China'''

The first is the values generated by interpersonal communication: collectivism weakened and individualism strengthened.

In 1972, under the leadership of Deng Xiaoping, China began to implement reform and opening up, and the socialist market economy was gradually established. In this context, the values of the Chinese people have quietly changed. With the establishment of market economy, the society has stepped into a stage of rapid development, and social competition is becoming increasingly fierce. People get rid of the psychology of relying on the collective society and become self reliant, so as to improve their own ability and personal competitiveness. "Natural selection, survival of the fittest" has become people's Creed. The awareness of self-worth was significantly enhanced. Market economy requires full affirmation and respect for personal material interests. Therefore, an atmosphere of respecting knowledge and talents has been formed, which has strengthened people's growing "self-awareness". In the process of pursuing value, they began to pay attention to their personal interests and roles, and asked to put "self" in its proper position.

The second is the values generated by the interaction between man and nature: protecting nature.

In the early stage of reform and opening up, due to the urgent need of economic development, we are still repeating the old road of "pollution first, governance later" and other capitalist countries. For this reason, it has brought about such environmental problems as the sharp reduction of forests, water, soil and air pollution, soil desertification and rocky desertification, and the ecological environment is almost on the verge of collapse.

With the increasing expansion of international exchanges, the impact of the introduction of international environmental protection ideas on China, the positive appeals of domestic scholars and the increasingly serious domestic ecological problems, our party's view of nature has also undergone new changes. Silent spring reminds people that they must re-examine the relationship between man and nature and choose a new ruler to measure the relationship between man and nature. In particular, the Research Report "our common future" published by the United Nations World Commission on environment and development in february1987 put forward the idea of "sustainable development". It warns people that we should guide people from simply considering environmental protection to effectively combining environmental protection with human development. This report has had a profound impact on our party.

As the report of the 18th National Congress of the Communist Party of China incorporated the construction of ecological civilization into the "five in one" overall layout of the cause of building socialism with Chinese characteristics and into the important construction content of a beautiful China and the Chinese dream, the construction of ecological civilization has further risen to the will of the party and the country, our party's view of nature has ushered in new development, and the status of nature has been further confirmed. After the theory and practice since the reform and opening up, the concept that nature is the foundation of human survival and development has gradually taken root in the hearts of the people. In particular, China has implemented real-time monitoring of air quality since December 2011, and released PM2.5 monitoring data in the air quality index of major cities, which constantly reminds people to pay attention to environmental issues. However, the consensus of the whole Party has not yet been formed, and the backward concept of "pollution before treatment" has not been completely eliminated. Therefore, General Secretary Xi has repeatedly warned the whole party on the issue of environmental protection We have no other choice, because we cannot follow the old path of development of the United States and Europe in building a modern country.

Finally, the values generated by the interaction between people and themselves: patriotism, dedication, honesty and friendliness.

Patriotism has always been a personal character emphasized by the Chinese nation since ancient times, and it is also a symbolic collective spirit of Chinese society. Putting patriotism in the first place of socialist core values at the individual level fully illustrates its importance. As early as 2000 years ago in the bookofsongs, a song "Guofeng · Qinfeng · Wuyi" firmly expressed the patriotic spirit of unity and common resistance to foreign humiliations.

Dedication is an important value requirement for citizens' personal behavior. As an important part of the core values at the individual level of our citizens, the development of the country and the progress of the society are inseparable from the working state of dedication. Dedication is to require individual citizens to have a serious and responsible attitude towards their work or career, to maintain a sense of dedication and responsibility in spirit, and to adhere to diligent learning and improve professional skills in practice. Dedication is not only an important value criterion for citizens to participate in social work, but also a basic professional ethics requirement for citizens.

Honesty is undoubtedly an important core value in any society. Perhaps it is because the integrity standards before and after the reform have changed. People often express their dissatisfaction and worry about the current integrity with a nostalgic mood and a critical eye. We must admit that the integrity issue in China is indeed in a difficult construction process. There is an essential difference between the political "honesty" in the planned economy period and the contractual "honesty" under the market economy system. "Honesty" is bound to be fragile in the transformation from the traditional relational society to the modern open society.

The last is kindness. As the core value goal at the personal level, friendliness is the basic criterion for dealing with interpersonal relationships. As a social moral code and value orientation, friendliness requires people in the society to treat each other with an open-minded and kind-hearted attitude. In reality, the driving force of market economy to maximize people's interests has transformed the traditional acquaintance society into an open stranger society, resulting in the alienation of interpersonal relations and the lack of friendliness in the society. With the continuous deepening of China's social reform and opening up, many unknown contradictions and conflicts will be touched. To maintain a harmonious social environment and eliminate conflicts, contradictions, estrangements and misunderstandings in human relations, friendship is an important guarantee.

===Take the Essence and Discard the Dross of the Values that Have Been Handed down to this Day===
The above part lists three values in the five main periods, among which the values of interpersonal communication have gone through the changes from "requiring women to maintain chastity" to "benevolence", to "three cardinal principles, namely, the monarch is the subject, the father is the son, and the husband is the wife", to "filial piety and universal love", and finally to "the collective interest is weakened and the personal interest is enhanced". The values of communication between man and nature have experienced the changes from "worshiping nature and fearing nature" to "the unity of heaven and man", to "the coexistence of traditional gods and newly created gods", to "using nature", and finally to "protecting nature". The values of people's communication with themselves have gone through "respecting morality and cultivating morality" to "ideal personality", to "five constants, i.e. benevolence, righteousness, courtesy, wisdom and faith", to "valuing morality; eliminating human desires and preserving natural principles", and finally to "patriotism, dedication, honesty and friendliness". After thousands of years of development, these values are generally developing towards science and in line with the trend of the times. In this process, backward values have gradually disappeared in the long river of history.

The first is the values generated by interpersonal communication. The values in this aspect show an overall trend of equality, and selfish individualism has been eliminated. The second is the values of communication between man and nature. Due to the deepening of man's understanding of nature, the feedback from nature and the development of philosophy, protecting nature has become the mainstream values. Finally, the values of communication between people and themselves, as a whole, are developing in the direction of improving self morality.

===Influence of Values that Have Been Passed down to the Present===
On the whole, Chinese values are based on Confucianism, which leads to many details. From the perspective of the values spread from ancient times to now, the values pursued by Confucianism still occupy the mainstream position.

First, let's look at the characteristics of the system form of Confucian core values. The core values of the Confucianists are based on the five cardinal principles and the three cardinal principles. The five cardinal principles are based on benevolence and propriety, and emphasize the unification of propriety with benevolence. Benevolence and propriety are closely linked with the value order and value norms of the three cardinal principles, and can complement each other in terms of theoretical connotation and form. As far as the systematic structure of the core values of Confucianism is concerned, the five permanent principles and the three cardinal principles respectively regulate the basic values of human social life from the two levels of universality and particularity, while sex, heaven and Taoism constitute the theoretical basis for its transcendence, and at the same time, the individual personality perfection implemented in the life values constitutes a universal and special, metaphysical and metaphysical Group order and individual pursuit are perfectly combined as a justice system, which closely conforms to the fundamental national conditions of the autocratic monarchy hierarchical society based on the traditional family standard in China. In this sense, the form of the Confucian core values system is worthy of our reference, which inspires us to make the core concepts more prominent and the justice system more compact in the construction of socialist core values.

Second, the characteristics of the specific content of the Confucian core values system. The core values of Confucianism have a huge and far-reaching impact on the traditional Chinese society, and are people's basic living standards and even the ultimate spiritual concern. Huang Daozhou, a great Confucian in the Ming and Qing Dynasties, died in the war against the Qing Dynasty. His dying blood book "the principles of justice will last forever. Heaven and earth know me, and my family will have no worries". It points out the way for the creative transformation and innovative development of Confucian core values. As the core values of Confucianism, the three cardinal principles and the five constant principles are more integrated with the ethical relations and political rule of reality, and their specific norms should be changed with the development of the times. The five constant principles reflect more universal value pursuit, and should be combined with the life style of modern society to transform their ideological connotation. The three cardinal principles and the five constant principles correspond to the birth of heaven, the integration of all things The core values of Confucianism, such as inner sage and outer king, are also valuable ideological resources for us to construct a new value philosophy and value ideal today.

===Conclusion===
In the new era, with the interweaving of socialist modernization with Chinese characteristics, world modernization and economic globalization, cultural diversity and cultural conflict and integration in the process of international exchanges have become one of the important characteristics of the world, and the people's needs for values are also increasing. Contemporary Chinese values are both generated and dependent on cultural self-confidence. They point out the direction for integrating and leading diversified social thoughts and various social consciousness, and also converge into a powerful force to promote social harmony. Through the necessary sublation and innovation, we can further enrich and expand people's cultural vision and spiritual realm. At the same time, in the face of today's international society with cultural differences and diverse values, enhancing the recognition and self-confidence of contemporary Chinese values is of great significance for coping with the challenge of global diverse values, improving China's cultural soft power and its discourse position in the international community.

===Reference===
Yan Hui 晏辉.(2009). 现代语境下的价值与价值观[Values in the modern context]. Beijing Normal University Press北京师范大学出版社.

Liu Caihong 刘彩虹.(2014). 当代中国社会价值观念变迁与人的全面发展[The changes of contemporary Chinese social values and the all-round development of human beings]. Inner Mongolia University内蒙古大学.

Lin Hongtao 蔺宏涛.(2016). 社会主义核心价值观的源流研究[Research on the origin of socialist core values]. Hunan University 湖南大学.

Zhao Fujie 赵馥洁.(2004). 论中国主体价值观念的起源[On the origin of the concept of value subject in China]. Journal of Humanities ''人文杂志'', 000(005), 46-52.

Wang Chuanman 王传满.(2008). 夏商周:贞节观念滥觞[Xia, Shang and Zhou Dynasties: the beginning of the concept of chastity]. Journal of Hubei University of Economics ''湖北经济学院学报'',6(4):4.

Li Qiuxiang 李秋香.(2015). 文化认同与文化控制:秦汉民间信仰研究[Cultural identity and cultural control: a study of folk beliefs in the Qin and Han Dynasties]. Henna University 河南大学.

Mao Huasong,Zhang Xingguo 毛华松,张兴国.(2016). 城市文明演变下的宋代公共园林研究[Research on public gardens in Song Dynasty under the evolution of urban civilization].Chongqing University 重庆大学.

===Terms and Expressions===
values 价值观

matriarchal society 母系社会

improve virtues 敬德修德

benevolence 仁

harmony between heaven and man 天人合一

ideal personality 理想人格

the three cardinal guides as specified in the feudal ethical code 三纲

the five constant virtues as specified in the feudal ethical code 五常

Be filial to elders and friendly to others 孝亲泛爱

individualism 个人主义

collectivism 集体主义

to build socialism with Chinese characteristics, the overall layout is a five in one process: economic, political, cultural, social and ecological progress 五位一体

patriotism 爱国

be dedicated to work 敬业

be honest 诚信

be friendly 友善

===Questions===
1.What three values are involved in this paper?

2.What is the overall direction of these values?

3.Has collectivism been strengthened since the founding of new China?

===Answers===
1.The values of interpersonal communication, the values of interpersonal communication with nature, and the values of interpersonal communication with oneself.

2.These values are generally developing in the direction of science and in line with the trend of the times.

3.Yes.

==英语笔译崔晓凡 Cui Xiaofan 202170081566==
<center>'''China Central Plain Culture'''</center>

<center>Cui Xiaofan</center>

===Introduction===

The Central Plain of China was the political, economic, cultural and transportation center of ancient China, as well as the place where North and South cultures collided in the country, so there is a saying that "the ancients compete for the Central Plain can only establish the world". Central Plain culture is the sum of material culture and spiritual culture based on the Central Plains region. It is the foundation and backbone of Chinese culture.

Broadly speaking, Central Plain culture is the general term for culture in the middle and lower reaches of the Yellow River. Geographically, it mainly takes Henan as the core and radiates outside to neighboring areas in the middle and lower reaches of the Yellow River. In ancient times, Yuzhou lived in Kyushu, known as Zhongzhou, also known as the Central Plain, including most of Henan Province. Therefore, the Central Plain culture mainly relies on Henan Province. In a restricted sense, Central Plain culture refers to Henan culture. The birthplace of the world's major civilizations, as we all know, is surrounded by the major rivers in its territory, and China has always called the Yellow River the "Mother River". The middle and lower reaches of the Yellow River are the birthplace of Chinese civilization and the cradle of the Chinese nation.

A great quantity of prehistoric cultural artifacts have been discovered in Henan, according to archaeology findings. Four of the eight ancient capitals of China are located in Henan, namely Zhengzhou, Anyang, Luoyang and Kaifeng. Among them, the last capital of the Xia Dynasty was built in Luoyang Yanshi, Zhengzhou in the middle of the Shang Dynasty, and Anyang in the late Shang Dynasty. The civilization of the Xia, Shang and Zhou three dynasties can be said to be the cradle of Chinese civilization. On this basis, hundreds of thought, especially Confucianism, Taoism, Mohism and other ideas, originated in the Central Plain and occupied an prominent position in China's centuries-old feudal ruling mentality, and has been continuously inherited and developed. Therefore, from the perspective of historical development, the main feature of the distinction between Central Plain culture and other regional cultures in China is that it is closely tied to Chinese culture and is the source of Chinese culture. Central Plain culture plays an extremely important role in the formation and development of the Chinese nation and Chinese culture.

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Conclusion===

===References===

===Terms and Expressions===

===Questions===

===Answers===

==英语笔译邓阳林 Deng Yanglin 202170081567==

<center>'''A type of verse popular in the Yuan Dynasty'''</center>

<center>Deng Yanglin</center>

===Abstract===
Yuan Qu is a literary form prevailing in the Yuan Dynasty, the wisdom of the Yuan scholars, including Zaju and Sanqu, and sometimes it specially refers to Zaju. It embodies unique characteristics in ideological content and artistic achievement and owns a status as important as that of the Tang poetry and Song poem.The three kinds of literatures have become three important milestones in the history of Chinese literature. Generally speaking, the objects depicted and written in Yuan Opera are not limited to beauty, ugliness, elegance and vulgarity and it shows a rich and broad expressive force. Different from Tang poetry and Song poem, Yuan Qu revealed the profound reality of the time in an alternative way, including extensive subjects, plain words, lively forms, fresh styles, vivid description, and changeable techniques. It often describes revolting against the political dictatorship, scolding the dark fighting glory of the society, and is full of the mood of resistance. This paper mainly consists of six parts including introduction, literature review, methods and theories, text and conclusion, aiming at introducing the development process, social value and artistic value of Yuan Qu, so as to gain insight into the social status quo and folk suffering at that time.

===Key words===
Yuan Qu；the Yuan Dynasty; Guan Hanqing; Zheng Guangzu; Bai Pu

===Introduction===
After Tang poetry and Song ci, Yuan Qu, which is a flourishing literature, has its unique charm. On the one hand, Yuan Qu inherits the elegant and graceful poetry. On the one hand, the society of the Yuan Dynasty placed the scholars in the position of "eight prostitutes, nine scholars and ten beggars", political monopoly and social darkness, which made the Yuan Song radiate the brilliance of fighting and showed the mood of resistance. The sharp point is directed at social malpractice, the society in which "people who do not read are the best, those who do not read are the best, and those who do not know things boast of their beauty", and the world in which "people are ashamed of their lives and do not see money". The works describing love in the Yuan Dynasty are also more aggressive and bold than the poems of the past dynasties. All these are enough to keep its artistic charm forever.
The rise of Yuanqu had a profound influence on the Chinese national poetry development, cultural prosperity and outstanding contributions. As other art flower, it is not only a scholar xu chi lines as handy tool, but also to reflect the yuan dynasty social life provides the people happy new art form it arises immediately showed exuberant vitality.
This thesis aims to study the four masters Guan Hanqing of Yuan Qu; Ma Zhiyuan; Zheng Guangzu; Bai Pu and his works to understand the development of Yuan Qu, so that readers can have a general understanding of the rise and fall of Yuan Qu, so that the unique artistic characteristics of Yuan Qu for the world to understand.

===Literature Review===
Pan Chaoqing and Tu Ping pointed out in On the Inheritance and Development of Yuan Opera to The Humorous Culture of Song Dynasty that Yuan Zaju inherited and developed the basic form of Song Zaju, developed into a relatively complete drama structure, and performed a variety of drama styles. Is different from other art forms, the key is rooted in drama guan mu structure of internal texture, the drama structure has been mature art form, will not easily change by conversion of aesthetic fashion, but also as a comic effect the structure of the fragment, as well as the flexibility to thrust in the drama structure, and can be organically integrated into the drama, As a plot factor to show conflicts and shape characters, the widely used "three branches of law" and the "teasing" mode of two people are typical representatives.

In the Development Background of Yuan Opera and its Special Language Phenomenon, Wang Qinghua points out that Yuan Opera is mainly composed of miscellaneous songs of Yuan Dynasty, supplemented by sanqu, which is the inevitable result of its rich and complicated language for the audience of all levels. When we appreciate yuan qu, we should not only understand the background of its language formation, but also pay attention to the regional dialects, common falsities and common features, which are of great benefit to us to appreciate yuan literary works better.

Li Sheng pointed out in The Development of Opera Criticism from the Evolution of the Four Masters of Yuan Opera that Strictly speaking, the so-called "four masters of Yuan Opera" are the "Guan, Zheng, Bai and Ma" four people assessed by yuan People. Their arrangement order is influenced by the drama theory of each era and their position changes, from which we can also see the development of drama theory. Generally speaking, it has experienced the smooth development of the heavy tone and rhyme. To stress the standard of melody and lyrics of the emotional "nature", and finally to pay attention to the script writing such a process. Today we look at the "four everybody", natural need not limited to, zheng, white and Ma Siren, Mr Tan Zhengbi wrote the biography of yuanqu six people slightly, he will be wang shifu and georgie also included, reflecting the view of his opera, but we don't need to in the "four everybody" wenxuan, but from another Angle to look at it, There must be something else in it.

===Methods and Theories===
This paper adopts the method of literature research.It mainly refers to the method of collecting, identifying and sorting out literature, and forming a scientific understanding of facts through literature research. Literature method is an old and vigorous scientific research method.
General process
The general process of literature method includes five basic steps, which are: putting forward a topic or hypothesis, research design, collecting literature, sorting out literature and conducting literature review. The proposed topic or hypothesis of literature method refers to the idea of analyzing and sorting or reclassifying relevant literature according to existing theories, facts and needs. The first step in research design is to establish research objectives. Research objectives are designed into specific, operable and repeatable literature research activities based on the subject or hypothesis in an operable definition, which can solve special problems and have certain significance.
The main advantages
(1) The literature method transcends the limitation of time and space, and can study a wide range of social situations through the investigation of ancient and modern Chinese and foreign literatures. This advantage is not possible with other survey methods.
(2) The literature method is mainly written survey. If the literature collected is real, it can obtain more accurate and reliable information than oral survey. Avoid all kinds of recording errors that may occur in oral investigation.
(3) Literature method is an indirect and non-interventional survey. It only investigates and studies various literatures without contacting the respondents or intervening in any reaction of the respondents. This avoids all kinds of reactive errors that may occur during the interaction between the surveyors and the respondents in the direct survey.
(4) Literature method is a very convenient, free and safe survey method. Literature investigation is less restricted by the outside world, so as long as the necessary literature is found, research can be carried out anytime and anywhere; Even if there is a mistake, it can be remedied through re-study, so its safety factor is high.
(5) Document method saves time, money and high efficiency. Literature survey is based on the achievements of predecessors and others, which is a shortcut to acquire knowledge. It does not require a large number of researchers or special equipment, and can obtain more information than other survey methods with less manpower, money and time. Therefore, it is an efficient survey method.

===Zheng Guangzu and Yuan Qu===
Zheng Guangzu was born in the early years of the Yuan Dynasty (1264 AD). His courtesy name was Dehui, han nationality, and he was a famous composer of zaju and sanqu in the Yuan Dynasty. He lived in Xiangling, Pingyang (xiangfen County, Linfen City, Shanxi Province today). We know from zhong Sicheng's Book recording Ghosts, a drama writer of the same period as Zheng Guangzu, that he studied Confucianism as his career in his early years, and later was appointed as an official of Hangzhou Road, so he lived in the south. He was "upright" and not good at communicating with officials, so they looked down on him. As you can imagine, his official life is very difficult. The beautiful scenery of Hangzhou and its clever singing girls constantly aroused his feelings. Zheng Guangzu was engaged in the creation of zaju all his life and devoted all his talents to this folk art, enjoying a high reputation in the art circle at that time. Lingling people all respected him as Mr. Zheng, his works through the dissemination of many Lingling people, had a wide influence in the people. He had a close relationship with the Lingren in Suzhou and Hangzhou. After his death, he was cremated by lingyin Temple in Hangzhou.
Zheng Guangzu, one of the "four masters of Yuan Opera", was deeply influenced by Wang Shifu for his plays depicting the love lives of men and women. Its " Mei Xiang cheated the Hanlin Fengyue" and "fan Qingsuqian Girl left the Soul" two works are obviously influenced by "Romance of the Western chamber", but the achievements are different. " Mei Xiang" can be called the failure of The Yuan Song, and "A Beautiful Girl Leaving her Soul" is a masterpiece. There are various reasons for this phenomenon, but one of the important reasons is that the author adopted two different attitudes when learning and inheriting the Romance of the Western Chamber: imitation and innovation. "Innovation is the soul of a nation's progress and an inexhaustible driving force for its prosperity... Innovation requires constant emancipation of the mind, seeking truth from facts and advancing with The Times." Therefore, we can also deduce that only innovation can literary works have the development of inheritance in the real sense. " Mei Xiang" in "set number, appearance, all ritual" West Wing ", predecessors make this evaluation is too strict, but basically in line with the reality. Because it does too much imitation of the "Romance of the Western Chamber" traces, and finally annihilated in the full bloom of the Yuan Qu garden. In contrast, the author of "A Beautiful Girl Leaving her Soul" is not satisfied with the existing achievements of "Romance of the Western Chamber", but made some new development and development to it, thus achieving the brilliant author and work.

===Guang Hanqin and Yuan Qu===
Guan Hanqing (about 1234 - 1300), original name unknown, word Han Qing, name Yizhai (also known as Yizhai, Yizhai Sou), Han nationality, jiezhou (now Yuncheng, Shanxi Province), also born in Dadu (now Beijing)and Qi Zhou (now Anguo, Hebei Province), etc. [6] Founder of Yuan Zaju, Together with Bai Pu, Ma Zhiyuan and Zheng Guangzu, guan Hanqing is the first of the four masters of Yuan Qu.
His life was rich in drama. There are more than sixty plays, most of them lost. His drama, tragedy, comedy, broad themes, deeply exposed the dark and decadent social reality of the Yuan Dynasty. His works "Dou E Yuan", "Save the Wind", "Wangjiang Pavilion", "Lu Zhailang" and "Shan Dao Hui" are all popular works. His "grows DouE case" is the best the most glorious yuan drama script, it is an outrage to the rulers of the yuan dynasty a campaign by the tragedy of the pure, good DouE, revealed the social usury exploitation, bullies, wandered and yuan dynasty official graft, proposes the crimes, tackling a social chaos of the yuan dynasty, the ugly nature of malformation and eat people.
In the long-term creation practice, he has formed a profound theme, rigorous structure, lively and vivid image, sharp language simple zaju characteristics. He is a writer with the most works and the greatest achievements in the history of Chinese drama.

===Ma Zhiyuan and Yuan Qu===
Ma Zhiyuan (c. 1250 -- 1321 -- autumn 1324), also known as Dongli, was a writer of opera, sanqu and essayist in the Yuan Dynasty. And Guan Hanqing, Zheng Guangzu, Bai Pu said the "Four masters of Yuan Qu".
Ma Zhiyuan was born in a rich and have the family of literacy, keen to obtain fame when he was young, once seemed to prince borjigin, real gold sing and so was the officer, probably due to the death of borjigin, real gold after towns in jiangsu and zhejiang provinces services officer, yuan zhen years after early early (1295-1297) participated in the "yuan zhen book will", later lived in hangzhou, He died in the first year of Zhi zhi (1321) to the first year of Taiding (1324).
In the aspect of opera creation, Ma Zhiyuan experienced the transformation from Confucianism to Taoism in music thought. In the creation of sanqu, he has the characteristics of rich and profound thought content and superb artistic skills, and in the creation of zaju, he has the tendency of sanqu and the beauty of the combination of virtual and reality.
Ma Zhiyuan received Confucian education from his childhood. He was full of poetry and books, studied the six arts, followed the rites and music, and had a special liking for the art of guqin. The Confucian rites and music thought played a major role in his early musical life. After middle age, with the change of his political career, Ma Zhiyuan's music thought underwent a transformation from Confucianism to Taoism. At that time, Ma Zhiyuan specialized in the creation of zaju and sanqu, whether it is to express feelings and lament the world sanqu, or the fairy Taoist zaju, reveal the obvious Taoist thoughts.
Confucian thought of rites and music

Scholars and literati in the feudal society learned the six arts from their childhood, and paid attention to the shaping of people by rites and music, that is, "flourishing in poetry, standing in rites, becoming and music" (" The Analects of Confucius · Taibo "), so as to cultivate their morality and cultivate their temperament, so as to prepare for the future "learning the arts of literature and martial arts, and being a good emperor" (" Pang Juan night walking maling Road "). Like many ancient scholars, Ma Zhiyuan received Confucian education at an early age and abided by Confucian ritual and music culture. He "lived up to his dreams at night and respected his teachers" and "buried himself in poetic rites and pottery feelings" (" Happy Spring Comes · Six Arts · Ritual "), but he had his own understanding of some problems in Confucian ritual and music culture. In terms of The Times, these understandings have a certain progressive significance, which is mainly reflected as follows:

① As for the influence of "Qin Music" on people, literatures such as Zuo Zhuan and Bai Hu Tong argue that "Qin music" can enlighten people's mind by regulating their morality, while fu Qin can enlighten people, but restrict the artistic and aesthetic function of guqin. As a traditional literati, Ma Zhiyuan respected and loved guqin and believed that music had the role of cultivating emotions, regulating moods and relieving depression, which was more comprehensive than Confucianism's emphasis on guqin ritual and music restraint, which was more in line with the characteristics of "guqin music" art and had certain significance.
② As for the influence of music on politics, as early as in ancient times, there was a saying of "the voice of subjugations". However, Ma Zhiyuan realized that music itself was not the bane of the country, but because the emperor was addicted to music and ignored government affairs, it would delay government affairs and lead to the country's demise. That is, the rise and fall of the feudal dynasty is mainly determined by personnel, not music itself.

Taoist thought of retreat
Like many scholars, in the case of full of scriptures without serve, Ma Zhiyuan to born road, specializing in opera creation, in drunk, the piano to express their own feelings and ambitions, the creation of lines as sigh the sanqu and immortal, tao in the drama reveals obvious Taoist thoughts, he prowled the of Confucianism. Its main performance is:

(1) In the suite "Happy Spring come · Six Arts", Ma Zhiyuan thinks that since the "long-cherished night and sleep" to comply with the ethics still did not get the desired success and fame, it is better to break with the world of honor and disgrace, even if only get a "wave name"; At the same time, Ma Zhiyuan repositioned the role of "rites", that "body latent poem rites" can be tao sentiment, and yearning for peng Ying, drunk life.

(2) in the suites, four pieces of jade, sigh the Ma Zhiyuan described himself to the change in temperature of disappointment and desire to escape from this world, reveal their searches and riches and honour after middle age to the life, view of music: "stay away from dust dry zhangs wave, big to carefree happy", and "fight for fame and wealth, riches and honour, is crazy", and "in the life all MoGang, at any time sent Sue gave birth to the". At the same time, in the disillusionment again and again, Ma Zhiyuan in his later years to live in seclusion, shengxian tao interest, thus creating a lot of fairy drama. Deeply influenced by Quanzhen Religion, his plays of immortals and Taoism often show his determination to convert to religion and his pure and distant music creation thoughts.

Creation of the genre
The ideological content is rich and profound

Ma Zhiyuan's thought of sanqu is rich in content, involving the themes of chanting history, sighing the world, retreat, boudoir and narration in the Yuan Sanqu, and each of his achievements has expanded the theme range of sanqu. Its main performance is:

(1) In his works, Ma Zhiyuan expressed his views on life, reality and history by evaluating the achievements and losses of the ancients, and repinned his mind. He paid more attention to the value of life, and returned to nature.

(2) About half of ma Zhiyuan's extant sanqu is a sigh for the world to return to work, these works set Ma Zhiyuan unrecognized lonely anger, unfulfilled ambitions of the sad, detached from the unrestrained in a body, full of generous and carefree feelings, a profound reflection of the social reality at that time.

(3) Ma Zhiyuan's boudoir song mostly write men and women's love, acacia separation of the bitter, think women complain women's aspirations, performance think women, lovers sincere feelings and the pursuit of happiness wishes, write deep, meticulous, vivid, vivid and no powder gas, no vulgar frivolous language. For example: "After parting, no one can hear from you. Every one I see, every one I see, because THEY say, 'If I do not believe you, your ears are not hot.'" Use shallow, instinctive color to be like the language of spoken language to apply colours to a drawing strongly to come out, it is no longer the sad wan of meek, lament, reflected the hero to love bold force beg, give a person with happy wet feeling, show the loyalty that pursues to love and affection.

In the creation of narrative long set, Ma Zhiyuan to text as music, the structure of prose magnificent into the song, such as the Yangtze River flowing thousands of miles, there are "Play a child · Borrow a horse", "Shao Biao · Zhang Yuyan cursive", "a flower · Chant Zhuangzong pleasure" and "collection of sages bin · Thinking" and other narrative long set of masterpieces. In these works, Ma Zhiyuan or outline the character's character characteristics, or describe the character's mood and situation, shaped a very vivid character image: love horse as life of the horse master, open mind Of Zhang Yuyan, only know to treat the pear garden zhang Yue Fu after the Tang Zhuang Zong, Jinshan Temple inscription of su Xiaoqing.

The artistry is highly accomplished
Ma Zhiyuan makes the song exquisite art, long in the psychological description, is good at using a variety of rhetoric, to achieve a high artistic realm, the language of sanqu is clear and natural, the characters are lifely. full of painting and style elegant, unrestrained, old and spicy, pure Juan, artistic conception, improve the artistic conception of sanqu. Its main performance is:

① There are paintings in the song. Ma Zhiyuan gives full play to the richness and freedom of sanqu language, and gives subtle and vivid descriptions of color, form and state of things, arousing readers' association and imagination, and forming a vivid picture. Ma Zhiyuan, on the one hand, to seize the main characteristics of the things, not do XiSuo describe when pictorial synthesis, but subtly capture the most striking a and spectacular moment, put scenery neatly in a picture in the space, make the music scene with the layers, strewn at random, to highlight the rendering, like a picture show in the sight of the reader, and leave sufficient imaginary space to the readers. On the other hand, Ma Zhiyuan makes use of extensive use of luxuriousness in sensory language -- according to incomplete statistics, there are nearly 100 words of color in Ma Zhiyuan's sans-music. Some of his works have five or six or even more than ten words of color in just a few dozen words. The use of these words makes Ma Zhiyuan's sanqu more vivid, more bright, more picturesque, and can also trigger readers' association.

② Colorful language. On the one hand, Ma Zhiyuan often uses very popular and clear spoken language in sanqu, and rarely uses rare characters. The language of Sanqu is full of distinct personality in accordance with the specific situation of his works, and presents different styles in different themes, with the characteristics of swaying and colorful, gorgeous and matchless. On the other hand, Ma Zhiyuan is also good at the former verse for his own use, easy to use, like inadvertently coincidence, no trace with rich literary talent, elegant and free characteristics. Such as the Tang Dynasty Su flavor "fifteenth night of the first month" in the "fire tree silver, star bridge iron lock open" two sentences into "according to the star bridge fire tree silver" (" Green Brother · December · the first month "); The "gold well under wutong leaf" in Zhang Ji's "Princess Of Chu" in tang Dynasty was transformed into "Gold well carved at the beginning of Wutong Leaf" (" Green Brother · December · July "). In Tang Dynasty Li Bai's "Send congratulatory guests back to Yue", "If mountain Yin Taoist priest meet, should write Huangting in exchange for white goose" was changed into "write Huangting in exchange, Taoist Goose return" (" Whistle Everywhere · Zhang Yuyan cursive ").

The tendency of Sanqu
Sanqu and zaju belong to different genres. Sanqu is a lyric poem in which the writer expresses his feelings directly, and the writer can speak freely. Zaju belongs to the drama of spokespersons in nature, and it is the basic requirement to write the characters' personalized language and lyrics. However, Ma Zhiyuan created zaju in the way of sanqu, which made his zaju have lyric poet's way of thinking and writing style under the coat of representative body, showing the tendency of sanqu. Its specific performance is as follows:

① The lyrical poetics of the way of speech. Throughout ma Zhiyuan's existing all drama know, Ma Zhiyuan's drama is not completely spokespersons, in the character of the aspect of extreme indifference, no matter how the identity of the character, its recitals and lyrics of the tone is absolutely different, its feelings are similar -- or express anger, or express the heart of hiding. Such as "the thunder jianfu memorial in the middle of the night," Zhang Gao don't cry of promotion, the west huashan Chen tuan high lie, Chen tuan lines, etc, on the surface is Zhang Gao inconsolable, Chen tuan's escape calm, in fact is Ma Zhiyuan borrow the characters of express their cynical of love and the feeling of death, and its main tendency in the genre, In the way of speech, there is an obvious tendency of sanqu, that is, the tendency of lyric poetry.
② The plot unfolds without drama. Ma Zhiyuan wrote plays in the form of sanqu, plot is not the main aesthetic goal he pursues, so in terms of the requirements of dramatic plot, Ma Zhiyuan's drama has the nature of non-dramatic plot development. First of all, from dramatic action, from conflict, especially the characters inner conflict of will and to achieve attractive drama, also should have concentrated the faltering, tension, features, while the drama Ma Zhiyuan mostly lack of fundamental conflicts, such as "the west huashan Chen tuan high lie," the play throughout the absence of conflict is actually a hypothesis; "Ma Danyang three degrees of any wind child" and "Lv Dongbin three drunk Yue Yang floor" in the conflict, one party is holding a decisive force, the other party is completely in the position of the decision, lack of "put the soul on the fire kao" inner tension. Second, in the development of drama action, character destiny happened sudden turn constitute the plot climax, emotional elicits the most turbulent time constitute the emotional climax, the shorter the distance between them, the stronger the drama inherent drama, the distance is zero can produce the strongest dramatic effect, and the characters in the Ma Zhiyuan drama actions lack of inner logic, After the climax of the plot, a whole fold of the length is used to render feelings, and it is difficult to find a clear climax, but the plot development is subject to the expression of feelings, leading readers and viewers to immerse themselves in the character's feelings and feel the stagnation of action. Finally, to the fourth fold to narrative, Ma Zhiyuan's drama highlights its action of artificial and far-fetched plot, snake feet repeatedly appear but no drama, with an obvious "spent force" problem, such as "Ma Danyang Three times as the Wind child" and "midnight Lei Hujian Fu Tablet" and other dramas, the fourth fold of the narrative is optional.
③ Focus on lyrical self-entertainment. The purpose of drama creation is nothing more than two, one is for entertainment, the other is to have some sustenance. Like the majority of drama writers, Ma Zhiyuan engaged in drama creation is to amuse himself first, entertaining people in the second. Because of their own experience, Ma Zhiyuan on apparent contradictions feeling to the deep, understanding of social problems from anger to negative bishi, therefore in the creation of drama put on their fantastic in the first place, to borrow a drama, reality of the line to amuse themselves, borrow the characters, to convey, experiencing the naivete of the zaju creation motive and leading tendency and description is not, Or to reveal social contradictions and express the sound of injustice; Or the performance of immortal tao, to express the heart of retreat.

The beauty of reality
The artistic conception of literary works usually forms a related virtual image in addition to the concrete and tangible real image, so as to produce the artistic effect of complete speech and infinite meaning. In Ma Zhiyuan's drama, the beauty of "the image outside the image" and "the scene outside the scene" comes from the beauty of time and space, the beauty of galloping imagination, and the beauty of peace and dilute. These three kinds of aesthetic feeling are in harmony with each other and form the aesthetic effect of virtual reality in Ma Zhiyuan's drama.

The structure of drama has the beauty of the interlacing of time and space. One of the aesthetic characteristics of traditional opera is the virtual life, which includes the simplicity of stage design rather than heavy work, the performance props are more virtual than real, the characters sing more lyrical rather than narrative. This form of performance determines the characteristics of traditional opera freehand style, that is, simple and indulgent writing to depict the character's charm temperament, although the lack of western drama will be true to life on the stage realism, but increased the sense of space in the stage tense and the depth of the character's emotional diachronic state. This kind of aesthetic feeling is particularly evident in Ma Zhiyuan's dramas with the background of the present world. For example, in "Lonely Wild Goose Han Palace Autumn", the sentence pattern of reciprocating shows the ups and downs of the Emotion of Emperor Yuan of The Han Dynasty, and turns into the lonely figure of Emperor Yuan of the Han Dynasty after Wang Zhaojun left. The second compromise of Jiangzhou Sima Blue Shirt tears gives readers a sense of unpredictable things by describing the time of rapid progress, and conveys the vicissitudes of human feelings particularly clearly.

The figure has the beauty of galloping imagination. In the characterization of Ma Zhiyuan's drama, the characteristics of yuan dynasty painting are vaguely revealed: a vast and profound imagination space is constructed in the straightforward and concise style of writing and ink. Such as in "broken dream gu Yan Han Palace autumn" in shaping wang Zhaojun's image, to set off wang Zhaojun's beauty, wang Zhaojun will be compared to the Emperor of Han dynasty "came to this makeup behind, yuan to broad cold temple Chang e in this month is bright", leave infinite imagination space for readers. In Ma Zhiyuan with mass-tone he prowled the drama, the image of the word and not often virtual to real, more with the lyrics makes the intercourse of mental characters, such as "west huashan Chen tuan high lie" in "crested wild take a Taoist priest, with the wind the bright moon two idle people" will come out of a put in the world, beyond the meta born of the spirit of temperament.

The image selection has the beauty of peace and dilution. In Ma Zhiyuan's drama, the four images of mirror, flower, water and moon often appear in interlacing and uneven contrast, sketching the inner mood of the protagonist with obscure qubi brush, and harmonizing with Ma Zhiyuan's romantic lyrical temperament:

"Mirror" for the beauty of sad and lingering, such as in "broken dream gu Yan Han Palace autumn", After the Emperor of Han Yuan saw off Wang Zhaojun, back to the luan, facing Wang Zhaojun left the object, to think of people, full of sorrow and hatred to the mirror come clean.

"Flower" is the beauty of the desolation of the late evening, and women have a close relationship, and Ma Zhiyuan often lament the good female character in the drama "car crush residual flowers, jade people on, blow flute; Did not meet the official baby, is several degrees add white hair "(" broken dream gu Yan Han Palace autumn"), to the drama in bad character of the female is often cursed "a old gentleman pushed in the suburbs, ah you wave woman niang hug others sleep. Don't kill to how also bo elder brother, don't kill to how also bo elder brother, contend as I dream zhou Gong high lie in three pole day "(" Lv Dongbin three drunk Yueyang tower").

The beauty of "water" as the airy flow in the drama of Ma Zhiyuan, overall planning and water's charm lies in its plays phrasing of stream of consciousness, such as "the thunder jianfu memorial in the middle of the night," the sense of water in the stream of consciousness is in the plot ups and downs, outsize plot, character big zhong rape, emotions like earlier, all the various elements of art to the extreme, It has a fascinating charm.

"Moon" is a beautiful and smooth beauty. In Ma Zhiyuan's drama, the image of the moon has a poetic personality of Taoism, creating a quiet and elegant realm and a degree of human color of Buddhism, creating the beauty in the smooth beauty of Zen.

===Bai Pu and Yuan Qu===
Bai Pu (1226 -- 1310 A.D.) was a native of Yuzhou (now Jiuxian County, Hequ County, Shanxi Province). His original name was Huan, and his courtesy name was Renfu and Taisu, also known as Mr. Langu [3]. He was a native of yuzhou (now the hequ area of Shanxi), a native of Nanjing Bianliang (now Kaifeng, Henan), and a native of Zhending, Hebei (now Zhengding). In the seventeenth year of the Yuan Dynasty (1280), he moved to Jiankang (now Nanjing, Jiangsu province). He has written 16 kinds of operas, including two extant ones, Wutong Rain and Wall Top Horse. Another "Sounds of Nature collection", received words for more than 200, followed by more than 40 sanqu. Together with Guan Hanqing, Ma Zhiyuan, Zheng Guangzu, known as the four Masters of Yuan Qu.

White stinkwood
Famous opera writer of yuan Dynasty. And Guan Hanqing, Zheng Guangzu, Ma Zhiyuan known as the "Four Yuan Qu." Bai Pu was born in a bureaucrat and scholar-official family. His father Bai Hua was jin Zhenyou three years (1215) jinshi, the official to the Privy Council judge, and his father Bai Ben was Jin Zhang Zong Tai and Jian Jinshi, who had done the county magistrate. His uncle died early, but had a poem name. White and Yuan Haowan father and son for family friends, close. The children of the two families often communicate with each other in poetry and prose.

Born in such a family, Bai Pu should have enjoyed leisure and leisure, reading and learning, in order to gain fame in the future. [5] His youth, however, was ravaged by war, and he spent his days with his family in terror and bewilderment. Soon after Bai Pu was born, the City of Nanjing Bianliang of the Jin Dynasty was surrounded by the Mongolian army. Bai Hua, who was in the center of the Jin Dynasty, was busy all day for the survival of the Jin Dynasty and had no time to take care of his wife, children and family. [6] In 1232, in the first year of Emperor Aizong's reign, the Mongol army attacked the city with tree guns. Emperor Aizong decided to leave the city north and go to Guide (today's Shangqiu, Henan province). Bai Hua had to leave his family in Bianjing and followed Emperor Aizong across the river. In March of the following year, bianjing city was destroyed, the Mongolian army column plundered the city, the ordinary people were killed, wealth was unprecedented looting. In the war, Bai Pu mother and son lost, fortunately, yuan Haowen was also in the city, just put him and his sister up, in chaos and famine to save his life. At the end of April, Yuan Hao-wen took bai Pu's sisters and brothers north across the River. They lived in Liaocheng and then resided in the Shogunate of Zhao Tian-xi, the magistrate of Guan Family (now Guan County, Shandong Province). Although Yuan Hao-ask is also the minister of the country, life is very hard, but he sees Bai Pu elder sister and younger brother as one's own, care to. Bai Pu was dying of the plague. Yuan Hao-wen held him in his arms day and night, but on the sixth day he sweated and recovered. Bai Pu was clever and clever, so he was fond of reading since childhood. Yuan Hao-wen cultivated him carefully and taught him to read and learn the classics and conduct himself, so that he received a good education when he was young.

Bai Pu's father, Bai Hua, surrendered to the Southern Song after the fall of the Jin Dynasty and became junzhou Tirou (Palpin officer). Soon, Bai Huasui went north to the Yuan Dynasty. In the ninth year of Emperor Taizong of Mongolia (1237), when Bai Pu was 12 years old, some fugitive ministers of The Bai Hua Kai Jin Dynasty came to Zhending and attached themselves to shi Tianze, a Mongolian general who was in Charge of Zhending. In the autumn of the same year, Yuan Haowen returned to Taiyuan from the Guan family and passed zhending. He sent bai Pu and his sister back to Baihua, so that they could be reunited after being separated for several years. When the father and son met, Bai Hua felt great joy. He wrote a poem called "Man Tingfang · Shiliezi Xin" to express his feelings at that time: "Light lu tai, generals pavilion, ten years in the middle of a dream. Short coat horse, see zhenzhou mountain again. Naehan was drunk, but the sarong is still tall and broad. Today, children in front of the lamp, floating happy to survive ". He is also very grateful to Yuan Hao-ask generation for the care of the children of the grace, had a poem thank yue: "gu me really become a bereaved dog, Lai Jun had to protect the nest."

As the north settled down, baek and his son settled down in Jinjeong. From then on, according to his father's request, he wrote poems and studied for the examination. He was very progressive in the study of law fu, and soon became famous for his ability to write good poems. At that time, Yuan Haowen, in order to write the history books of the Jin Dynasty, often visited The capital, so as to come and go to Zhending, concerned about his studies, every home, to guide him to the path of learning, a poem praised Bai Pu said: "Yuan Bai tongjia old, zhulang only ru xian." Encourage him to work hard and succeed in his career. However, the Mongolian ruler of the brutal plunder, so that bai Pu heart wounds difficult to recover, he is full of hatred of the Mongolian ruler, war and chaos in the mother and child, so that he often mountains everywhere sigh, more feel for the ruler's sad service. Therefore, he gave up the pursuit of fame and wealth in the official circles, and to the subogized people to adapt, to poetry as a special occupation, with the song vent their depression and dissatisfaction in the chest.

As she grew older and experienced more, she became more knowledgeable. Yuan Shizu zhongtong two years (1261), Bai Pu 36 years old. In April of that year, Yuan Shizu ordered the various xuanfu generals to recommend those who could take the examination for literary talents to be employed. Shi Tianze, who had been working as xuanfu generals in Henan Road, recommended Bai Pu to be an official, but he declined. He not only against shi Tianze recommended the idea, consciously inconvenient to stay in Zhending for a long time, to facilitate this year to abandon home south travel, but also to express his withdrawal depression, never official road determination. However, the feelings of his wife and son could not be cut off, and he often suffered from his own contradictory feelings and felt very painful.

Bai Pu first arrived at Hankou and then entered Jiujiang. At the age of 41, he returned north to Zhending, passing bianjing. After that, he went south again, traveling between Jiujiang and Dongting, and settled down in Jinling in 1280, the 17th year of the Yuan Dynasty. Around this time, probably due to the death of his first wife, he had returned to Zhending for the bereavement of his wife. On this occasion, someone suggested that he become an official in the Central Court, but he declined. Shortly thereafter, he returned to Jinling. From then on, he mainly traveled around Hangzhou and Yangzhou, south of the Yangtze River, until he returned to Yangzhou at the age of 81. After that, there was no trace of him.

===Conclusion===
Generally speaking, Yuan Qu is an extremely important milestone in the history of Chinese literature. Its development has experienced the initial stage of rise and the middle stage of prosperity, and its development is closely related to the style characteristics of the "four masters of Yuan Qu" : Guan Hanqing, Bai Pu, Zheng Guangzu and Ma Zhiyuan. They used different styles to describe the social scene and human conditions at that time from different angles of the society, and indirectly predicted the future trend of the society. Therefore, Yuan Opera is not only a work of art, but also a magnificent painting of the society of the time.

===References===
*Shan Jingzhen单敬珍. ''Zheng Guangzu in the View of Acceptance''接受视野中的郑光祖[D]. Hebei Normal University河北师范大学,2008.
*Zhang Wei张巍. ''On reclusive Culture in Ma Zhiyuan's Literary Works''论马致远文学作品中的隐逸文化[D]. Liaoning Normal University辽宁师范大学,2011.
*Li Sheng李昇Zhang Wei. ''Development of Opera Criticism from the Evolution of "Four Masters of Yuan Qu"''从“元曲四大家”的演变看戏曲批评的发展[J]. Journal of Jiangsu Radio,2010,21(02):44-47.
*Pan Chaoqing, Tu Ping潘超青,涂平. ''On the Inheritance and Development of Humor Culture in Song Dynasty by Yuan Qu''论元曲对宋代诙谐文化的继承与发展[J]. Drama Art戏剧艺术,2015(06):43-51.DOI:10.13737/j.cnki.ta.2015.06.005.
*Jiang Xingyu蒋星煜. ''The Generation and Development of the Four Masters of Yuan Opera''元剧四大家说之产生与发展 [ J] . Drama Art戏剧艺术, 1990( 1) :80-88.
* ''Collection of Works on Chinese Classical Opera：Volume 1''中国古典戏曲论著集成:第一册 [ M] . Beijing: China Drama Press北京:中国戏剧出版社, 1959.
*Zhong Sicheng钟嗣成. ''Ghost Book (four kinds)''录鬼簿 ( 外四种 ) [ M] . Shanghai: Shanghai Ancient Books Publishing House上海:上海古籍出版社, 1978.
*Li Kaixian李开先. ''Li Kaixian Collection: Volume 1''李开先集:上册[ M] . Beijing: Zhonghua Book Company北京:中华书局, 1959.
*''Collection of Works on Chinese Classical Opera: Volume 4''中国古典戏曲论著集成:第四册 [ M] . Beijing: China Drama Press北京:中国戏剧出版社, 1959.
*Wang Xueqi王学奇. ''Annotated Yuan Qu Selections: Volume 1''元曲选校注:第一册 [ M] . Shijiazhuang: Hebei Education Press石家庄:河北教育出版社, 1996.
*Wang Guo-wei王国维. ''History of Opera in Song and Yuan Dynasties''宋元戏曲史 [ M] . Shanghai: Shanghai Ancient Books Publishing House上海:上海古籍出版社, 1998.

==英语笔译高智慧 Gao Zhihui 202170081568==
<center>'''The History of Chinese Noodles'''</center>

<center>高智慧 Gao Zhihui </center>

===Introduction===
The earliest known noodles found in China can be dated back to 4 thousand years ago. They were found in archeological findings near the Yellow River in China. However, first concrete written records of noodles come from the time when Eastern Han Dynasty reigned between 25 and 200 AD. There are many stories about the origin of noodles. To a certain extent, noodles also reflect the cultural traditions and customs of China, which essentially means "human nature" and "worldly common sense". There are thousands of varieties of noodles in China, according to the classification of the shape of noodles, seasoning gravy, cooking craft, and so on. Many noodles have local characteristics. Noodles are accepted by people from all over the world. The industrial revolution and the development of the food industry have successfully transitioned the way we produce noodles, from a traditional handicraft industry to mass production using machinery. In addition, the invention of instant noodles and their mass production also greatly changed the noodle industry. In essence, noodles are a kind of cereal food, which is the main body of the traditional Chinese diet. It is the main source of energy for Chinese people and the most economical energy food. Adhering to the principle of making cereal food the main food, is to maintain our Chinese good diet tradition, which can avoid the disadvantages of a high energy, high fat, and low carbohydrate diet, and promote health. The importance of the status of noodles in the dietary structure of residents China and the health impact should not be ignored.

===The Origin of Noodles===
Mix water and flour and knead into a dough, you now have a plethora of prospects in the palm of your hands. Noodles are the epitome of versatility and flexibility, and it's this adaptable nature that has contributed to its rise as a world renowned food. Noodles are eaten as pho in Vietnam, chow-chow in Nepal, seviyan in India and many other permutations and combinations throughout the globe. While the popularity of noodles is a widely accepted consensus, its origin is still a prominently debated subject. There are numerous contenders who have claimed to be the creators of the Noodle. Italians profess that they are the pioneers of this plant based food, whereas the Chinese argue that they invented this culinary sensation. In this paper I will endeavor to trace the geneses of this cereal food and subsequently attempt to end the age old dispute surrounding it.

We begin our historical research in the East Asian country, China. Noodles are believed to have originated here, as "Bing" or cake in English, during the early rule of the Han Dynasty. They were then diversified by experimentation and the evolution of additional shapes and cooking methods. Noodles further gained cultural prominence via folklore related to "health, religion, economy" and with the emergence of Chinese superstitions. (Zhang Na and Ma Guansheng, 2016) However, due to recent archeological discoveries it's likely that noodles were around much prior to the rise of the Han Rule. Excavation sites have revealed that wheat grains and early production apparatuses existed from the early to late Neolithic period – an astounding ten thousand years before now. More tangible evidence, which testifies to the existence of Noodles well into the past, was unearthed in 1999. "Noodles discovered among relics at the Lajia archeological site in Minhe(民和) County, Qinghai Province". After scientists analysed the noodles and bowl of noodles found at the site through radioactive dating, it was disclosed that noodles were crafted and cooked four thousand years ago during the early Xia Dynasty. These archaeological findings thus provide us with physical evidence which date back to periods long before the present day. They reveal that the noodle has been closely interwoven into the Chinese society and their culinary practices for eons.

China has the most promising data to support its claim of being the inventors of this simple wheat and water based dough. The discovery of the noodle remains and bowl occurred two thousand years prior to Horace's mentions of Lagane, which means pasta. With its physical, archeological evidence predating even the written records of Italian, Arabic and Mediterranean pasta, it truly does make China victorious in the contention. However, even though China may be the site of the first instances of noodles and they may have introduced some countries like Japan and India to them, this doesn’t necessarily mean that they were the ones who introduced the rest of the world to it. Italians were enjoying pasta long before Marco Polo brought back the secrets of the Chinese noodle trade. As there is very little documented data and only a few preserved artifacts related to Italian pasta, it’s not right to make any broad claims about its beginning. It is also plausible that pasta developed spontaneously in China and Italy at different time periods. New evidence is bound to be unearthed at some point in the future, which will give more concrete and reliable sources with information about who introduced the Italians to the noodle.

===Ancient Records of Chinese Noodles===
There were various kinds of shapes for noodles, such as sheets and strips. Sheets of noodles are cooked by pulling the dough into sheets and cooking in a pot with boiling water. In the Wei, Jin, and Northern and Southern Dynasties, the shapes of the noodles gradually increased. Two special kinds of noodles, called shui yin (水引) and bo tuo (馎饦), were included in the book Qi Min Yao Shu or Essential Techniques for the Welfare of the People (《齐民要术》)in the middle ancient era. Shui yin is cooked by pulling the dough into strips as thick as chopsticks, cutting these into segments 30cm long, soaking in a dish of water, then pressing them into flat noodles shaped as a leek leaf and cooking in a pot with boiling water. Bo tuo is especially smooth and delicious. In the Sui, Tang, and Five dynasty periods, there were more varieties of noodles. With the increase of noodle varieties, the methods and techniques of cooking have been continuously improved. There was a kind of cold noodle with a unique flavor, called Leng tao (冷淘), which was appreciated by the great poet Du Fu, describing it “as cold as snow when gliding through the teeth (经齿冷于雪)”. There was another kind of noodle with full tenacity, referred to as “one of the seven wonderful health foods”, which has a saying “wet noodles can be used to tie the shoe”. In the Song and Yuan dynasty period, fine dried noodles appeared, such as pig and sheep raw noodles and vegetable raw noodles sold in Linan (临安) city during the Southern Song period. Until the Ming and Qing Dynasty, there were more varieties of noodles. In the Qing dynasty, five spicy noodles and eight treasures noodles were included in Xian Qing Ou Ji 《闲情偶寄》 by dramatist Li Yu (李渔). These two kinds of noodles were made of five and eight kinds of animal and plant raw material powder, respectively, and mixed into flour, which were considered as top grade noodles.

[[File:Qi shan minced noodles.jpg]]

===Stories of Noodles===
Food is not only a source of human nutrition, it also plays many roles in the aspects of religion and economy, etc. People use special food to celebrate important events and festivals, for instance, we eat sweet dumplings in the Lantern Festival, we eat traditional Chinese rice-puddings in the Dragon Boat Festival, we eat moon cakes in the Mid-Autumn Festival, and we eat dumplings in Spring Festival.

In the aspect of noodles, Chinese people have lots of customs, which essentially mean “human nature” and “worldly common sense” materialized in the noodles. At birthdays, people eat longevity noodles; at the time of marriage and moving into a new house people eat noodles with gravy (打卤面), which means flavored life; on the day of lunar February 2 “dragon head (龙抬头)”, people eat dragon whiskers noodles (龙须面) to look forward to good weather. We eat different noodles in different seasons and different festivals.

Famous noodles in China have a unique value of traditional culture. Seafood noodles (三鲜伊面) are also called dutiful son’s noodle (孝子面). According to historical records, Yi Yin’s (伊尹) mother was perennially sick and bedridden. So he made noodles with eggs and flour, and then steamed and fried these noodles. Even if he was not at home it was convenient for his mother to eat these nonperishable noodles. The noodles were added to a soup made with chicken, pig bones, and seafood. Under the tender care of Yi Yin, his mother soon recovered. This was the reason why seafood noodles are also called dutiful son’s noodles. The processing method of seafood noodles in ancient time was very similar to industrialized manufacturing methods of instant noodles in modern times.

Sichuan (四川) dandan noodles (担担面)are known to every family. In the old days, hawkers sold noodles on the street with a shoulder pole, giving the name dandan noodles. There was a pot and stove on the shoulder pole, which made it convenient to cook noodles with full seasoning at any time. The business philosophy of wholehearted customer service is the essence for dandan noodles to stay prosperous.

Qishan (岐山) minced noodles (臊子面) with special flavor, also called ashamed son noodles, also has a story in Shaanxi (陕西). Qishan minced noodles were originally called sister-in-law noodles (嫂子面). Previously, there was a poor scholar, whose parents died when he was young. He was raised by his elder brother and sister-in-law. In order to let him read books for fame, his sister-in-law made noodles for him. His sister-in-law was not only good at cooking noodles, but also good at making gravy with meat and vegetables. Oil sprinkled over chili was also mixed in noodles to increase appetite. Under the care of his sister-in-law, he passed the provincial civil service examination as expected under the old Chinese examination system. Therefore, it was also called sister in law noodles. Later, many people followed the example of cooking noodles to seek fame for their children, but repeatedly failed. Feeling shame for their son, the noodles were also called ashamed son noodles, which was pronounced as sào zi in Chinese.

Guangxi (广西) vinegar-pepper old friend noodles (老友面) has a story about friendship. Once upon a time, there was a Zhou teahouse where a customer drank tea almost every day. For a few days, the teahouse owner Zhou found the regular customer did not come to tea. Out of concern for an old friend, he went to visit him. He discovered that the old friend was sick. The shopkeeper quickly made a bowl of vinegar-pepper noodle soup with sautéed garlic and fermented black beans and sent the noodles to his friend. The old friend ate the noodles in a sweat and then recovered. So vinegar-pepper noodles have another name old friend noodles.

Another famous type of Chinese noodles is the Crossing-the-Bridge noodles(过桥米线), which is a rice noodle soup from the Yunnan Province. Crossing-the-Bridge noodles also has an interesting story associated with it. The story described a boy who was ordered by his father to study for the Imperial Exams in the cottage of an island, and the boy was not allowed to leave the island until his studies were completed. Since the island was far away from his house, and the story took place in the coldest months of the year, all the meals that the family cook had cooked for the boy would become cold and unpalatable when the meals reach the boy. After being troubled by this problem for a long time, the cook finally came up with an idea and invented a new type of noodle dish, Crossing-the-Bridge noodles, by adding an extra layer of hot chicken broth and chicken fat to the noodle soup. According to the story, the noodle was invented to have the capability of keeping warm for a long time under cold winds and temperatures, so that when the cook brings the noodle soup across the bridge to the boy who was studying for the imperial examinations, the noodle soup would still be hot and warm enough to eat. “ ‘It is too hot!’ he said, and began laughing. ‘I know,’ said the cook, nodding happily. ‘It is the fat that keeps out the wind, the cold, and the bad spirits. Now that you have the nourishment you need, learning will come naturally and gracefully.’ The boy ate the delicious soup with a hunger that he did not know he had as he watched the chef skipping like a child across the bridge back to his kitchen.” Therefore, Crossing-the-Bridge noodles reflected the cleverness and mastery of the cook in cooking, as well as the love and care he had for the boy, and the passion he had for pleasing people with his food.

===The Classification of Noodles===
There are thousands of varieties of noodles in China, according to the classification of the composition of noodles, the shapes of noodles, and the different gravy seasoning. The main compositions of noodles are wheat and rice. Most kinds of noodles are made of flour (the powder made from wheat). There is also another special composition of noodles: rice noodles (米线). Rice noodles are frequently seen in Southern style cooking, such as Yunnan province: over-the-bridge rice noodles. In addition, noodles can be classified according to the thickness: they can be as thick as chopsticks or as thin as hair, such as the dragon beard noodles. Some can be classified according to the how they are made, such as hand-pulled noodles (拉面), shaved noodles (刀削面), and so on. They can also be classified according to the seasoning, such as Beijing fried bean sauce noodles (北京炸酱面) and Shandong noodles with gravy (山东打卤面). Others are classified according to cooking crafts, such as noodles mixed with scallion, oil, and soy sauce (葱油拌面), noodles with quick-fried eel shreds and shelled shrimps (虾爆鳝面), and so on.

China has a vast territory and abundant resources and mainly can be divided into the following areas: East China, Southern China, Central China, North China, Northwest China, Southwest China, Northeast China, Hong Kong, Macao, and Taiwan areas. There are also some local characteristic noodles. In East China, there are Shanghai noodles in superior soup (上海阳春面), Nanjing small boiled noodles (南京小煮面), Hangzhou Pian Er Chuan noodles (noodles with preserved vegetable, sliced Pork, and bamboo shoots in soup) (杭州片儿川面), Wenzhou vegetable raw noodles (温州素面), Zhenjiang pot noodles (镇江锅盖面), Shandong Fushan hand-pulled noodles (山东福山拉面), Suzhou Su style soup noodles (苏州苏式汤面), Fuzhou line noodles (福州线面), and Anhui flat noodles (安徽板面). In Southern China, there are Guangzhou wonton noodles (广州馄饨面). In Central China, there are Wuhan hot noodles with sesame paste (武汉热干面). In North China, there are Beijing fried bean sauce noodles, Shanxi shaved noodles (山西刀削面) and noodles with braised string bean (豆角焖面), Hebei dragon whiskers noodles (河北龙须面) (saute fine noodles with shredded chicken), fine dried noodles, sesame paste noodles (麻酱面), and Neimenggu braised noodles with string bean (内蒙古焖面). In Northwest China, there are Xinjiang pulled noodles (新疆拉条子), Shanxi oil-splashing noodles (陕西油泼面), Biángbiáng noodles (Biángbiáng 面), a type of noodle popular in the cuisine of China's Shaanxi Province, and serofluid noodles (浆水面), Henan stewed noodles (河南烩面), steamed noodles (蒸面), and Lanzhou hand-pulled noodles (兰州拉面). In Southwest China, there are Guizhou noodles with pig’s blood and internal organs (贵州肠旺面), Sichuan dandan noodles (四川担担面), bean curd pudding noodles (豆花面), zhazha noodles with chili oil hot pepper and pork-bone soup (渣渣面), burning noodles from Yibin (宜宾燃面), longevity noodles and bedding noodles (铺盖面). In Northeast China, there are Jilin cold noodles (吉林冷面). In Taiwan, Hong Kong, and Macao, there are Hong Kong strained noodles (捞面), rickshaw noodles (车仔面) and shrimp roe noodles (虾子面), southern Taiwanese-style noodles (担仔面), and clam noodles (花蛤仔面). Noodles are usually eaten as a staple food in or to the north of the Yellow River Valley, but eaten as breakfast in the southern region.

There are also some kinds of representative noodles. Beijing fried bean sauce noodles are a traditional Chinese food, popular in Beijing, Hebei, Tianjin, and other places. Beijing fried bean sauce noodles are cooked in the following way: first prepare the fresh-cut vegetables, blanch and set aside; next, put minced meat stir-fried with scallion, ginger, garlic, and soybean paste in hot oil; then boil the noodles and scoop them up, pour sauce on them; lastly, mix with the vegetables.

Lanzhou hand-pulled noodles, also known as one of the top ten Chinese noodles, are Islamic-style snacks in the Gansu Province. The noodles have special characteristics: “soup clear like mirror, the strong scent of cooked meat, thin noodles”. The noodles also have a set of standards: “clear (clear soup), white (white radish), red (red pepper oil), green (green coriander and garlic bolt), and yellow (yellow noodles)”. Locally, people named them “beef noodles”.

===The Industrialization of Noodle Production===
Since the advent of noodles, although the culture and heritage of the craft are different in various areas, noodles were always processed in a manual way. With the development of the industrial revolution, it realized the transition from a traditional handicraft industry to machine mass production. In the 1850s, machine-made noodles appeared in the market for the first time, and are still in use. At present, China is the world's largest consumer of noodles; the annual consumption and production value are amazing. Data showed that from 2007 to 2012, China's sales value of noodles increased from 8.6 billion yuan to 20.26 billion yuan. In recent decades, it can be said that the advent and development of instant noodles brought the greatest impact.

As early as before the invention of instant noodles, in the ancient East and West, there have been similar processing methods: noodles were boiled first, then fried with hot oil, and finally served with soup. In ancient China, there were similar noodles called Yi noodles (伊面). According to legend in the Qing Dynasty, Yi bingshou (伊秉绶) gave a banquet to celebrate his mother's birthday at home. There were so many guests that the rushed chef mistakenly put the cooked egg noodles into the boiling pan. Without an alternative solution, the chef scooped up these noodles, then fried them in hot oil, and finally served with soup. Guests unexpectedly praised the noodles, so the cooking craft has been handed down. In the early days, Yi noodles was written on the packaging of instant noodles.

In 1958, Taiwanese–Japanese Momofuku Ando (安藤百福) invented the instant noodles as fast food, and created a revolution in the world's eating habits(Zhao,2015,24). At that time one had to wait in line for a long time to eat a bowl of noodles, so he invented the convenient instant noodles. After the invention, Momofuku Ando also founded Nissin food company (日清公司) to sell chicken soup hand-pulled noodles (鸡汤拉面). The initial price was 35 yen. Imitation products immediately appeared which resulted in price competition. Ando soon realized that it was necessary to regulate the market, in order to maintain the reputation of the new products. In 1960, he won the lawsuit about the copyright of instant noodles, and registered the chicken soup hand-pulled noodles trademark in the 2nd year. In 1964, Ando founded Japan Hand-Pulled Noodle Industry Association and transferred the patent to the industry. Ando said that the purpose of this move was to expand the industry, so as to provide cheap instant noodles to the residents.

The Nissin food company started looking more actively for opportunities abroad after the invention of instant noodles. In 1963, it first cooperated with South Korea Miyaki food company (三养食品). In 1968, it once again cooperated with the international food company in Taiwan to launch the chicken soup taste instant ramen. At the beginning, the market of instant ramen with Japanese formula was not good. After adjusting the sauce and the noodles, it became the best-selling product in Taiwan. Most customers buy it as snack food.

According to official data of the World Association of instant noodles, since 2009 China's total consumption of instant noodles has been ranked first in the world. In 2013 the total consumption of instant noodles in the world reached a total of about 105.59 billion bags, while China ranked first for the total consumption of 46.22 billion bags, the per capita consumption reached 34 packets.

===The Nutritional Composition and Health of Noodles===
The basic raw material for making noodles is flour. Therefore, its main nutrients are basically the same as flour, including protein, carbohydrates, minerals, and low fat. Taking the ordinary fine dried noodles found in the market for example, 100 g fine dried noodles contain 10.3 g protein, 75.6 g carbohydrates, just 0.6 g fat, 129 mg potassium, 18.45 mg sodium, 11.8μg selenium, and so on.

Noodles are classified as cereal foods. Cereal food is the main body of the traditional Chinese diet, the main source of energy for the human body, and also the most economical energy food. With the development of the economy and the improvement of life, Chinese people tend to eat more animal food and oil. An authoritative survey found that in some of the more affluent families, the consumption of animal food has exceeded the consumption of cereal food. Animal food contains more energy and fat, but less dietary fiber, which is not conducive to the prevention and treatment of some chronic diseases. A report on the status of nutrition and chronic diseases of Chinese residents showed that the daily fat intake of Chinese residents was too much, providing more than 30% of the total dietary energy, while a deficiency of calcium, iron, vitamins A and D, and some other nutrients still existed(2015). Adhering to the principle of “making cereal food the main food”, the purpose is to maintain our Chinese good diet tradition, which can avoid the disadvantages of a high energy, high fat, and low carbohydrate diet. Therefore, the importance of the status of noodles in the dietary structure of the residents in our country and their health impact should not be ignored.

In the process of making noodles, eggs are added. Therefore, noodles contain the nutritional content of eggs, with the amount of nutritional content depending on the amount of added eggs. Protein amino acid composition of eggs is the closest to the needs of the human body with very high nutritional value. Eggs contain between 10% and ∼15% fat with 98% of the fat found in egg yolk; egg white contains very little fat. The fat in egg yolk is easily digested and absorbed and also contains a high content and full range of vitamins, including all the B vitamins, vitamin A, vitamin D, vitamin E, vitamin K, and trace amounts of vitamin C. Therefore, adding eggs can improve the nutritional value of noodles.

Salts are added in the process of making noodles. Excessive salt intake will increase the risk of high blood pressure. A report on the status of nutrition and chronic diseases of Chinese residents showed that the daily intake of salt was 10.5 g /d in 2012; however, the daily recommended intake of salt is 6 g/d according to Dietary guidelines for Chinese Residents and 5 g according to the World Health Organization. It is worth noting that the prevalent rate of high blood pressure for adults aged ≥18 years was 25.2% in 2012. This is an increase when compared with 2002 (rate was 18.8%). Therefore, food companies should try to reduce the addition of salt as much as possible.

In addition to the health impact of the original nutritional composition of noodles, we should also pay attention to the health impact of the cooking craft and other related factors.

Gravy: in order to improve the taste, people often eat noodles with gravy. Some kinds of gravy contain fat and salt. For example, fried bean sauce noodles contain more fat and salt. In order to avoid an increase in the risk of chronic diseases, we should add less gravy when eating noodles.

Ingredients: when cooking noodles, we can add eggs, vegetables, and other ingredients, so as to make noodles achieve the principle of “food diversification”, and promote health for people.

Instant noodles: the seasoning packet in instant noodles contains more salt, so we should add half a packet of seasoning when eating instant noodles, in order to reduce salt intake.

===Terms and Expressions===

soup cake 汤饼

Wei, Jin, and Northern and Southern Dynasties 魏晋南北朝

Qi Min Yao Shu or Essential Techniques for the Welfare of the People 《齐民要术》

fine dried noodles 挂面

pig and sheep raw noodles 猪羊庵生面

vegetable raw noodles 素面

five spicy noodles 五香面

eight treasures noodles 八珍面

longevity noodles 长寿面

noodles with gravy 打卤面

dragon whiskers noodles 龙须面

dutiful son’s noodle 孝子面

dandan noodles 担担面

minced noodles/ ashamed son noodles 臊子面

sister-in-law noodles 嫂子面

vinegar-pepper old friend noodles 老友面

Crossing-the-Bridge noodles 过桥米线

rice noodles 米线

hand-pulled noodles 拉面

shaved noodles 刀削面

Beijing fried bean sauce noodles 北京炸酱面

noodles mixed with scallion, oil, and soy sauce 葱油拌面

noodles with quick-fried eel shreds and shelled shrimps 虾爆鳝面

Shanghai noodles in superior soup 上海阳春面

Nanjing small boiled noodles 南京小煮面

Hangzhou Pian Er Chuan noodles (noodles with preserved vegetable, sliced Pork, and bamboo shoots in soup) 杭州片儿川面

Wenzhou vegetable raw noodles 温州素面

Zhenjiang pot noodles 镇江锅盖面

Shandong Fushan hand-pulled noodles 山东福山拉面

Suzhou Su style soup noodles 苏州苏式汤面

Fuzhou line noodles 福州线面

Anhui flat noodles 安徽板面

Guangzhou wonton noodles 广州馄饨面

Wuhan hot noodles with sesame paste 武汉热干面

Shanxi shaved noodles 山西刀削面

noodles with braised string bean 豆角焖面

Hebei dragon whiskers noodles (saute fine noodles with shredded chicken) 河北龙须面

sesame paste noodles 麻酱面

Neimenggu braised noodles with string bean 内蒙古焖面

Xinjiang pulled noodles 新疆拉条子

Shanxi oil-splashing noodles 陕西油泼面

serofluid noodles 浆水面

Henan stewed noodles 河南烩面

Guizhou noodles with pig’s blood and internal organs 贵州肠旺面

Sichuan dandan noodles 四川担担面

bean curd pudding noodles 豆花面

zhazha noodles with chili oil hot pepper and pork-bone soup 渣渣面

bedding noodles 铺盖面

Jilin cold noodles 吉林冷面

Hong Kong strained noodles 捞面

rickshaw noodles 车仔面

shrimp roe noodles 虾子面

southern Taiwanese-style noodles 担仔面

clam noodles 花蛤仔面

===References===
*Zhang Na,Ma Guansheng 张娜，马冠生.(2016).Journal of Ethnic Foods.

*Zhao Guanghui 赵光辉(2015).“被饥饿催生”的方便面的故事 [The story of instant noodles created by hunger].中国农资J China Agric,(28),24.

*National Health and Family Planning Commission Disease Prevention and Control Bureau 国家卫生健康委员会.(2015).《中国居民营养与慢性病状况报告(2015年)》Report on the Status of Nutrition and Chronic Diseases of Chinese Residents.

===Questions===
1.Which country is considered to be the inventor of noodles?

2.The first concrete written records of noodles can be dated back to which dynasty?

3.What are the representative noodles in the Gansu Province?

4.What is the basic raw material for making noodles?

===Answers===
1.China.

2.Eastern Han Dynasty.

3.Lanzhou hand-pulled noodles.

4.Flour.

==英语笔译何丽娜 He Lina 202170081569==

<center>'''Ancient Chinese Civilization--the Archaeological Ruins of Liangzhu City'''</center>

<center>He Lina</center>

===Introduction===
The Archaeological Ruins of Liangzhu City(良渚古城遗址)(ca. 3300-2300 BC),is located in the middle and lower reaches of the Yangtze River in China, and belongs to the late Neolithic archaeological culture. According to archaeological findings, the Liangzhu site is characterized by its exquisite jade, stone and black pottery craftsmanship which embody its social etiquette system, early urban planning and large-scale engineering construction as well as its social organization system, and the world's earliest large-scale plowed rice farming and early specialization of handicraft industry. (Zhou Yin,Wu Jin,2004:2) In addition, as a representative site of large prehistoric settlements in East Asia in the history of human civilization, the Liangzhu Site in China was approved for inclusion in the World Heritage List on July 6, 2019. This article will make a brief introduction and the summary in some aspects from geography, archaeological discovery, heritage elements of the Liangzhu ancient city ruins, the value of the heritage and the protection and inheritance of Liangzhu cultural sites, to further explore the extensive and profound influence of Liangzhu culture on Chinese civilization.

===Geographical Position===
[[File:0bf13104dc8815737bfc080cc8e01e5.png]]
Liangzhu Culture is located in the middle and lower reaches of the Yangtze River around Taihu Lake （太湖）which are in the southeast of China, and its distribution area is very broad. Its central settlements are clustered in Liangzhu Site, Liangzhu town（良渚镇） and Pingyao Town（瓶窑镇）, Yuhang District（余杭区）, Hangzhou city（杭州市）, Zhejiang Province（浙江省）. Its geographical coordinates are 119°56 '40 "~120°03' 228" EAST longitude, 30°22 '36 "~30°26' 17" north latitude, with a subtropical monsoon climate.(Liangzhu Archaaeological Site)

In terms of topography, Hangzhou is located in the junction zone between low hills which are stretching branches of Tianmu Mountain(天目山) and Hangzhou-Jiaxing-Huzhou Plain(杭嘉湖平原), the biggest accumulation plain in Zhejiang Province. And the whole plain is covered with river channels ,which is very suitable for rice cultivation and has convenient water conservancy and transportation.

[[File:R-C_(6).jpg]]

The site distribution area is just situated in the northwest of Hangzhou, enjoying the advantages of its natural geographical location. It is located in the alluvial plain in the transition zone between hills and plains, surrounded by mountains in the west, north and south, with some isolated hills scattered inside.

===Archaeological Findings===
In 1935, He Tianxing(何天行), a native of Hangzhou, made an investigation in the area where Liangzhu Site is seated and discovered a black pottery plate inscribed with ceramic inscriptions. Later, more than 100 cultural relics were discovered successively, and he wrote one of the earliest archaeological reports in China: Stone Tools and Black Pottery in Liangzhu Town, Hangzhou County. His discovery was the prelude to the archaeological culture of Liangzhu Culture. On this basis, after a year of arduous investigation, Shi Xingeng（施昕更） from The West Lake Museum in Zhejiang Province carried out several archaeological excavations near Liangzhu Town in 1936, and collected a number of prehistoric remains characterized by black pottery. In 1938, he published the book: Liangzhu: Preliminary Report on the Site of Black Pottery in the Second District of Hangzhou County. Their discovery caused a stir in Chinese academic circles, which greatly promoted the study of Yangtze Civilization and the development of fledgling Chinese archaeology. In 1959, Xia Nai(夏鼐), a researcher of the Institute of Archaeology, Chinese Academy of Social Sciences, officially named these findings Liangzhu Culture. (Zhou Yin,Wu Jin,2004:11-14)

After that, until the 1980s, a large number of sites were successively discovered in the Taihu Basin（太湖流域） around the middle and lower reaches of the Yangtze River. However, these sites were very scattered, and archaeologists' understanding of these sites was still in the initial stage on which the archaeologists only focused on single sites and failed to form an overall understanding.

From 1986 to 2006, with the excavations of Fanshan Royal Tomb (反山王陵)(1986) and Yaoshan Tomb（瑶山墓葬） (1987), many exquisite jade articles representing high status were unearthed, which made a major breakthrough in archaeology of Liangzhu site and gradually formed the concept of "Liangzhu Site Group". In 2007, the ruins of the ancient city were discovered. Later, the outer city of Liangzhu ancient City was preliminarily confirmed in 2010. After 5 years, Zhejiang Provincial Institute of Cultural Relics and Archaeology discovered and confirmed a large water conservancy system outside the ancient city. (Wang Ningyuan 2016:106)

With the efforts of the archaeological staff over the years, the ancient city of Liangzhu has been clearly shown to the world bit by bit, and the value of Liangzhu culture in the academic world has also been rising, exerting a world-class influence.

===subtitle 3===

===Subtitle 4===

===Subtitle 5===

===References===
Zhou Yin,Wu Jin周膺、吴晶(2004).''中国5000年文明第一证：良渚文化与良渚古国''[The First Evidence of The 5000-Year Civilization of China: Liangzhu Culture and Early State of Liangzhu].Hangzhou: Zhejiang University Press浙江大学出版社.
良渚遗址官网[Liangzhu Archaeologial site].https://www.lzsite.cn/classinfo.aspx?classid=1

===Terms and expressions===

===Questions===

===Answers===

==英语笔译胡良明 Hu Liangming 202170081570==
<center>'''A Study of the English Translation of Chu Ci by Xu
Yuanchong Under Three Beauties Principle'''</center>

<center>Hu Liangming</center>

===Abstract===
Qu Yuan’s ''Chu Ci'' is the first collection of romantic poetry in China, which has a very important position in the history of Chinese literature. In the middle and late 19th century, with the constant contacts and communication between China and foreign countries, domestic and foreign translators began to study and translate the ''Chu Ci'' and produced many indepth works. This thesis takes the English translation of ''Chu Ci'' by Xu Yuanchong as the research object, takes the Three Beauties Principle as theoretical basis, uses contrastive method, literature research and text analysis method, and analyses the English translation of ''Chu Ci'' by Xu Yuanchong from three aspects: beauty in sound, beauty in form and beauty in sense. It is found that Xu Yuanchong used rhetorical devices such as onomatopoeia, repetition, simile, personification and so on to reflect Three Beauties Principle in the process of translating ''Chu Ci'' into Chinese. The study can promote[?] the translation of Chinese classical literature by translators at home and abroad, thus promoting[?] the cultural exchange between China and foreign countries, and embody the advantages of Chinese literary theory in ancient Chinese ancient translation, which has an important[?] guiding role for future literary translation.

===Key words===
Chu Ci, Xu Yuanchong, Three Beauties Principle

===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.

==英语笔译黄琼 Huang Qiong 202170081571==
<center>'''Bamboo Weaving in Yiyang Hunan'''</center>

<center>Huang Qiong</center>

===Abstract===
Yiyang has a subtropical monsoon climate with high temperatures, cold winters and hot summers, and abundant precipitation. Bamboo mostly likes warm and humid climates, and Yiyang has abundant rainfall and heat, which is an ideal ecological environment for bamboo to grow, thus it is also known as the “Bamboo Capital of China”. Bamboo has always been a representative cultural image in China, which not only contains rich cultural values but also its artistic and economic values. Yiyang has a history of bamboo weaving for hundreds of years, and its bamboo products have long been famous, among which “Xiaoyu Bamboo Weaving Art” is a representative list of national intangible cultural heritage projects, and local bamboo products cover all aspects of production and life. This article not only introduces the art of bamboo weaving but also focuses on the process of weaving bamboo mats as an example to show the charm of Bamboo weaving.

===Key words===
Yiyang, bamboo weaving, Xiaoyu Bamboo Weaving Art, bamboo mat

===Literature Review===
Yiyang bamboo weaving art is a relative minority topic. More than 60 journals and papers can be found by searching "Yiyang Bamboo" on CNKI, but there are only a few articles, and the general research is not very in-depth. With "Yiyang Bamboo Weaving" as the keyword search, a total of 9 journals, and 13 papers are found. Zhang Jiang Shiqin's Research on the Development of Bamboo Culture Industry in Yiyang describes the development context, environment, current situation, and strategies for promoting the bamboo culture industry. Luo Fen's Research and Development of Yiyang Bamboo Weaving Art mainly introduces Yiyang bamboo weaving art, comprehensively uses various research methods, through sorting out Yiyang traditional bamboo weaving art, tries to put forward good solutions to the existing problems and follow-up development of Yiyang bamboo weaving. Jiang Xiangdong's Inheritance and Development of Hunan Traditional Bamboo Weaving, based on the actual situation of the development of Hunan traditional bamboo weaving, put forward several countermeasures such as "government support", "intensive management" and "talent training", which has practical guiding significance for the inheritance and development of Hunan traditional bamboo weaving art. Domestic research on Yiyang bamboo weaving art is very limited, there is no foreign paper on Yiyang bamboo weaving. Use "China Bamboo weaving" as the keyword to find literature on Google Scholar. The literature writers are all Chinese with few foreigners studying Bamboo weaving art, let alone Yiyang Bamboo weaving art. In addition, it is difficult to find any further theoretical works on Yiyang bamboo weaving. Moreover, the research on the bamboo weaving art in Yiyang is not comprehensive enough, and there is no in-depth discussion on the characteristics and causes of the bamboo weaving art in Yiyang.

===The Introduction to Bamboo weaving and its History===
Bamboo is always an important part of Chinese culture, and literati have often used it as imagery to express their high-minded sentiments. Bai Juyi said in ''The Annals of Bamboo Cultivation'': "The root of bamboo is firm, which is to establish the nature of bamboo. When a gentleman sees this nature of bamboo, he thinks of being upright and selfless, and not to be attached to the influential. When a gentleman sees the heart of bamboo, he thinks of accepting all useful things with an open mind. When a gentleman sees its knot, he thinks of refining his character and being consistent, no matter when things are going well or when he encounters danger."(竹性直，直以立身；君子见其性，则思中立不倚者。竹心空，空以体道；君子见其心，则思应虚受者。竹节贞，贞以立志；君子见其节，则思砥砺名行，夷险一致者。) In China, bamboo is both upright and steadfast in character, and also has a verdant and attractive posture, and has been loved by the literati since ancient times, along with plum blossoms and pine trees are known as the "Three Friends of Winter"(岁寒三友). The pine symbolizes evergreen; the bamboo symbolizes the way of a gentleman and the plum symbolizes pure. In addition to bamboo as cultural imagery, bamboo itself has great value. Bamboo has a long history of being used in architectural art. Bamboo buildings are houses of ordinary people. Southwest minorities such as the Dai nationality(傣族) still live in bamboo buildings. The Dai bamboo building is mainly made of bamboo, and the walls are also woven from bamboo, which has high air permeability, so the ventilation of the house is good. Bamboo can also be used as musical instruments. Traditional Chinese musical instruments such as flute（笛子）, xiao(箫 a vertical bamboo flute), sheng（笙 thirteen bamboo tubes of different lengths）, zheng(筝 the ancient Chinese traditional plucking instrument), erhu（二胡 a two-stringed bowed instrument with a lower register than jinghu） are inseparable from bamboo. Word-formation of these instruments shows that they are related to bamboo(⺮，汉字的偏旁部首，读作“竹字头”). A famous calligrapher of the Jin Dynasty, Wang Xizhi, wrote in the ''Preface to the Orchid Pavilion'': "Seated by the bank of brook, people will still regale themselves right by poetizing their mixed feelings and emotions with wine and songs, never mind the absence of melody from string and wind instruments."(It is the translation of Lin Yutang 林语堂：虽无丝竹管弦之盛，一觞一咏，亦足以畅叙幽情) Thus, since ancient China, bamboo has been used to refer to music.

The art of bamboo weaving in China is also popular, and Hunan Yiyang is also a city with a cultural heritage of bamboo art. Bamboo weaving art reflects the wisdom and value of the working people. With the development over hundreds of years, the craft is more and more advanced, not only embodies the essence of Chinese traditional handicraft but is also an important carrier of Hunan culture. In ancient times, restricted by economic conditions and transportation, ancient people could only use local materials to make tools needed for daily life. The origin of bamboo weaving can be traced back to the Neolithic Age. The Neolithic Age refers to the last phase of the Stone Age in archaeology, beginning about 10,000 years ago and ending from 5,000 to 2,000 years ago. During the Gaomiao culture of Hunan province, which dates back to more than 7,000 years ago, a bamboo mat was placed under the skeleton of a female body. There is no visual difference between this bamboo mat and today's bamboo mat products, but it has been charred (Jiang Xiangdong 2019, 146) More than 6,000 years ago, traces of bamboo weaving were found on cultural relics unearthed from Tujiatai site in Nanxian county （a county in Yiyang）during the Daxi Culture period（Pan & Tan 1994, 34）The Daxi culture dates from about 4400 to 3300 BC. The discovery of Daxi culture reveals a regional cultural heritage in the middle reaches of the Yangtze River, which is dominated by red pottery and contains colored pottery. Bamboo handles for spears were unearthed from the tomb sites of the Warring States Period. Yiyang bamboo weaving became a trade in the Ming Dynasty and was exported in the Qing Dynasty. The Yiyang Museum also displays bamboo products from the Qing Dynasty, including bird cages, baskets, and so on. In the old days, farmers used to make baskets of bamboo to carry things, make hats to hide from the sun and wind and rain, make backpacks to carry farming things, and bamboo fans made of bamboo became a tool for farmers to avoid the summer heat and keep cool. In summer, after a hard day’s work, farmers lie on top of the deck chair made of bamboo, shaking the fan, chasing away mosquitoes, listening to the cicadas, looking at the moon overhead, and chatting with neighbors. These show that Yiyang bamboo weaving has a long history.

[[File:Ancient Bamboo pruducts.jpg]] [[File:Room made of bamboo.jpg]]

===Yiyang' s Natural Environment and Bamboo===
Yiyang, a prefectural city under the jurisdiction of Hunan Province, is located in the central and northern part of Hunan province, on the south bank of Dongting Lake(洞庭湖). It has been a fertile "land of fish and rice"（鱼米之乡） in the south of the Yangtze River since ancient times. Yiyang has a humid subtropical continental monsoon climate with generally high temperatures, cold winters and hot summers, and abundant precipitation year after year. It rains a lot in July and generally has low sunshine throughout the year. The average annual temperature is 16.1℃-16.9℃, sunshine 1348 hours to 1772 hours and rainfall is 1230mm to 1700mm, which is suitable for growing crops. Yiyang's climate and ecological environment are very suitable for the growth of bamboo. Yiyang is rich in Phyllostachys heteroclada（水竹）and phyllostachys pubescens （楠竹）. Phyllostachys heteroclada has excellent elasticity and toughness, fine texture, and enjoys a cool and humid environment with excellent water absorption performance and a cool bamboo body. It is an excellent material for weaving various living and production appliances. Phyllostachys pubescens can be used to weave all kinds of utensils and crafts, branches as brooms, and young bamboo as raw materials for paper.

Yiyang has abundant bamboo resources. Taojiang County(桃江) is under the jurisdiction of Yiyang City of Hunan Province, known as the township of Bamboo. According to reports from Hunan province in recent years, Yiyang's bamboo forest covers an area of 2.36 million mu(about 177333 hectares）（Mu is a unit of land area under the municipal system in China. One mu is about 666.667 square meters. Fifteen mu equals one hectare）, and its rich bamboo resources support the development of the local bamboo industry. In 2020, the output value of the bamboo and bamboo industry in Taojiang County reached 12 billion yuan, and 200,000 farmers engaged in local bamboo production and processing（Wen, Xiong & Hu 2022, 44）, which shows how important bamboo is in the production and life of Yiyang people.

[[File: Bamboo Sea of Taojiang.jpg]]

There are different types of bamboo weaving art developed in Yiyang. According to the form, bamboo weaving can be divided into three-dimensional weaving, plane weaving, and mixed bamboo weaving（Guo Jie 2011, 90）. For example, the bamboo mats and fans commonly used by workers are plane weaving. Some bamboo baskets, bamboo boxes, and bamboo hats are woven in three dimensions. Whether it is flat or three-dimensional weaving, it requires a high level of skill and patience to complete beautiful bamboo weaving work.

Xiaoyu Bamboo Art(小郁竹艺) is an excellent traditional handicraft in Yiyang and is a representation of the development of Yiyang's bamboo industry. Xiaoyu Bamboo Art ware is beautiful in shape and fine in workmanship. In 2006, Xiaoyu Bamboo Art was listed in Hunan Province’s first batch of intangible cultural heritage protection lists. It was selected into the third batch of the National Intangible Cultural Heritage protection list in 2012. According to UNESCO, Intangible cultural heritage is traditional, contemporary, and living at the same time. It does not only represent inherited traditions from the past but also contemporary rural and urban practices in which diverse cultural groups take part. Intangible cultural heritage is not merely valued as a cultural good, on a comparative basis, for its exclusivity or its exceptional value. It thrives on its basis in communities and depends on those whose knowledge of traditions, skills, and customs are passed on to the rest of the community, from generation to generation, or to other communities. Intangible cultural heritage includes oral traditions and forms of expression; performing arts; social practice, ceremony, and festival activities; traditional crafts, and so on. Xiaoyu Bamboo Art belongs to the traditional handicraft so it is a kind of intangible cultural heritage. As one of Yiyang’s three national intangible cultural heritages, it can be seen that Yiyang has devoted a lot of effort to build the bamboo brand.

However, with the development of science and technology and the progress of people's living standards, more and more traditional handicrafts have gradually disappeared, and there are fewer and fewer craftsmen. Even Xiaoyu Bamboo art is facing development difficulties. How to inherit and develop bamboo weaving art is worth thinking about.

[[File: Xiaoyu Bamboo Art.jpg]]

===The Procedure of Bamboo Weaving--Bamboo Mat as an example===
Because Yiyang bamboo weaving products are numerous, due to the limitation of space, the following is a brief introduction to the weaving process of the bamboo mat. Yiyang is hot and humid in summer, and the bamboo mat woven with bamboo strips has always been a traditional antidote to the heat. As early as during the reign of Emperor Yuanshun (元顺帝 1333-1370), the people of Yiyang began to weave bamboo mats with Phyllostachys heteroclada（水竹）as raw materials, with a history of more than 600 years（Liu & Liu 2014, 98）. A handmade mat in Yiyang can be sold for around 800 to 1,500 yuan. This kind of bamboo mat is placed on top of the sheets in summer and is very cool. Every night before going to bed, it needed to wipe with hot water to absorb heat as the water evaporates. When people lie down on the bamboo mat, sweat is absorbed by the bamboo, then body temperature will drop and the bamboo becomes more warm and cool. The longer the bamboo mat is used, the better the heat dissipation performance is. With the use of time getting longer and longer, the surface of the bamboo mat is getting smoother and darker. The bamboo mat that has not been used at the beginning is yellow, and gradually becomes red, and finally becomes dark brown. A good mat will last 20 or 30 years without deterioration. Such durable bamboo mats cannot be made without excellent bamboo materials and meticulous workmanship by craftsmen. Although bamboo mat is a kind of flat weaving, it also requires a lot of skills. A series of steps are required to process the raw material before the product can be woven.

[[File:instruments.jpg]]

The first is choosing which bamboo to use as raw material. As mentioned above, there are many Phyllostachys heteroclada and phyllostachys pubescens in Yiyang, so these two kinds of bamboo are generally used. One reason is that this kind of bamboo is abundant, widely distributed, easily transported, and grows relatively quickly compared with other kinds of bamboo, making it easy to use materials. Second, this kind of bamboo is tough, not easy to break, and has high compressive strength, which is very suitable for use as bamboo weaving material. The bamboo mat in Yiyang is usually bamboo that has grown for 3-5 years, and the fiber of such bamboo has been finalized. The growing environment of water bamboo also affects the quality of bamboo. Phyllostachys heteroclada growing on the hillside has a dense texture, while Phyllostachys heteroclada growing near the lakes and fields has a loose texture. Although bamboo prefers wet and damp conditions, it cannot be processed if it grows with little or no sunlight. Selecting raw materials is also an art.

Secondly, after selecting the raw material, the bamboo should be fully soaked to make it shrink, and after soaking, the bamboo should be dried, and only after fully drying can the bamboo be treated. Generally, it takes a few days of exposure to dry the bamboo, but since it rains a lot in the summer in Yiyang, it usually takes a little longer. If want to shorten the work period, workers should look at the weather forecast in advance.

After the bamboo is dried, the knotted part of the bamboo needs to be scraped off, which is a step called Juan Jie（卷节）. It means that after selecting the right bamboo, the bamboo is initially treated with a gimlet knife（蔑刀）. First, the craftsman scrape off the protruding parts of the bamboo joints so that they are as flat as possible against the bamboo wall.

The middle of the bamboo is not unobstructed; there are bamboo joints inside the bamboo that also need to be removed. This step is called Qu Jie(去结)。The next step is to scrape the green surface of bamboo（刮青）. Bamboo woven products are usually yellow or dark red in color, not the green color of the bamboo surface. The layer of greenish skin on the outside of the bamboo is called bamboo green(竹青). The yellow part on the inside of bamboo is called bamboo yellow（竹黄）. The craftsman uses a knife to scrape the green off the outer layer of the bamboo. It is important to scrape the green from the top down so that the bamboo skin is not damaged. Scraping the green is a technical task; if the scraping is deep, it will affect the beauty and durability of the bamboo, while if the scraping is shallow, the residual green will also affect the beauty. In addition to this reason, there is another reason for scraping the green. The surface of the bamboo may leave spots, and removing the bamboo green can also remove the spots. There are also differences in the hue of the bamboo surface due to the age and growing environment of the bamboo, and most craftsmen choose to remove the bamboo green in order to unify the hue, although this step is very hard and time-consuming.

[[File:Gua Qing.jpg]] [[File:Bamboo sticks.jpg]]

The next step is called Qi Jian(起间). The craftsman uses a cleaver to split the bamboo in half, and on top of that, he keeps splitting it in half until it reaches the desired width. This ideal width depends on the bamboo sticks(竹篾 Zhu Mie). Bamboo sticks, called Mi Pian Zi in the Yiyang dialect, are thin strips of bamboo, which are the basic material for bamboo weaving, and with which the artisan can begin to weave. There are two types of bamboo sticks: thin sticks and thick sticks. The difference between thin and thick sticks is mainly in width, followed by thin sticks that are softer and more delicate, with better smoothness and comfort. After that, it is necessary to split the sticks(分蔑). Specifically, each section of bamboo is split into three parts: a surface layer, a middle layer, and an inner layer. The craftsman has to divide the bamboo into three layers, which are only about one millimeter thick, which tests the craftsman's experience and skill.

The next step is San Fang（三防）. This is to prevent mold, moths, and cracking. By doing San Fang, bamboo mats can be preserved and used for decades. Bamboo is prone to mold and attracts pests at the right temperature and moderation, resulting in poor quality bamboo. Mildew and insect infestation can also hinder the beauty of bamboo weaving. There are also many ways to prevent insects in bamboo. Physical methods include a high-temperature method, chemical methods include steaming, soaking, and smoking. In addition to preventing mold and insects, it is also necessary to prevent the bamboo sticks from cracking, for example, there is the pressurization method. The bamboo material is subjected to external forces that can eliminate internal forces and prevent cracking. Generally, the artisan puts the divided bamboo sticks into a pot and steams them in boiling water for about an hour. After the high temperature steaming, it can prevent insects and mildew, and also increase the softness of the bamboo for the next weaving step.

Then the artisan should dye the bamboo sticks. The dyeing of bamboo sticks is an extremely important process in the manufacturing process of bamboo weaving. Heat is used to increase the dyeing speed. The addition of surfactants to the dyeing solution(染液) is an effective means of improving the dyeing effect by giving it higher adsorption and surface activity. Dyeing solution composition, dyeing time, room temperature, and moisture content of the bamboo sticks all affect the dyeing effect of the sticks（Ref. Sun Delin, Liu Wenjin & Yao Wenliang 2012, 9）.In addition to dyeing with solution, workers can also dye the main material with hot oil. The dried bamboo material is placed inside the hot oil at 200 degrees Celsius. The bamboo material taken out appears purplish red. Bamboo dyeing is a very complicated procedure, and the color is unpredictable every time. Since each layer of fiber is different, this can lead to uneven absorption of the solution and differences in the resulting dyeing effect. The consistency of the color is the basis for the artistic effect of bamboo weaving. Inconsistencies in the color of the sticks affect the presentation of the bamboo weaving.

All the steps before weaving have been completed and the bamboo sticks are ready. Bamboo mats have nearly 20 working procedures, and each square meter weighs 470 grams above. Generally, bamboo mats are arranged with 14 or 16 sticks per 3.3 centimeters, and the high-quality products are 18 ~ 24 sticks. Bamboo mats can be woven into patterns such as phoenix tails, plum blossom scenes, interlocking locks, flowers and birds, insects and fish, figures, landscapes, paintings, and other patterns(Su Wei 2010, 7). The pattern of ordinary household bamboo mats looks like the Chinese character "ren"(人). This highly regular weaving technique is relatively simple. The next bamboo stick can be hidden under the previous bamboo stick so that the surface of the bamboo mat is smooth and flat. In addition, this style is also convenient for bamboo mat maintenance.

Weaving techniques are also very rich. There are two main weaving methods of the bamboo mat in Yiyang:Tiao 2 Ya 2 (挑2压2) and Tiao 3 Ya 3(挑3压3). Tiao 2 Ya 2 (挑2压2) means that the two sticks are on top and the two stricks are on the bottom, which is the most commonly used and delicate method of bamboo mat weaving. Tiao 3 Ya 3(挑3压3) means 3 bamboo sticks on top and 3 bamboo sticks on the bottom. Few people use this method at present(Liu & Liu 2014, 100). A good craftsman weaves a bamboo mat that is durable. Everything must be measured as if it had been.

Now let's introduce t bamboo mat with a “人” pattern, which is woven in the way of Tiao 2 Ya 2 (挑2压2). Start from the middle part of the right triangle on one side of the mat. The starting part is about five cun wide（寸, a unit of length, five cun about 16 centimeters）, and the length is about one meter in the right direction. When weaving the main part, the craftsman uses a bamboo board to press the whole starting part and sits cross-legged on the mat, picks up the sticks from both sides to the middle at the same time with both hands, then picks up the sticks with his index finger and put them into his palm. After all of them are picked up, pick up the bamboo board with the right hand and put it under the picked sticks, then put in the sticks to be woven, and knock them hard and evenly. Repeat this step. When most of the bamboo mat is finished, the artisan twists and closes the edges of the mat（扭边和收边）. The four sides of the mat are dipped in water to prevent the bamboo sticks from breaking, and then the reverse side of the sticks is twisted to 360 degrees to cover the sticks below. The craftsman squats barefoot on top of the mat, cuts the twisted sticks, leaving only one cun long, and sets the front sticks at a 30-degree angle into the back sticks, finishing one by one by pressing two. After closing the edge, insert the closed sticks into the seam of the mat, and arrange them in order, without overlapping and without breaking.

[[File:Bamboo mat.jpg]] [[File:Weaving.jpg]]

This technique is actually very complicated, and it usually takes 4 or 5 days for an old craftsman to finish weaving a cool mat. If a new man learns to weave bamboo mats, many mistakes will be made, such as wrong patterns, and he may even get injured. Nowadays, there are fewer and fewer men who know how to weave bamboo mats because there are technical requirements, not everyone can weave well, and fewer and fewer people are willing to spend time learning how to weave. The development and inheritance of the Yiyang bamboo mat are the results of thousands of years of polishing and perfecting.

===Conclusion===
Chinese bamboo weaving products have a long history, the production skills are very exquisite, and gradually to the direction of elegant art. Traditional bamboo weaving is the precious wealth of Chinese culture, but under the strong impact of industrial civilization, the status of handicrafts has been greatly inferior. At present, the Yiyang bamboo products processing level is still in the primary stage, and there is no high technology content. Most of them are made by hand, and a low production rate has always been a problem. Even though machine production is now vigorously developed, the quality of products is difficult to match that of hand weaving. The shape and color of bamboo products in Yiyang are slightly inadequate. The price of bamboo crafts is relatively low. There is a lack of good brands and few high-grade artworks that combine the advantages of product decoration effect, practical efficiency, innovation ability, and art appreciation in one. The art of bamboo weaving in Yiyang has survived thousands of years of weathering and it has been quite difficult to survive(Luo Fen 2013, 42). We need to research and develop new techniques, develop new ideas, pioneer and innovate on the basis of inheriting traditional handicrafts and do a good job of modernizing and transforming the art of bamboo weaving. First of all, set up a bamboo art industry association, organize and plan bamboo art expositions, and regularly host bamboo culture seminars, which can promote exchanges between bamboo weaving artists, bamboo weaving enthusiasts, and bamboo weaving researchers, and can also play a propaganda role. Second, increase the training of talents. We can introduce advanced technology from domestic and foreign places where the art of bamboo weaving is better developed, send Yiyang’s bamboo weaving artists and processing and production personnel to other regions to learn modern science and technology, or give appropriate financial subsidies to bamboo weaving inheritors. Yiyang bamboo weaving is an extremely representative traditional craft of Yiyang. It is also an indispensable part of our Chinese cultural treasures. The preservation and protection of Chinese traditional crafts is the top priority.

===References===
* Guo Jie 郭杰.(2011). 浅谈益阳竹编工艺[A Brief Discussion on Yiyang Bamboo Weaving Technology].''现代交际'' Modern communication,(06):90.
* Jiang Xiangdong 姜向东.(2019).湖南传统竹编的传承和发展[Inheritance and Development of Hunan Traditional Bamboo Weaving].''艺海'' The Sea of Art(01),146-149.
* Liu Yingwu & Liu Lang 刘英武 & 刘浪.(2014).茅竹湖水竹凉席装饰特征与制篾工艺探析[The Analysis of Decorative Features and Bamboo Sheet Technology of Maozhu Lake Bamboo Mat]. ''装饰'' Decoration (07),98-100.
* Luo Fen 罗芬.(2013).益阳竹编艺术的研究与开发[Research and development of Bamboo weaving art in Yiyang]湖南师范大学 Hunan Normal University
* Pan Yuehui & Tan Guoming 潘茂辉,谈国鸣.(1994).南县涂家台早期新石器时代遗址调查报告[Investigation report on the Early Neolithic site of Tujiatai, Nanxian County]. ''湖南考古辑刊'' Journal of Hunan Archaeology (00),34-43.
* Su Wie 苏伟.(2010). 益阳水竹凉席[Yiyang's Bamboo Mat]. ''湖南农业'' Hunan Agriculture (02),7.
* Sun Delin, Liu Wenjin & Yao Wenliang 孙德林,刘文金 & 姚文亮.(2012).竹篾染色工艺的优化研究[Optimization of Bamboo Sticks Dyeing Research].''包装工程'' Packaging engineering (05),9-12.
* Wen Aihua, Xiong Yanhui & Hu Dehe 文爱华,熊艳辉 & 胡德合.(2022).把乡里笋竹做成“世界宝宝”[Make Bamboo Shoots into "World Babies"]. ''湖南农业'' Hunan Agriculture(01),44-45.
* Xu Wei 徐薇.(2012).益阳小郁竹艺工艺与文化研究[Study on the Craft and culture of Yiyang Xiaoyu Bamboo Art] 湖南师范大学 Hunan Normal University.

===Terms and Expressions===
1. 竹编 bamboo weaving
2. 竹篾 bamboo split
3. 水竹 Phyllostachys heteroclada Oliver
4. 毛竹 Phyllostachys edulis
5. 亚热带季风气候 subtropical monsoon climate

===Questions===
1. What is the climate type of Yiyang?
2. What is the National Intangible Cultural Heritage of Yiyang?

===Answers===
1. subtropical monsoon climate
2. Xiaoyu Bamboo Weaving art

==英语笔译邝雨琪 Kuang Yuqi 202170081572==
<center>'''Chinese Mooncake Culture'''</center>

<center>Kuang Yuqi</center>

===Abstract===

===Key words===

===Introduction===
Chinese moon cake is the representative food of the Mooncake Festival, or more commonly known as Mid-Autumn Festival. It is a kind of round cookie with various fillings and different artistic patterns on the surface, depicting the legends of the festival and conveying auspicious meanings. During the festival, people sacrifice these cookies to the moon as offerings, eat them for celebration and present them to relatives and friends for good wishes. ......
===I ===
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)
===II ===

===III ===

===Conclusion===

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

===Questions===

===Answers===

==英语笔译黎溢佳 Li Yijia 202170081573==
<center>'''On Gender Discrimination in Chinese'''</center>
===Abstract===

===Key words===
'''Language; Cultural Factors; Gender Discrimination; Chinese'''
===Introduction===

==英语笔译李思敏 Li Simin 202170081574==

==英语笔译李思源 Li Siyuan 202170081575==

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

<center>Li Siyuan</center>

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

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

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

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

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

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

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

<center>Li Ting</center>

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

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

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

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

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

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

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

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

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

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

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

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

'''2.2 Freehand Naming'''

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

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

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

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

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

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

'''2.4 Named after Historical Allusions'''

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

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

'''2.5 Named after Numeral Abbreviations'''

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

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

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

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

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

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

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

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

'''2.8 Named after Auspicious Words'''

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

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

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

'''3.1 Figure of Speech'''

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

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

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

'''3.2 Hyperbole'''

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

'''3.3 Allusion'''

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

'''3.4 Personification'''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Braised Turtle in Brown Sauce：红烧甲鱼

Cold Noodles with Chicken Shreds：鸡丝凉面

Mapo Tofu：麻婆豆腐

Shrimp with green Vegetable：翡翠虾仁

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

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

Cut: 切 chop：剁 split：劈 scrape：剔

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

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

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

Corn Meatballs：玉米肉丸

Sweet and Sour Fish：糖醋鱼

Fried Shrimps with Tomato Sauce：茄汁虾仁

Diced Chicken with Cashew Nuts：腰果鸡丁

Diced Chicken with Green Pepper：辣子鸡丁

Pork Shreds with Fish Seasoning：鱼香肉丝

Steamed Perch：清蒸鲈鱼

Braising Carp with Soy Sauce：红烧鲤鱼

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

Braised Chicken Fillet with Tender Ginger：仔姜烧鸡条

Pork Cooked with Green Chili：辣椒炒肉

Scrambled Egg with Tomato：番茄炒蛋

Hairy Crabs：大闸蟹

Golden Coin-shaped Scallops：金钱干贝

Sour and Hot Diced Chicken：酸辣鸡丁

Sweet and Sour Ribs：糖醋排骨

Cola Chicken Wings：可乐鸡翅

Braised Meat Balls in Brown Sauce：红烧狮子头

Tai Chi Shaped Taro：太极芋头

Stewed Assorted Delicacies：全家福

Wishful Bamboo Shoots：如意笋

Wen Si Tofu：文思豆腐

Dongpo Meat：东坡肉

Peking Duck：北京烤鸭

West Lake Fish in Vinegar Sauce：西湖醋鱼

Zhijiang Fried Duck with Varied Ingredients：芷江鸭

Meat in Tomato Sauce：乾隆樱桃肉

Murrel with Fresh Vegetables：将军过桥

Changban Slope：长坂坡

Two Winter：二冬

Three Delicacies：三鲜

Three Shreds：三丝

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

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

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

Fried Magnolia Slices：炒玉兰片

Fried Bamboo Shoots Slices：炒笋片

Salted Pork in Jelly：水晶肴肉

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

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

Mirror Box Tofu：镜箱豆腐

Squirrel-shaped Mandarin Fish：松鼠鳜鱼

Shrimp Ring with Green Vegetable：翡翠虾环

Golden Eggs：金钱蛋

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

Farewell My Concubine：霸王别姬

Chicken Slices with Hibiscus：芙蓉鸡片

Scallops with Hibiscus：芙蓉干贝

Clams with Hibiscus：芙蓉青蛤

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

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

Soft-shelled Turtle with Pigeon Eggs：老蚌怀珠

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

Crusade against daddy：早生贵子

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

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

Siraitia Grosvenorii：罗汉果

Prajna Dishes：般若菜

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

Yin and Yang Fish：阴阳鱼

Heaven and Earth Eggs：乾坤蛋

Mutton eaten with hands：手抓羊肉

Sweet and Sour Pork：咕咾肉

Pearl Bean Curd：珍珠豆腐

Golden Prawn：金钱明虾

Crispy Duck：脆皮八宝鸭

Spiced Beef：五香牛肉

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

Full of Prosperity：满园春色

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

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

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

===Answers===
1.Eight.

2.Zhang Jiuling

3.Egg white.

==英语笔译李欣 Li Xin 202170081577==

==英语笔译李颖 Li Ying 202170081578==

==英语笔译李媛 Li Yuan 202170081579==

==英语笔译李梓婕 Li Zijie 202170081580==
<center>'''Confucius Institutes'''</center>

<center>Li Zijie</center>

===Introduction===
The exchange of languages carries the blending of cultures. If China wants to promote the good image of Chinese culture and convey the scientific concept of peaceful development, it needs to let the world understand Chinese and let the world speak Chinese.
In order to enhance the understanding of Chinese language and culture among people from all over the world, and to provide an excellent and convenient learning environment for learners from all over the world, China has begun to cooperate in various ways to establish Confucius Institutes with the content of Chinese language teaching and Chinese culture dissemination in places where there is a need and conditions. So far, hundreds of Confucius Institutes have been established around the world. The establishment of the Confucius Institute has brought Chinese culture closer to Westerners, enabling people of all countries to have "zero distance" contact and learn the authentic Chinese culture in their own countries. The Confucius Institute was established on the basis of the inspiration of foreign cultural institutions established by other countries in the world and the experience of relevant foreign institutions to promote their own national languages. In this way, we can learn from the management mechanism and communication of the existing international language and culture promotion institutions. strategy, highlighting the Chinese characteristics of the Confucius Institute. At the same time, the establishment of the Confucius Institute is conducive to promoting the exchange and integration of Chinese culture and the cultures of other countries in the world, helping to enhance the soft power of China's national culture, and becoming a global cultural brand that promotes Chinese culture and Sinology.

===Overview of Confucius Institutes===

===Opportunities and Challenges of Confucius Institutes in the Dissemination of Chinese Language and Culture===

===Analysis of the Current Situation of Confucius Institutes (Case Study)===

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answer===

==英语笔译梁思婷 Liang Siting 202170081581==

==英语笔译廖诗韵 Liao Shiyun 202170081582==

==英语笔译刘唱 Liu Chang 202170081583==
<center>'''Analysis on Localized Translation of English Games Based on Skopos Theory
--Taking League of legends as an Example'''</center>

<center>Liu Chang</center>

===Abstract===
At present, with the vigorous development of information technology, basing on information technology and internet platform, online games gradually get rid of the name of electronic heroin, and gradually industrialize and systematize. It can be seen that e-sports has now become a relatively mature industry, but the problem is that most online games on the market are imported from abroad. Therefore, one of the inevitable problems in the introduction process is the localization of the game. Language, as an important carrier of information transmission, plays an indispensable role in game localization. Not like the traditional text, the translation of game text pays more attention to the main position of the reader and its adaptability in the target market. Taking the game League of Legends as an example, this paper explores how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.
In this thesis, the author analyses the textual material of League of Legends from the perspective of Skopos Theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal: making this game more acceptable for Chinese player and helping the Chinese players have a better game experience. However, during the process of analysis, the author analyzes the mistranslation and corrects the translation based on Skopos Theory. After the analysis of the material, it can be seen that with the guidance of Skopos Theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in china is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===Key words===
Skopos Theory; Game Translation; League of Legends

===Introduction===
(1)Research Background

With the increase of the power of consumption of Chinese consumers, the game market of China is also thriving now. According to the statistics, China now is the largest game market in the world, with the number of game player more than 600,000,000 (Dai Jie:2019,100-101). However, since most e-sports games in China are introduced from abroad, localized translation is very important. Currently, all large-scale e-sports games have specialized localized translation teams (Liu Chang & Yang Weixiu:2019,30-32). Their job is to translate the foreign games into Chinese in the way that can meet the need of Chinese player. During this process, the translators face a lot of difficulties, so they have to do the job with the instruction of various kinds of translation theories. In this thesis, the author takes the online game League of Legends, which is hot all around the world, as an example, and analyzes the translation of names and lines of the characters in the game based on the Skopos theory of Translation put forward by Hans Vermeer to discuss the principles of the Skopos theory showed or missed in the textual material.

(2)Brief Introduction to League of Legends

League of Legends (LOL) is developed by the United States game company Riot and operated by Tencent game. It is a MOBA (Multiplayer Online Battle Arena) game (Cai Qiqi & Huang Yanjie:2018,84-88). In the game, the player takes on the role of a summoner and chooses your trusted allies to enter the Summoner’s Valley to battle with your enemies, fighting for the justice of Varoran. There is only one rule: Victory is everything!
In the eyes of the game players and game developers, LOL is not just a game, but a fantasy world with a complete and huge world view. Every champion (the character manipulated by the players) possesses his or her own name, title, background story, lines and so on, which does not only enrich the content of the game, but also put forward a lot of challenges for the translators, for all of these names, titles and lines are the textual material which needs to be translated.

(3)Purpose and Significance of Game Translation

As foreign games have thrived in Chinese market, the paradox between fast development and a relative shortage of research about game translation has become apparent. In the process of the translation of the material of the game, the quality of translation has a great influence on the player's game experience, which is very important. However, domestic research on game translation is still in its infancy, and relevant scholars and translators may face the embarrassing situation that there is no theoretical knowledge as reference. Therefore, the research on game translation is a must-to-do and has certain practical significance. This thesis discusses how to better combine the game with Chinese culture in the form of language from the perspective of Skopos Theory of Translation, so as to make Chinese players accept the games better and more likely to be infiltrated by traditional Chinese culture during the process of enjoying the game.

===Literature Review===
(1) Review on Research of Skopos Theory of Translation

Foreign studies on functional translation start very early. Andrew Chesterman collects famous articles by Vermeer and Nord in Readings in Translation Theory (1989). Jeremy Munday introduces the main connotation of functional Translation theory in Introduced Translation Studies, and he believes that the functional translation school and communicative translation theory born in Germany promoted the innovation of translation theory, turning it from a static linguistic category into a cross-cultural communication behavior (2001,73-80). In Contemporary Translation Theories (2nd Revised Edition), according to Edwin Gentzler, the birth of the functional school of translation theory is an important moment in the history of translation theory. It puts an end to the two-thousands-long struggle between faithfulness and freedom in translation circles. According to functional translation theory, both faithful and free translation can be regarded as the correct choice as long as it conforms to the communicative purpose of the target text (2001,71). But at the same time, there are also some scholars have a skeptical or even negative attitude towards the functional Skopos theory. Peter Newmark, a famous translation theorist, thinks that functional translation theory was “dogmatism”. He comments in his book that “translation is a fractured discipline, and it is especially inappropriate to use a single integrated theory, dogma or general expression covering any text type. In this kind of process and practice, one must consider many issues at the same time... there is not any well-considered theory can cover all translation problems (1990,105).”
There are four stages of the development of the Skopos Theory of Translation:
The first stage: Katharina Reiss introduces the functional category into translation criticism for the first time (1999). The second stage: Hans Vermeer proposes Skopos Theory, which frees translation studies from the bondage of textual centralism (1987). The third stage: Justa Holz Manttari, proposes the theory of translation behavior. The fourth stage: Christiane Nord comprehensively summarizes and improves the functionalism theory (1991,30-32). He has proposed that translators should follow the guiding principle of “function plus loyalty”, and then perfected the theory (1996).

(2)Review on the Research of Game Translation

With the rapid expansion of the video game industry, there have been more and more researches on game translation in recent years. Trainor introduced game translation from two aspects of game content and text (2003,14). Yan Mingle analyzes the translation process in the process of the localization of games, and summarized some characteristics (2009).
Xiao Zhiyan believes that as a kind of cross-cultural communication behavior, the name of game has a very strong purpose, and it bears the task of spreading the game information and facilitating the purchase in the cultural environment of the target language (2011).

(3)Summary

The development of the Skopos theory of translation now is already very mature now, however, the domestic research about game translation is still on its preliminary stage now. So translators and scholars should do the research of game translation based on the mature theory and make it the guidance of the practical translation. Only with the help of developed theory, translators are able to make the research of the game translation more systematical and standardized.

===Methods and Theories===
(1)An Introduction to Skopos Theory

Skopos Theory, which is developed by German linguist Vermeer, is the core of functional translation theory. It breaks through the bondage of equivalent translation theory centered on original text.
Vermeer believes that “translation is a human behavior”, and “any behavior has a purpose”, so “translation is a purposeful behavior”, thus translation is “a discourse produced for a certain purpose and target audience in certain situation of the target language” (1996).
Vermeer believes that translation should follow the skopos rule, the coherence rule and the fidelity rule, among which the skopos rule is the supreme principle. Vermeer completely breaks out of the equivalence theory of the textual center and focuses on the function of the text. In his opinion, translation strategies and methods must be flexible, and the translation should be carried out according to the situation and the purpose of the text, so as to realize the function and purpose of the text.

(2)Basic Rules of Skopos Theory

(2.1)The Skopos Rule

In the system of the Skopos theory of translation, the Skopos rule is the primary principle guiding all translations, which usually refers to the communicative purpose of the translation. That is to say, Skopos rule is the primary principle of Skopos theory. Because all texts are inevitably created with a certain purpose and ultimately to achieve this purpose, so the means to achieve the purpose should be determined by the purpose (Nord,1997,15).

(2.2)The Coherence Rule

Coherence rule refers to intralingual coherence, which means that the target text audience should be able to understand the content of the target text according to the context set by the translator.

(2.3)The Fidelity Rule

The fidelity rule refers to interlingual coherence, which reflects the relationship between the original text and the target text. It emphasizes that the content of the target text should be faithful to the content of the original text, but the degree and form of such fidelity depend on the translator's understanding of the original text and the specific requirements of the translation purpose.

(3)Summary

After understanding the basic meaning of the three rules of the Skopos Theory of translation, it can be found that in this theory, the most innovative point is the first and primary rule——the Skopos rule. It is the core of this theory and also it serves as the basic norm during the process of translation if someone is going to translate something based on the Skopos Theory. And the rest of the rules make up the void of the theory and improve the quality of the product to some extent.

===Translation Under Skopos Theory===
(1)Translation Under Skopos Rule

LOL is developed by western game company, so the original content is based on the combination of western culture and the fictional world. However, in the Chinese version, the Skopos rule has been precisely followed and many Chinese features and elements are added in the content in order to cater to the expectations and tastes of Chinese players (Zhang Yiyang:2016). During the process of the translation of the material, the translators mostly use the translation strategy of domestication and several translation methods such as transliteration, free translation, and so on, to achieve their goals.

Example 1:

Original version: Xayah, Rakan

Chinese version：霞、洛

In the background story of the game, “Xayah” and “Rakan” are both from Vastaya, where lives the half-bird, half-human creature. And they are enviable couple that can never be divided. According to this background information, here is the Chinese version “霞” and “洛”. The names are originated from a famous Chinese quatrains: A Tribute to King Teng’s Tower. In this quatrains, the author Wang Bo uses “落霞与孤鹜齐飞，秋水共长天一色” to describe the beautiful scenery of the sky (Tang Jiawen:2019, 127-129). So it can be found that this quatrain is suitable for the translation of “Xayah” and “Rakan”. There are three reasons. The first one is that in the quatrain, “落霞” and “孤鹜” together form a harmonious scenery and they seem to unite as one, also “Rakan” and “Xayah” are intimate lovers which is also a harmonious images. In this way, it can be considered as a kind of domestication. The second reason is that “Xayah” and “Rakan” are both half-bird creature, which correspond to “与孤鹜齐飞” in the quatrain. They are half-bird, so they can fly. The third reason is that the pronunciations of “Xayah” and “Rakan” are similar to the Chinese words “霞” and “洛”. In this way, the translator uses transliteration to achieve his goal. From three perspectives, the author thinks that the translation of this textual material is accord with the Skopos rule, for the translation does not only convey the information of the original text, but also meet the need and expectations of Chinese players.

Example 2

Original version: Here’s a tip and a spear behind.

Chinese version: 一点寒芒先到，随后枪出如龙。

In this case, it is the lines of a champion named Zhao Xin in the game. Zhao Xin is a loyal warrior with a spear as his weapon. His prototype is the famous military officer in the three kingdoms period, Zhao Yun. So during the process of translation, the translator also takes the domestication strategy and uses the translation methods of free translation and amplification to cater to the taste of Chinese player. In this sentence, “先到” and “如龙” are both amplification to make the sentence more neat and orderly in Chinese. Also the translator uses free translation to make the sentence more readable in Chinese. In this way, the translator achieves the goal of making the translation more acceptable for Chinese player.

(2)Translation Under Coherence Rule

The coherence rule means that there must be intra-textual coherence in the translation, that is to say, the target text should be readable and acceptable. It enables the recipient to understand and make sense in the culture of the target language and the communicative context in which the target text is used. Thus, the Chinese player usually make some nicknames for the champions in the game (champion is the character manipulated by the player in the game) to make it easy to read and accept for Chinese player (Gong Lei:2018). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: the outlaw

Chinese version: 法外狂徒

Nick name: 男枪

The outlaw is the title of a male champion named Graves in the game (every champion own his title in the game, which is considered as another name of the champion)， he is a criminal with a big rifle. In Chinese version , official translators translate the title of Graves, the outlaw, into “法外狂徒” literally. However, for the sake of convenience, the Chinese players further simplify it into “男枪”, which means the man with a rifle. In this case, the players can also be considered as the translators, they just combinate the image of this champion and his gender, and use literal translation to get a nick name for this champion. In this way, the name of this champion is more easily to read and widely accepted by Chinese player.
Example 2:

Original version: The Deceiver

Chinese version: 诡术妖姬

In the background story of the game, Leblanc is a beautiful lady and she is a great magician who likes to cheat other by her tricks, so she gets his title “The Deceiver”. In this case, the translator does not translate “The Deceiver” into “欺骗者” or “骗子” literally. Instead, the translator translates it into “诡术妖姬” in the way of free translation and amplification, which combinates the features and gender of this champion. In this way, “诡术妖姬”, obviously, is a better choice than “骗子” or “欺骗者”. Also, for Chinese, the title of four characters is usually more readable.

(3)Translation Under Fidelity Rule

The fidelity rule means that there must be inter-coherence between source text and target text, which is equal to the principle of faithfulness in other translation theories, that is to say, the translation must ground on the information given by the source text. Thus, during the process of translating the game, the translator uses various strategies to translate certain terms (Xin Yue: 2019). During the process of translation, the translator mostly takes the domestication strategy and uses the translation methods such as free translation, literal translation and so on.

Example 1:

Original version: Monkey King

Chinese version: 齐天大圣

In this example, the title of Monkey king belongs to the champion named Wu Kong, whose prototype is the monkey in the ancient Chinese novel, The Journey to the West. However, the translator does not just translate monkey king into “猴子王” literally, but translate it into “齐天大圣”, which conforms to the source text. Because almost all the Chinese know the story of Wu Kong and his title “齐天大圣”. In this way, based on the translation strategy of domestication and the translation method of free translation, the translator makes it more corresponding to the original text. So the author considers this version as a successful translation which obeys the fidelity rule.

Example 2:

Original version: The fist of Shadow

Chinese version: 暗影之拳

In this case, the translator just uses the literal translation to translate the title, also there is
one point has to be mentioned. During the translation of the material, the translator uses literal translation in many places as long as there is correspondence between English and Chinese in that material. In this way, the translation obeys the fidelity rule.

===Mistranslation in League of Legends===
During the process of translating the material, though most of the translation is in accord with the Skopos theory. However, the author also finds there are some mistranslation from the perspective of Skopos theory.

(1)Mistranslation Against Skopos Rule

In the process of translation, it is inevitable to meet some material which is difficult to translate in the way conforming to the Skopos rule.

Example 1:

Original version: Minotaur

Chinese version：牛头酋长

In this example, originally, Minotaur is the monster with human’s body and the head of cow in Greek myth, however, in the Chinese version, the translators simply translate it into “牛头酋长”, which means the chieftain of cow. In this way, it violates the Skopos rule. Because according to the Skopos rule of the Skopos theory, the translator to translate the original text into the target language in a way that suits his purpose. In the process of translation of games, the purpose is to make the gamers experience the game in a more immersing way. That is to say, translators should take Chinese culture into consideration during the process of translation. However, the word “酋长” is rarely used in Chinese. So in this case, maybe “牛魔王” is a better choice. The first reason is that it has the same image with the champion in the game. The second reason is that Chinese players are familiar to this name.

Example 2:

Original version：The Lady of Clockwork

Chinese version: 发条魔灵

In this case, the author thinks the Chinese version is a kind of overtranslation, for here the translator translates “lady” into “魔灵”. However, “魔灵” is a word of western style and not usually seen in Chinese. In Chinese, the word “魂” usually be used to express the meaning of “灵”. Also, the translation does not show the gender of this champion. So here the author thinks “发条魔姬” may be a better version. In this version, both literal translation and amplification are used. “姬” is a Chinese style word which is equal to lady. In this way, it can be more easily accept by the Chinese players. And “魔” can show the essence of the champion.

(2)Mistranslation Against Coherence Rule

During the process of translating the game, the translators sometimes have to violate the coherence rule in order to cater to the Skopos rule or the fidelity rule.

Example 1:

Original version: The might of Demacia

Chinese version: 德玛西亚之力

In this case, the translator translates “The Might of Demacia” (Demacia is a city-state in the game) into “德玛西亚之力” in Chinese. That is a kind of literal translation, however, few names of place are longer than three words. “德玛西亚” may not be easy to read and accept by Chinese players. In this way, it violates the coherence rule. As a result of it, the players usually call it “德玛” for short. And there is a good example for the translation of the name of place. In this case, the city Piltover is called “皮城” in Chinese. Also, there is a title of a champion called The Seneschal of Demacia. Its Chinese version is “德邦总管”. According to these two example, it can be known that in the translation of the name of some place, the translator may take the initial as the first character of Chinese version, then use a word which is equal to the meaning of “city”, such as “城”、“邦”. It is a kind of free translation. In this case of “The Might of Demacia”, the authors takes “德邦” from the case of “德邦总管” and translate it into “德邦之力”. In this way, it is easier for the players to read and accept.

Example 2:

Original version: The Defender of Tomorrow

Chinese version: 未来守护者

In this case, the translator translates the defender of tomorrow into “未来守护者”. apparently, here the translator extends “tomorrow” to “future”. The author thinks here the translator does a great job and comprehends the champion in a good way. It is an indication of amplification and free translation. Because it is universally known that tomorrow can be comprehended as future. But the problem is that, usually, the Chinese titles of the champions in this game are made of four characters. Because it is more easily for Chinese player to read. So in this case, “未来” can be retained, it is a good free translation, but “守护者” should be changed into “守卫”, there is a title of four characters ,which is more readable for Chinese players. In this way, it is in accord with the coherence rule.

(3)Mistranslation Against Fidelity Rule

During the process of translating the game, the translators may have to violate the fidelity rule in order to obey the other two rules.

Example 1:

Original version: The Rabble Rouser

Chinese version: 酒桶

In this case, originally, the Rabble Rouser means the person who instigates the masses, however, in Chinese version, it is simply translated into “酒桶”, which means the man with a wine bucket, for the image of this champion in the game is a man with a wine bucket. But according to the background story of this champion, he is a reckless and impetuous drunker. So the author thinks the Chinese version does not obey the fidelity rule. It does not follow the original meaning of its English version. In this case, the author thinks “肇事酒徒” may be a better translation for the title of this champion. It does not only conform to the background story of this champion, but also fit his image.

Example 2:

Original version: The Hexplosive Expert

Chinese version: 爆破鬼才

In this case, the translator uses omission to translate this title, in this way it seems to be more readable for Chinese players. However, the translator dose not obey the fidelity rule here, because the translator just takes the word “Hexplosive” as “explosive”. Actually, “Explosive” is derived from Hex, which is a top science study in League of Legends, and the champion uses the “Hextech Engine” when making bombs, he is named after this. So the author thinks that the title should be translated in a literal way to obey the meaning of the original text. So the author’s version is “海克斯爆破专家”.

(3)Summary
After analyzing the translation of the textual material of the game, it can be found that there are some places violating the Skopos Theory, but they are just a part of the translation of the whole game. One thing have to be admitted: there are many excellent translation in the game that cater to the taste of expectations of Chinese player. Also this is primary rule of Skopos theory.

===Conclusion===
Video game, known as the ninth art, is a booming and potential industry. As China's opening up and the e-sports industry thriving, the game market of China is expected to expand dramatically, but the demand for high-quality games also increases. As an crucial medium for domestic players to have better game experience, the quality of game translation has a direct influence on the players’ game experience (Qiao Dan:2020). However, because of the development of online games, traditional ways of game translation is not able to meet the requirements of players now. Skopos Theory focuses on the communicative purpose of translation, which offers a theoretical basis for the translator to use various ways to achieve the goals. The translator of the game should firstly figure out the role of the original text in the original context, then analyze the requirements and acceptance ability of the target recipients, and finally reproduce the meaning of the original text smoothly with words in line with the game style.
In this thesis, the author analyzes the textual materials of lol from the prospect of Skopos theory. Through the analysis of the lines, titles and names of the champions of this game. The author finds that the translators of the game mostly take the domestication strategy, and use several translation methods such as transliteration, amplification, free translation and so on to achieve their goal—making this game more acceptable for Chinese players and helping the Chinese players have a better game experience. However, during the process of analysis, the author also finds that there are many mistranslation from the point view of Skopos theory. So the author analyzes the mistranslation and corrects the translation based on Skopos theory. After the analysis of the material, it can be seen that with the guidance of Skopos theory, translators can have specific rules to obey in order to achieve the goal and come out good translation. However, the related research in China is still very few, so the scholars should pay more attention to this field and make it a systematic discipline.

===References===
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Gentzler, E. Contemporary Translation Theories[M] (2nd revised edition). Bristol: Multilingual Matters. 2001.

Munday, J. Introducing Translation Studies[M]. London: Routledge. 2001.

Newmark, P. The Curse of Dogma in Translation Studies[M]. Berlin: Labende Sprachen. 1990.

Nord, C. Text Analysis in Translation: Theory, Methodology, and Didactic Application of a Model for Translation-oriented Text Analysis[M]. Amsterdam: Atlantic, GA. 1991.

Nord, C. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Manchester: St. Jerome Publishing. 1997.

Reiss, K. Translation Criticism[M]. Shanghai: Shanghai Foreign Language Press. 1999.

Trainor, H. Game Localization: Production and Texting[J]. Multilingual Computing & Technology. 2003.

Vermeer, H. What Does It Mean to Translate?[J]. Indian Journal of applied linguistics. 1987.

Vermeer, H. Skopos Theory of Translation[M]. 1996.

Cai Qiqi,Huang Yanjie蔡齐齐，黄焰结. MOBA类型游戏的本地化翻译研究——以《英雄联盟》为例[J]. 青岛农业大学学报(社会科学版)，2018，30(03)：84-88.

Dai Jie代婕. 浅析跨文化交际翻译视角下的游戏翻译——以竞技游戏《英雄联盟》为例[J]. 现代交际，2019(02)：100-101.

Gong Lei龚磊. 德国功能主义翻译理论视角下探讨网络游戏的翻译策略[D]. 赣南师范大学，2018.

Liu Chang, Yang Weixiu刘畅，杨维秀. 网络游戏本地化翻译研究——以《英雄联盟》为例[J]. 海外英语，2019(12)：30-32.

Qiao Dan乔丹. 功能学派目的论视角下竞技游戏本地化翻译研究[D]. 吉林大学，2020.

Tang Jiawen汤嘉雯. 从傅雷“神似论”探析电子竞技游戏翻译——以《英雄联盟》为例[J]. 哈尔滨学院学报，2019，40(07)：127-129.

Xiao Zhiyan肖志艳. 游戏名称翻译的目的论视角研究[J]. 咸宁学院学报，2011(5):189-190.

Xin Yue辛悦. 译创视角下的游戏翻译[D]. 北京外国语大学，2019.

Yan Mingle言明乐. 从功能派理论视角看游戏软件本地化过程中的翻译策略[D]. 广东外语外贸大学，2009.

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==英语笔译刘乐乐 Liu Lele 202170081584==

==英语笔译刘双英 Liu Shuangying 202170081585==

'''The Transmission of Chinese Folk Art'''
===Abstract===
===Key words===
===Introduction===
China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
===Subtitle1===
===Subtitle2===
===Subtitle2===
===Conclusion===
===References===

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

<center>Liu Ting</center>

===Abstract===

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

===Key words===
Chinese science fiction, translation, dissemination, go global

===Introduction===

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

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

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

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

===Literature Review===

===Methods and Theories===

===1. Chinese Science fiction===

1.1 Science fiction

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

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

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

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

1.2 Origin and Development of Chinese Science Fiction

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

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

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

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

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

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

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

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

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

From 2015 to 2020, there will be a large increase in the number of translations of long novels, including Liu Cixin's The Dark Forest (2015), Death's End (2016), Ball Lightning (2018), Supernova Era (2019), Of Ants and Dinosaurs (2020), Wang Jinkang's Fourth Degree Panic (2016), Chen Tulufan's Waste Tide (2019), Baoshu's The Redemption of Time (2019), and Hao Jingfang's Vagabonds (2020). Four short and medium-length science fiction novels from this period were published in the form of multi-person collections, including Invisible Planets: Contemporary Chinese Science Fiction in Translation (2016) and Broken Stars: Contemporary Chinese Science Fiction in Translation (2016), edited by Liu Yukun. There are three personal collections, including To Hold Up the Sky (2020) of Liu Cixin’s works, Han Song's A Primer to Han Song (2020) and Xia Jia's A Summer Beyond Your Reach (2020). The publishers of Chinese full-length science fiction and fiction collections include Tol Publishing, Head of Zeus Publishing, Saga Press, Wyrm Publishing, Dark Moon Books, Amazon Crossing, and Columbia University Press, of which the first two account for the majority. With the growing public interest in Chinese science fiction, these British and American publishers have seen the market potential of Chinese science fiction and have taken the initiative to bring outstanding Chinese science fiction works to the English-speaking world.
Since the 21st century, China has surpassed Japan to become the world's second largest economy in the world, and its influence in international affairs has been growing. The English-speaking world, led by the United States, wants to understand the rising of China and literature has become a more appropriate path. Specifically in the category of science fiction.

And there are three influential factors in the boom of Chinese science fiction in translation and dissemination that cannot be ignored.
In terms of Chinese science fiction itself, the quality of the original works and translations is excellent. This is the basis for the successful entry of Chinese science fiction into the English-speaking world, and it is also the basis for the "going abroad" of Chinese science fiction. While the main reason is that the western countries are becoming more open to Chinese science fiction. The important opportunity for the translation and dissemination is the increasingly frequent exchanges between the Chinese and foreign science fiction communities. In addition, China actively supports the creation of science fiction and the "going abroad" of Chinese culture at the national level especially after Liu Cixin and Hao Jingfang received awards, the science fiction boom continued to ferment, and local Chinese publishers and local publishers and science fiction culture enterprises have taken advantage of the favorable policies to actively expand their overseas overseas businesses and explore effective export models.

===Currents Problems in Transaltion and Dissemination===

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

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

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

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

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

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

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

===Subtitle 4===

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

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

===References===

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

<center>刘瑶 Liu Yao</center>

===Abstract===

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

===Introduction===

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

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

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

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

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

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语笔译刘珍 Liu Zhen 202170081588==

<center>'''Chinese Guqin'''</center>

<center>Liu Zhen</center>

===Introduction===
The Guqin (literally "ancient stringed instrument") is the modern name for a plucked seven-string Chinese musical instrument of the zither family. It has been played since ancient times, and has traditionally been favored by scholars and literati as an instrument of great subtlety and refinement, as well as being associated with the ancient Chinese philosopher Confucius. It is sometimes referred to by the Chinese as "the father of Chinese music" or "the instrument of the sages." The Guqin is a very quiet instrument, with a range of about four octaves, and its open strings are tuned in the bass register. Its lowest pitch is about two octaves below middle C, or the lowest note on the cello. Sounds are produced by plucking open strings, stopped strings, and harmonics. The use of glissando—sliding tones—gives it a sound reminiscent of a pizzicato cello, fretless double bass or a slide guitar. The qin is capable of over 119 harmonics, of which 91 are most commonly used. By tradition the qin originally had five strings, but ancient qin-like instruments with 10 or more strings have been found. The modern form has been standardized for about two millennia.

===Origin===
According to legend, the qin, the most revered of all Chinese musical instruments, has a history of about 5,000 years. The legendary figures of China's pre-history—Fuxi, Shennong and Huang Di, the "Yellow Emperor"—were involved in its creation. Nearly almost all qin books and tablature collections published prior to the twentieth century give this story as the factual origin of the qin. The qin is mentioned in Chinese writings dating back nearly 3,000 years, and related instruments have been found in tombs from about 2,500 years ago. The exact origin of the qin is still a subject of historical debate.

===Development History===
The ancient form of the qin was short (almost a third of the size of a modern qin) and probably only played using open strings. This is because the surface of these early qins where not smooth like the modern qin, the strings were far away from the surface, which was engraved, and did not have markings for the harmonic positions.

Based on the detailed description in the poetical essay "Qin Fu" (琴赋) by Xi Kang (223–262), the form of the qin that is recognizable today was probably set around the late Han Dynasty. The earliest surviving qin in this modern form, preserved in both China and Japan, have been reliably dated to the Tang Dynasty. Many are still playable, the most famous perhaps being the one named "Jiuxiao Huanpei" 《九霄环佩》, attributed to the famous late Tang dynasty qin maker Lei Wei (雷威). It is kept in the Palace Museum in Beijing.

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

===Construction and Strings===
According to tradition, the qin originally had five strings, representing the five elements of metal, wood, water, fire and earth. Later, in the Zhou dynasty, Zhou Wen Wang (周文王) added a sixth string to mourn his son, Bo Yihou (伯邑考). His successor, Zhou Wu Wang, added a seventh string to motivate his troops into battle with the Shang. The thirteen hui (徽) on the surface represent the thirteen months of the year (the extra 13th is the 'leap month' in the lunar calendar). The surface board is round to represent Heaven and the bottom board flat to represent earth. The entire length of the qin (in Chinese measurements) is 3 chi, 6 cun and 5 fen (三尺; 六寸;五分); representing the 365 days of the year (though this is just a standard since qins can be shorter or longer depending on the period's measurement standard or the maker's preference). Each part of the qin has meaning, some more obvious, like "dragon pool" (龙池) and "phoenix pond" (凤沼).

Until the Cultural Revolution, the guqin's strings were always made of various thicknesses of twisted silk (丝), but since then most players have used modern nylon-flatwound steel strings (钢丝). This is partly due to the scarcity of high quality silk strings and partly due to the newer strings' greater durability and louder tone.

Silk strings are made by gathering a prescribed number of strands of silk thread, then twisting them tightly together. The twisted cord of strings is then wrapped around a frame and immersed in a vat of liquid composed of a special mixture of natural glue that binds the strands together. The strings are taken out and left to dry, before being cut into the appropriate length. The top thicker strings (strings one to four) are further wrapped in a thin silk thread, coiled around the core to make it smoother. According to ancient manuals, there are three distinctive gauges of thickness that one can make the strings. The first is taigu (Great Antiquity) which is the standard gauge, the zhongqing (Middle Clarity) is thinner, whilst the jiazhong (Added Thickness) is thicker. According to the Yugu Zhai Qinpu, zhongqing is the best.

Although most contemporary players use nylon-wrapped metal strings, some argue that nylon-wrapped metal strings cannot replace silk strings for their refinement of tone. Furthermore, nylon-wrapped metal strings can cause damage to the wood of old qins. Many traditionalists feel that the sound of the fingers of the left hand sliding on the strings is a distinctive feature of qin music. The modern nylon-wrapped metal strings were very smooth in the past, but are now slightly modified in order to capture these sliding sounds.

Traditionally, the strings were wrapped around the goose feet (雁足) but a device has been invented, which is a block of wood attached to the goose feet, with pins similar to those used to tune the guzheng protruding at the sides, so one can string and tune the qin using a tuning wrench. This is helpful for those who lack the physical strength to pull and add tension to the strings when wrapping the ends around the goose feet. However, the tuning device looks unsightly and many qin players prefer the traditional manner of tuning; many also feel that the strings should be firmly wrapped around the goose feet so that the sound may be "grounded" into the qin.

===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.

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

<center>Long Hanliang</center>

===Abstract===

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

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

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

===Key words===

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

===Introduction===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

===Means and methods===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(1) Practicality

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

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

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

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

(2) Knowledge

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

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

(3)Scientificity

1. To teach standardized and common Chinese characters

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

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

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

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

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

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

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

(4)Interest

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

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

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

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

===Classroom Teaching===

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

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

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

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

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

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

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

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

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

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

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

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

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

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

===Training of TCSL Teachers===

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

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

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

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

1. modern Chinese knowledge

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

2. linguistic knowledge

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

3. cultural knowledge

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

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

4. foreign language knowledge

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

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

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

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

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

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

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

===Conclusion===

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

===References===

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

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

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

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

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

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

HSK 中国汉语水平考试

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

teaching Chinese as a second language 对外汉教

cultural exchange 文化交流

Confucius Institute 孔子学院

overall design 整体设计

CCTV TV programs 中央电视台电视节目

Voice of China 中国好声音

belt and road initiative一带一路

supply side structural reform 供给侧结构性改革

Alipay 支付宝

street stall economy 地摊经济

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

mahjong 麻将

chow mein 炒面

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

2.When was HSK officially implemented?

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

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

5.What types of HSK exams are there?

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

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

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

3.Classroom teaching

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

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

Ⅲ. Handle sensitive issues properly and maintain national dignity.

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

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

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

<center>罗姚林 Luo Yaolin</center>

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

===the Origin of Chinese Dialects===

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

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

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

<center>马艳焕</center>

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

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

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

<center>聂薇</center>

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

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

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

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

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

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

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

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

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

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

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

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

(i) Confucian culture

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

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

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

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

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

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

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

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

(ii) ceremonial culture

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

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

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

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

(iii) institutional culture

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

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

(ⅳ) the concept of family-and-nation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

epic population migration：史诗般的人口迁徙

Confucian culture：儒家文化

ceremonial culture：仪式文化

institutional culture：制度文化

farming culture：农耕文化

patriarchal clan system：宗法制度

clan gathering：家族聚居

displaced people：流民

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

affectionate elders and dutiful juniors：父慈子孝

agriculture is valued while commerce is restrained：重农抑商

fishing, woodcutting, farming and learning：渔樵耕读

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

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

worshiping ancestors：祭祖

paying a New Year call：拜年

putting up spring scrolls：贴春联

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

the household registration system：户籍制度

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

the concept of family-and-nation：家国观念

Spring and Autumn Period：《春秋繁露》

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

Earthbound China：《乡土中国》

the Double Ninth Festival：重阳节

statutory long holidays：法定节日长假

elderly drifters：老年漂族

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

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

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

2.Tourists

3.Confucian culture

==英语笔译孙丽君 Sun Lijun 202170081593==

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

<center>Sun Lijun</center>

===Introduction===

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

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

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

===The Features of Chuanjiang Work Songs===

===The Geographical Distributions of Chuanjiang Work Songs===

===The Inheritance of Chuanjiang Work Songs===

===The Translation of Chuanjiang Work Songs===

===Conclusion===

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

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

<center>仝雨梦</center>

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

===The Evolution of Chinese Traditional Philosophy===

===The Representative Schools of Thought===

===The Influence in Contemporary Times===

===Conclusion===

===References===

===Terms and Expressions===

===Questions===

===Answers===

==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==

==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 trait 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 enjoying priority and regiment to other qualities in the political and cultural life of traditional Chinese society. China's patriarchal social system predestines filial piety to go through a process from a religious ethic of ancestor worship to a family ethic and then to a political ethic. (Xiao Longhang 2006)
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 them. In feudal society, when the system was highly prosperous, 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) This article will focus on the origin and development of filial piety in China, analyze the cultural values and limitations of filial piety, and briefly compare and contrast filial piety in China and the West, aiming to give an analysis of the development of filial piety in China.

===The Evolution of Filial Piety in China===

===The Values and Limits of Chinese Filial Piety===

===Comparison of Chinese and Western Filial piety===

===Conclusion===

===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>

===Abstract===
The Spring and Autumn period and warring States period is a very bright history in Chinese history, and a hundred schools of thought contend in such an era. Many scholars and schools of thought have emerged in this era, and these thoughts have had a very far-reaching impact on later generations. Zhuzi refers to the representatives of Guan-tzu, Lao-tzu, Confucius, Zhuang-tzu, Mozi, Mencius, Xun-tzu and other academic thoughts in the pre-Qin period, while Baijia refers to the representatives of Confucian, Taoist, Mohist, famous, Legalist and other academic schools. The hundred schools of thought are the general name of the pre-Qin academic thought figures and factions.So why was the Spring and Autumn and warring States period the coruscating period of all schools of thought in the pre-Qin period? This period basically laid the foundation of Chinese traditional culture or Sinology, and since then there have been almost no major breakthroughs or achievements.

===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==
<center>'''The Acrobatic Fighting in Peking Opera'''</center>

<center>Xie Xiaoying</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译熊嘉玲 Xiong Jialing 202170081602==
<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.

==英语笔译颜媛 Yan Yuan 202170081603==

<center>'''An Analysis of Chinese Humor Language from the View of Formal Repetition'''</center>

<center>Yan Yuan</center>

===Abstract===
Multidisciplinary by nature,the study of humor has been approached from various perspectives,such as philosophy ,psychology,linguistics ,literature,sociology and anthropology.However,the previous research ,though somewhat comprehensive ,hasn't yet generated systematic and thus convincing theories concerning the definition,the working mechanism of humor as well as its linguistic expressions.A unanimous viewpoint is still in question.Whereas,the awkward situation has been reversed to some extent with the publication of the first academic works tackling Chinese humors ''The Linguistics of Humors'' by Professor Hu Fanzhu in 1987,which serves as an impetus for growing interest in and ensuing waves to the studies of humors .It's worthwhile to note that the works itself lays the way for future and further research and thus plays a milestone-like role.In this study we tried to study Chinese Humor language from the view of formal repetition without consideration of language units of all levels in traditional linguistics.Kinds of formal repetition are listed and given restrictions on it.
===Key words===
Formal Repetition; Chinese ; Humor Language
===Introduction===
Humor has always been an interesting topic in both ancient and modern times, and many people have studied the phenomenon from different perspectives,such as aesthetics,sociology ,psychology,linguistics,philosophy,etc.Theories about humor can also be described as a lot.Humor can be expressed in many different ways, in a dramatic way(comedy),in a pictorial way(cartoons), in a musical way, etc.Language, as a vehicle for the expression of human thought and ideas, is of course an important way and factor in constituting humor, and thus linguistic humor.Language is a complex system in which everything is based on relationships, and there is no such thing as a system of language system.The complexity of the language system is ,of course , a resource that can often used for humorous language. Humorous language is generated under certain conditions through certain linguistic elements and their relationships with each other.The current research on humor language in China is very one-sided and inadequate,mostly staying in the area of rhetorical patterns, words and the techniques of humor language formation,without a comprehensive, three-dimensional and explanatory study.In view of this,in this thesis we are interested in finding out the connection between the elements of the language system and their interrelationships with humor,i.e.,what forms or relationships are humorous?What forms or relationships are humorous and under what circumstances?In this way, we break the one-sidedness of the original research and think further about the study of humor language, deepen our understanding of the "surface structure"and "deep structure"of humor language , and identify some patterns between linguistic forms and humor language. It is an important reference for us to further understand the mechanism of humor language production and even the application of humor language.
===Literature Review===
As we are known,language is the most important communication tool for human being , though which people known the world and perceive it."The act of language , though not the whole state of human existence,is the basic state of human existence."(Qian Guanlian.2005) Heidegger said,"Man dwells in the dwelling built by language.Humor is also distinguishing feature of human beings (Nash,1985).Human beings mostly express humor through language, which can be divided into two man categories:oral language and written language. The spoken language is the basis of the written language, and the written language is only the expression of the spoken language.Therefore,humor can also be related to language through these two media,and the specific product is the general form of oral language humor,such as comedy ,skits and so on(Of course,they also include the body language of certain performs).Another form of expression is to record humorous scenes or stories in the form of words to make readers laugh,such as humorous stories in newspaper and magazines, humorous novels and so on. From this point of view, we can say that the relationship between language and humor is that language is the basis and the tool og humor.And without language, there would be no humor(except silent behavioral humor). This close relationship can be seen from the research history of language and humor.The research on the relationship between them has a long history and rich achievements.The study of humor has traditionally been concentrated and dominated within the disciplines of psychology,philosophy,and sociology. It was not until the the late 1970s that the study of humor in linguistics took its place and gained attention.Traditional linguistic studies of humor point out that humorous elements in oral jokes are more stable and explicit in phonological terms than in written jokes, and that linguistic humor arises when the first level of linguistic symbols(i.e., phonological or written units) moves to the second level(i.e.,the communicative system).This has led to a number of research approaches , such as ambiguity, which is prevalent in many humorous texts and can be divided into phonological-lexical ambiguity, semantic-pragmatic ambiguity,etc.
Since the publication of the first academic book titled ''Humor Linguistics'' in China, the study of humor linguistics in China has been exciting.Chinese scholars have studied humorous language,especially Chinese humor language, from perspectives.Mr.Hu Fanzhu's ''Humor Linguistics'' is the first linguistic book in China that systematically studies humor.Starting from a review of the history of laugh and the theory of "laugh" in China and the west.The book proposes that humor is a spiritual phenomenon with three levels,namely:humor in the broad sense is comparable to ludicrousness, humor in the normal sense refers to ludicrousness that appeals to reason,and the humor in the narrow sense specifically refers to humor that contains intellectual lightning and generosity, a sense of spirituality and life.The book was published and had a great impact on the academic world.A large number of similar books have been published, but it can be said that they basically do not deviate from the technical lines and research ideas outlined by Mr. Hu in that book.
According to incomplete statistics , in terms of published papers, we searched for 22 articles on the Chinese journals with the keywords "humor language"; 5 articles with the keyword " language humor";15 articles with the keywords "speech humor" ;9187 articles were searched by the keyword "humor". In terms of published monographs , in addition to "Humor linguistics", subsequent monographs on humor language or humor include Gua Tian's ''Humor Language Operations''
'',Gong Weicai's ''Humor Language Art'', Li Junhua's ''Humor Language'',Sun Shaozhen's ''Fundamentals of Humor'' and ''Fifty Methods of Humor Defense'' and so on. In terms of outstanding master's theses ''on China Journal Online'', there are 15 master's theses with humor language as the topic or keywords.
===Methods and Theories===

===Humor and The Definition of Humor===
'''1.1The origin and definition of humor'''
What is “humor”？There are many different answers to this question.People have interpreted and explained humor form a variety of perspectives, each with their own insights.However , it is a little known fact that the word “金数”is a foreign word in Chinese .The word “humor” in Chinese can be traced back to more than 200 years ago to the“Where silence and quietude reign” in “Longing for Changsha , The Nine Elegies，The Song of Chu”.Wang Yi notes，“Confucius is very good.As poetry written,“Confucius interpreted the word "默" as silence.The mountains in the south of the Yangtze River are high and the wild is very clean, and there is no voice in the desert.”In ''Shih Chi'',“默”（silence) is protrayed as "墨"(Chinese ink).It can be seen that at that time,the word "默"（humor） meant silence.Since then,the basic meaning of "默"(Humor) has not changed for more than 2,000 years.For example, Li Bai,a great romantic poet in Tang Dynasty,wrote in Song of River in Farewell to Cen zhengjun ,"And yet it is worrying to live alone in such a lonely place ."If we consider the meaning of the word "humor", that is , as an aesthetic category we want to study.It is an exotic and a foreign transliteration word in Chinese.In the last century,Mr.Lin Yutang was transliterated from English "Humor" .The reason why Mr.Lin transliterates "幽默" with the word "humor" is to consider their implied meaning(or instant impression meaning) and morpheme association color.Therefore, we can say that humorous words are both transliterated words and free translated words.Since then,the word "幽默" in modern Chinese has gradually deviated from its original meaning， that is , it no longer means "silent", but points to the meaning of humor.According to the related works published in China, there are definitions of humor as follows:

Humorous style is one of the key rhetoric style in Chinese......Humor is the use of language conditions to show the humorous interest in things.It is characterized by a light-heartedness and cheerfulness.It is based on " truth"

Humor is a rhetorical technique.

Humor is a spiritual phenomenon. This spiritual phenomenon has a broad sense,a common sense. There are three levels of humor.Humor in the broad sense is comparable to ridiculousness ,such as comic, witty ,gagging,funny......Humor in the narrow sense refers to the layer of spiritual phenomenon that is most aesthetically valuable.Humor in the conventional sense is a mental phenomenon that has an appeal to the "ridiculousness " of reason.

Humor,like the comedy we see in our daily life,is created for a purpose to make people langh.

From the above definition of humor,we ca know how complicated its definition is, different viewpoint are different.This in itself shows its complexity as an object of study , and we can simplify it without getting entangled in the complexity of the definition.Based on the above viewpoints, we are more inclined to Hu Fanzhu's understanding and definition of humor in his monograph ''Humor Linguistic'' , that is , humor is a spiritual phenomenon, which can be divided into three levels:broad sense,ordinary sense and narrow sense.To sum up, in this paper we can define humor as laughable, that is, having the effect of inducing laughter.
'''1.1.1 The definiiton of humor language'''
From the abpve definition of humor, we know that humor is a multidisciplinary research topic,people from philosophy,psychology,sciology,linguistics,literature and many other aspects of the phenomenon of humor research.This thesis mainly studies the humor language, and the so-called humor language is "created by the use of various elements of language vaiation humor.In dynamic terms, it is the atmosphere in which language is used,or a style of language;in static terms, it is a fuzzy collection of linguistic variants, or an aggregation of ways.”（Hu,1987)From this definition,we can draw the following two conclusions:firstly,humor language must be related to linguistic symbols,humor that dose not use linguistic symbols as a carrier is not within the scope of this study,such as Ding Cong's cartoons and mime act are certainly funnny, but they are not humor language; second , humor language shuld be created by the variation of linguistic elements, not just by the narration of language of language symbols.It is necessary to distinguish between humor expressed in language and humor created by language:
===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.

==英语笔译杨心怡 Yang Xinyi 202170081604==

==英语笔译杨紫微 Yang Ziwei 202170081605==
<center>'''Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theory of "San Hua"'''</center>

<center>Yang Ziwei</center>

===Abstract===
Classical Chinese poetry is a gem of Chinese traditional culture. As for the translation of classical Chinese poetry, Mr. Xu Yuanchong is one of the most influential translator of classical Chinese poetry, and his translated works have been unanimously recognized and highly praised by many people at home and abroad. With more than 60 years of translation experience, he has summed up a set of translation theories of his own, which can be summed up in ten words in Chinese as “美化之艺术，创优似竞赛”. This paper mainly focuses on the analysis of the application and embodiment of the mainly translation theories-- the method of "San Hua" (equalization, deepenization and generalization) in Xu Yuanchong's translation of Tang poetry.

===Key words===
Xu Yuanchong; “San Hua” ; Tang poetry

===Introduction===
For a long time, translation has been playing an important role as one of the means to promote cultural communication and communication. The translation of many literary works has also achieved high achievements, but the translation of poetry has been mediocre, and it is difficult to produce high-quality translations, especially for the translation of ancient Chinese poetry. Mr. Xu Yuanchong, a modern translation master, has been engaged in literary translation for more than 60 years and has translated numerous works. His focuses on the English translation of ancient Chinese poems and has formed the method and theory of poem translation in rhyme form. In translation, he emphasized the subjectivity of the translator, the creativity and artistry of translation, and innovated and developed the translation theories of his predecessors. He believed that the translated works could not only convey the beauty of the original text, but even surpass it. In particular, his translation theory of "the art of beautification" has proved to be successful in the English translation of ancient Chinese poems. This paper focuses on the application of Xu Yuanchong's theory of "San Hua" in the translation of Tang poetry, and analyzes and explores its role and expression effect in the translation of ancient Chinese poetry into English. This thesis consists of four main parts, we will learn a lot about the previous study of translation of Tang poetry, the introduction and application of the method of "San Hua" in the translation of Tang poetry as well as the value and influence of Xu Yuanchong's translation theories. The purpose of the thesis is to search for realizing the beauty in form, sense and sound as well as making readers and translators themselves comprehend, enjoy and take delight in reading translation of Chinese classical poetry.

===Literature Review===
In the past research, people focused on the analysis and exploration of the three aspects of beauty of Xu Yuanchong, therefore, the analysis and research of another theory-- "San Hua" is a field that few people pay attention to. In this thesis, I focus on the analysis and application of the method of "San Hua" in the translation of Tang Poetry. Then in the dissertation of A Study On Xu Yuanchong As A Translator （2006）written by Chen Youyang, he introduce the source and definition of the method of "San Hua" which originates from Qian Zhongshu's "the realm of sublimation". In the Literature and Translation (2016) of Xu Yuanchong, it explains the method of "San Hua" in details and gives some examples to demonstrate its application of equalization（等化）、generalization（浅化） and deepenization（深化）. In addition, it analyzes the relationship between the method of "San Hua" and the three aspects of beauty as well as the "San Zhi". "San Hua" is the method to achieve beauty in sound, sense and form, what's more, it produces the translation works that bring joy and pleasure to readers. Now that my thesis stresses on the analysis of Tang poetry through the method of "San Hua", then I should learn clear about the features and categories of Tang poetry. In the article The Discussion of English Translation of Tang Poetry (1994), Gao Yukun analyzes the characteristics and development of Tang poetry translation and he holds that Chinese classical poetry are translatable. Academic journals of Su Lin and Wang Chengcheng, both of them analyze the significance of the expression of the beauty in sense through the method of "San Hua". Since there are culture–laden words and allusions that are difficult to translate, the proper application of "San Hua" cam help us deal with it well. Then I introduce several Tang poems translated by Xu Yuanchong to illustrate the detailed application and appreciation through the method of "San Hua".
In conclusion, the method of "San Hua” is applied in literary and poem translation frequently and many translators praise it. Although sometimes in order to realize the three aspects of beauty, it causes some disputes in the accuracy and faithfulness of translation works, it makes great contributions to the translation field and spread of Chinese culture. Thus, the thesis will pay more attention to the analysis, application and appreciation of translation of Tang poetry through "San Hua" to get a clearer and deeper understanding of the translation method.

===Methods and Theories===
Research method: Literature analysis.
By reading journal articles data online and entity books such as "beautiful suffocation of tang poetry", the selection of classic poetry translation works explore the analysis theory of "three concrete application as well as the significance of the translation method, to explore the untranslatability phenomenon in ancient Chinese poetry and the translator's clever translation method in Chinese and English is how to build a bridge; At the same time, it studies the value and function of the "three Modernizations" translation theory in translation and cultural transmission.
Theories: "San Hua"--Equalization,deepenization and generalization.

===Subtitle 1===
The Previous Study on Translation of Tang Poetry at Home and Abroad

The Tang dynasty is one of the most prosper dynasties in Chinese history. At that time, the development of Tang poetry has reached the highest level and left Chinese people a large number of valuable assets. Tang poetry possesses a very significant position in Chinese culture.

The ancient poetry of the Tang Dynasty are mainly five–or–seven–character regulated verse（五言或七言诗）. There are also two kinds of modern poetry, one is called quatrains（绝句） and the other is called metrical verse（律诗）. What's more, the quatrains and the metrical verse have five characters and seven characters respectively, so there are basically six basic forms of Tang poetry: five-character ancient style poem, seven-character ancient style poem, five-character quatrains, seven-character quatrains, five-character metrical verse, and seven-character metrical verse. Ancient poetry requires a wide range of rhymes: in a poem, the number of sentences can be more or less, the chapter can be long or short, and the rhyme can be changed. However, modern poetry has strict requirements on rhyme and disciplines of metre: a poem has a limited number of sentences, that is, the quatrains consist of four sentences while the metrical verse of eight sentences. The rhyme schemes or level and oblique tone of the words in each line has a certain regularity, and rhyme cannot be converted. It also requires the middle four lines to be antitheses. The style of ancient poetry is handed down from previous generations, so it is also called gufeng or ancient style. And modern poetry has a strict meter, so some people call it metrical poetry.
The forms and styles of Tang poetry are colorful and innovative. It not only inherited the Han and Wei folk songs, Yuefu tradition, and greatly developed the style of free verse; It not only inherited the five and seven ancient poems of the previous generation, but also developed into a long epic narrative; It not only expanded the use of five-character and seven-character forms, but also created modern poetry with a particularly beautiful and neat style. It pushed the artistic characteristics of the harmony of syllables and the refinement of words to an unprecedented height, and found a most typical form for the ancient lyric poetry, which is still particularly popular with the people. However, due to the strict metrical restrictions in modern poetry, the content of the poem is easily fettered and cannot be created and played freely, which is a great defect brought by its advantages and creates troubles for its translation as well.

It is a hard work to produce high–quality and beautiful translation work of Tang poetry. Since there are not only various themes and styles in Tang poetry, but also allusions, numerals, images, phonetic words, customs, natural scenery, place names and etc. All of these pose greater troubles for translating Tang poetry. Therefore, different translators hold different views in translating Tang poetry and they have their own translation theories.

Since 80s century, there are lots of English versions of Tang poetry, such as Poetry and Prose of Tang and Song, which is translated by Yang Xianyi and Gladys, Xu Zhongjie's New Translations of Two Hundred Tang Poems, Wu Juntao's Translation of Du Fu's Poetry, Xu Yuanchong's New Translation of Three Hundred Tang Poems and Selective Translation of Li Bai's Poems, Zhang Tingchen and Bruce M.Willson's Translation of One Hundred Tang Poems and Weng Xianliang's Translation of Classical Chinese Poetry. In early times, some people thought that poems can not be translated. P.B.Shelly and R.Frost were supporters. Frost said that poetry is what gets lost in translation (Gao,1994). An Austrian philosopher, R. Jakobson believes that poetry is strictly untranslatable (Gao,1994). Although there were such opinions, most people believed that poems are translatable and many translators have explored and formed new translation theories. In addition, E.A. Nida's equivalent effect and functional equivalence theories support that poems can be translated because of language regularity. Among them, some hold to translate poems with English metrical verse, such as Xu Yuanchong and Wu Juntao; while others use free verse on poetry translation, such as Weng Xianliang and Wang Shouyi. Because of intricate features of Tang poetry, translation work is difficult to realize its original beauty in form, sound and sense at the same time, so the former pays much attention to maintain the beauty in form, sound and sense and pursues to realize the combination of sense and form, and the latter emphasizes the importance of sense and seek to reproduce the meaning of the original poem and convey the true feelings of the poet, but sometimes it lost the original beauty of rhyme and sound. As L. Wittgenstein said, "translating from one language to another is doing a ma-thematic task. And translating an emotional poem into another language is like addressing a ma-thematic problem..., which can be solved but lack of a systematic method" (Gao Yukun,1994,22). The French translator, Le Marquis d'Henvey–Saint–Denys also wrote in the preface of his translation work Collection of Tang Poetry in 1862, "Poem translation is taking great risk and it is also hard and painful, because we found that those true beauties lie in the poetry can not be expressed in any foreign language."

No matter what translation theories they use, all of them believe that the translation of poetry is an art. Under the guidance of Yan Fu's translating standards--faithfulness, expressiveness and elegance, they have been trying to achieve the beauty in form, sound and sense. Xu Yuanchong, who has been translating Chinese classical poetry for more than 60 years, made great contributions to the translation field and had remarkable achievements.

===Subtitle 2===
Main Ideas of Xu Yuanchong’s Literature Translation Theory

2.1 An introduction to Xu Yuanchong

Xu Yuanchong was born in Nanchang, the capital city of Jiangxi province in 1921. He graduated from the Department of Foreign Languages of Tsinghua University in 1943. He entered the Institute of Foreign Literature of Tsinghua University in 44 years and then went to Europe to study. After returning to China, he served as a professor of English and French in foreign languages schools in Beijing, Zhangjiakou and Luoyang. He has been a professor of international culture at Peking University since 1983. He has been teaching the course Translation and Appreciation of Ancient Chinese Poetry at Tsinghua University since 1999. Xu is a famous translator in our country and is called the only expert in translating classical Chinese poetry into English and French verse. He has been nominated for the Nobel Prize in Literature. Xu's business card reads "the only person who translates poetry into English and French". He advocated "Dare to be the first in translation studies", and was regarded as a crazy talent in the field of translation. "I used to like to go my own way by myself, I still like to go my own way by myself, and I will continue to like to go my own way by myself." This is the last thing Xu said to everyone.

Xu's 42 works are all translated works, except for a memoir--Remembrance of the Past, and three works on translation theory--The Art of Translation, On Chinese Verse in English Rhyme, and On Literary Translation. These translations can be divided into four categories. One is Chinese-English translation, including 22 titles such as 600 Ancient Chinese Poems, 300 Immortal Chinese Poems, The Book of Songs, Romance of the Western Chamber, and Selected Poems of Mao Zedong. The second is the Chinese translation, which includes 150 Poems of the Tang and Song Dynasties and 100 Selected Lyrics of the Tang and Song Dynasties and so on. The third type is the Chinese-English translation, including Dryden's All for Love, Scott's Quentin Duward and so on. The fourth category is French-Chinese translation, including Hugo's Selected Plays, Stendhal's Red and Black and other eight kinds. Among them, the most striking is that he translated the literary masterpieces of the past 3,000 years into English and French verse and published them one by one, which has initially outlined the development of verse in the history of Chinese literature. It can be called a great feat in the field of translation. Among his works, 300 immortal Chinese poems, published by the British Penguin Publishing Company, is listed in its "Penguin series". Mr. Xu Yuanchong is the first Chinese to publish translated books in this world famous publishing house.

In 2010, Xu Yuanchong was awarded the "Lifetime Achievement Award in Translation Culture" by the Translators Association of China. On August 2, 2014, Xu Yuanchong won the Northern Lights Award for Outstanding Literary Translation, one of the highest awards in the international translation circle. He is the first Asian translator to win this award.

2.2 A Detailed Introduction to the Method of “San Hua”--Equalization, Deepenization and Generalization

As we have mentioned that the beauty of sense is hard to reach, and these measures can help us to improve our translation capability and learn to deal with translation problems in a appropriate manner. These three measures are methodologies of translation. Xu was inspired by Qian Zhongshu's theory of " the realm of sublimation" and came up with the free translation methods.

Equalization aims to achieve the equivalence between the source language and the target language, and it can only be used when the surface meaning and the deep meaning of a poem are the same. It includes word formation, syntactic transfer, affirmation and negation and allusion transplantation, etc. For instance, Xu Yuanchong translates “孤山寺北贾亭西，水面初平云脚低”into " West of Jia Pavilion and north of Lonely Hill, Water brims level with the bank and clouds hang low". The translation of place names is consistent with the original work. This sentence belongs to literal translation and it is easy to understand. Another sentence“树深时见鹿，溪午不闻钟”is translated into " In the thick woods a deer is seen at times, Along the stream I hear no noonday chimes". It also uses the method of equalization and realize the functional equivalence.

Deepenization refers to the fact that when there are differences between English and Chinese in the process of translation, the expression of the source language and the target language is not consistent, it is necessary to complete the unspoken content in the source language in the translation, so that the target reader can understand it. This method mainly includes amplification, creating something out of nothing, splitting translation or adding some content in the translation that is not explicitly stated in the original text but has this meaning. Here are examples of Xu's translation of Tang poems:

(1)白雪却嫌春色晚，故穿庭树作飞花。
But white snow dislikes the late coming vernal breeze,
It plays the parting flowers flying through the trees.

In the translation, the words " dislikes, plays and flying" show us the lovely and brisk white snow with the personification. It expresses the poet's avid expectation for spring with the help of flying snowflakes.

(2)随意春芳歇，王孙自可留。
Though fragrant spring may pass away,
Still here's the place for you to stay.

This translation explicitly convey the deep meaning of the sentence. Although the spring is gone, but the autumn scenery is better. The poet is willing to stay. He likes to return to nature, loves the landscape and advocates quiet and pastoral life. It shows the poet's noble feelings and the pursuit of his ideal life.
In contrast to " deepenization", there are contents involving different cultures in the two languages. Sometimes it is not easy to translate directly, so we need to use a certain method, such as subtraction, to delete the culture-heavy contents in the original text and replace them with more general and understandable contents.

(3)相见时难别亦难，东风无力百花残。
It’s difficult for us to meet and hard to part；
The east wind is too weak to revive flowers dead.

In this translation, it omits the word “百”which has no influence on the meaning expression. In this way, Xu also maintains the beauty in form and sound. What's more, the word "flowers" has involved the meaning of hundreds of flowers. This is what we call subtraction, which is one of the methods of generalization.
Among them, deepenization is the best way to show us the beauty of sense. It is the high standard of literary translation and generally the translation work supersedes the original one. Thus, it is regarded as creation.
In the translation of Tang poetry, we have to be clear that which method we should use in the process of translation to achieve the three aspects of beauty, especially the beauty in sense. The ultimate goal of translation is to produce high–quality translation works which are better than the original ones.

===Subtitle 3===
The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua”
In this part, we will study Xu Yuanchong's translation methods of “San Hua” deeply and know more about their use in translation of Tang poetry.

3.1 An analysis of Happy Rain on a Spring Night through the Method of “San Hua”

春夜喜雨
（唐）杜甫
好雨知时节，当春乃发生。
随风潜入夜，润物细无声。
野径云俱黑，江船火独明。
晓看红湿处，花重锦官城。

Happy Rain on a Spring Night
Du Fu
Good rain knows its time right,
it will fall when comes spring.
With wind it steals in night;
mute, it wets everything.
Over wild lanes dark cloud spreads;
in boat a lantern looms.
Dawn sees saturated reds;
the town's heavy with blooms(Xu Yuanchong,2020,32).

This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything.

Spring rain knows to adapt to the season. When all things germinate and grow, accompanied by the spring breeze, spring rain secretly in time to come at night to nourish all things silently. The country path and the clouds in the sky hide in the darkness, the lights of the fishing boats on the river are particularly bright. Till dawn, I saw that drizzle had moistened red flowers, which made them more charming. And beautiful flowers are full of Jin Guan City.
At first, from the perspective of the beauty in three aspects, this is a five–character metrical poem and every sentence is divided into two parts. The first part includes two syllables and the second part includes three syllables. When translated into English, there are five syllables in each sentence and the first part includes two or three syllables and the second part includes three or two syllables. Moreover, the first and second sentences rhyme and so do the third and fourth sentences in both original and translation works. These show the beauty in form and sound. With regard to the expression of beauty in sense, it is not hard to know that the title and the whole poem basically used equalization(等化) so that it is easy for us to understand. In the first sentence, in order to maintain the end rhyme, Xu reversed the order of words "when spring comes" but translated it into "when comes spring". The words "good rain" express the poet's love to spring rain, which sets the general tone for the poem. And in the second sentence, he used "steals" to describe the falling rain which adopted personification and presented us a lively and dramatic picture. He also reversed words in the sentence of "mute, it wets everything", such kind of inverted sentences also seen in the second and third lines. The clouds are spreading the sky gradually indicates the upcoming of the very rain. And "looms" also reveals the carefulness of Xu's word selection. Because of the sullen weather and distance, the light from a lantern in a boat is weak and flickering due to the wind, so he chose the word "looms". Besides, words like "saturated" and "heavy" are appropriate choices. As for “锦官城”, he just translated it into "the town", which is the use of generalization(浅化) that omitted the explanation to allusion.
As a whole, by means of the “San Hua”, readers can understand the poem without any difficulty and they can also feel the poet’s true feelings. Meanwhile, the choice of words, lengths of sentences and rhymes are pleasing to read and the meaning of the poem as well as the poet's true emotion are showed in the translation work. We can not only feel the poet's excited and surprised mood but also appreciate the musical beauty of the poem through reading it, which means this translation let readers enjoy and love it.

3.2 An analysis of The Sad Zither through the Method of “San Hua”

锦瑟
(唐）李商隐
锦瑟无端五十弦，
一弦一柱思华年。
庄生晓梦迷蝴蝶，
望帝春心托杜鹃。
沧海月明珠有泪，
蓝田日暖玉生烟。
此情可待成追忆，
只是当时已惘然。

The Sad Zither
Li Shangyin
Why should the sad zither have fifty strings?
Each string, each strain evokes but vanished springs:
Dim morning dream to be a butterfly;
Amorous heart poured out in cuckoo’s cry.
In moonlit pearls see tears in mermaid’s eyes;
From sunburnt jade in Blue Field let smoke rise.
Such feeling cannot be recalled again:
It seemed lost even when it was felt then(Xu Yuanchong,2020,124).

It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad".

This poem has been variously annotated. Some people thought it was a mourning work, some thought it was patriotic, and some thought it was deploring with sighs for all his talent, and others thought it was a description of missing the poet's maid Jin Se. But most people agreed with the first idea.
In Xu's translation, most poems use the end rhyme and so does this. From the structure of the poem, we can see that forms of the original and translated works are the same. In regard to the full expression of its meaning, we can analyse it one by one sentence. The first couplet expresses the poet mourns for the lost golden years which we can see from words “思华年”, he translated “华年”into "springs" instead of "golden years" for the beauty of sound by means of generalization. Moreover, as the beginning of a year, spring represents vitality, energy and beauty which is like the most valuable years of people and expresses the poet cherish the golden years greatly. And "vanished springs" uses deepenization which told us that his golden years were lost forever and he was very regretful. Going forward, the second and third sentences include many allusions which is the most difficult task to deal with. The second couplet uses an allusion from Zhuangzi. It says that Zhuangzhou dreamed that he was a butterfly when he woke up from his dream, he found that Zhuangzhou was still there and he did not know where the butterfly was going. The poet took this as a metaphor for the beautiful situation he indulged in when he was young. “望帝春心托杜鹃”comes from a legend that in the late Zhou Dynasty, Shu monarch Du Yu abdicated and retired from public life, but he was unfortunately died. After death, his soul into the cuckoo, crying sadly and moving people's hearts. The poet used the story to convey his hatred and also the ardent miss for his wife. In Xu's translation, he did not translated these allusions directly into "Zhuangsheng" or "the emperor Wang", but omitted the subject. This is the adoption of generalization which avoids complicate and unnecessary explanation of allusions. Then he used the word "dim" actually showed the poet's confusion and melancholy, and "amorous heart" indicated the emperor Wang as well as the poet himself and the word "cry" expressed his sorrow for the vanished golden years and his dead wife directly. In this translation, Xu directly expresses the poet's true feelings which is hid in allusions, it is the method of specification in deepenization. In the third couplet, “沧海月明珠有泪”refers to the tears of mermaids that can turn into pearls. The poet combines the moon beads and tears into a hazy wonderland, expressing a kind of complex feelings of dis-consolation, which includes both the love for its high and clear, and the sadness for its cold and loneliness. And “蓝田日暖玉生烟”refers to the phenomenon that the jade mountain of Blue Field is often illuminated by the sun and the essence of the beautiful jade in it is rising gradually, which is as fine as hair from a distance, but nothing at all from a close look. The poet took advantage of the ideal scenery with high aesthetic meaning to express a kind of regret that can not be close to noble spirits. It is the same as the third allusion. Different from the second couplet, the first half of the third sentence roughly explained what the allusion talked about to readers while the second half used literal translation. If not understand these allusions, it will be hard for us to make it clear that what the poet want to express. Therefore, the proper translation of allusions is really formidable. The last couplet conveys the poet's grief and regrets again but it is much stronger than before. “可待成追忆”was translated into " cannot be recalled again" by Xu Yuanchong, which used negation translation in equalization. In fact, it emphasized that the beautiful days and loved ones were gone for good and it was too late to redeem for him. The word "lost" was tantamount to “惘然”that revealed the inner world of the poet. Xu had not translated“当时”into "when it was felt then" instead of “at that time”, which also belongs to the specification in deepenization, he described the feelings of the poet in details and made it clear to readers.

So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.

3.3 An analysis of The Mourning Day through the Method of “San Hua”
清明
（唐）杜牧
清明时节雨纷纷，
路上行人欲断魂。
借问酒家何处有，
牧童遥指杏花村。

The Mourning Day
Du Mu
A drizzling rain falls like tears on the Mourning Day；
The mourner' heart is going to break on his way.
Where can a wine shop be found to drown his sad hours?
A cowherd points to a cot' mid apricot flowers(Xu YUanchong,2020,160).

The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet.

First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation.

Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers.

In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc.
Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.

===Subtitle 4===
The Influence of Xu's Translation Theories
As an expert of translation, Xu Yuanchong forms his own systematic translation theories which are applauded by most people. And these theories are clearly showed in every piece of his work. We have to admit that his translation theories indeed shed new lights on translation and make tremendous contributions to the exchange between Chinese and foreign cultures. His translation work not only let Chinese people enjoy the foreign literary works in a fresh manner, but also present the original beauty of Chinese literature to foreigners. Under the guidance of his specific translation theories, we get a clearer map to translate poetry, novel and etc.
Xu Yuanchong's translation theories “美化之艺术”is combined by extracting one word from predecessors' translation theories. It is based on their experiences and his own translation practice for more than sixty years. He inherited and developed these theories and explained them explicitly. Firstly, He believed that "elegant" no longer means quaint in today's world, but elegance or beauty. Xu said:"According to my own translation practice, I think Yan Fu's 'faithfulness, expressiveness and elegance' can be understood today as 'faithfulness to the original content, smooth translation form and giving play to the linguistic advantages of the translation.' "In my opinion,'faithfulness, expressiveness and elegance' can be understood as 'faithfulness, expressiveness and excellence'. Excellent is to give full play to the advantages of the target language, which is to use the best way of expression of the target language with words of beautiful meaning, sound and form, in other words, 'excellent' is' beautiful '." Secondly, he explains the relationship between science and art, translation words and taste or styles, truth and beauty with simple formulas. Xu says:" Chinese poetry often has multiple meanings with endless aftertaste, while English poetry expresses the literal meaning." Thus, the western science school put forward the theory of "equivalence", "equivalence of function", "equivalence of effect" and literal translation theories. Because the meaning is greater than the words, the Chinese school of art puts forward the theory of free translation and spiritual resemblance, giving play to the advantages of the target language, that is to say, the translator can not only translate all the contents of the original text but also contents are not showed in the original text. Therefore, the formula for literary translation is 1+1>2. Thirdly, he advocates literary translation should create beauty, so he proposes the advantage theory. The translation of cultural allusions is the most difficult. Literal translation cannot preserve beauty even if it can preserve truth. But if we adopt free translation, even if it can be beautiful, it is often hard to avoid distortion. A true translation can make readers comprehend it; a beautiful one can readers enjoy it, and a translation that preserves both truth and beauty will delight the reader. Therefore, the translation of poems should preserve the beauty of the original poems with as little distortion as possible. Since literary translation is an art and literary works are about people, so they have to be fascinating and exciting. If we only pursue truth without paying attention to beauty, it may be not a beautiful work, so the beauty of it is more significant than the truth.

===Conclusion===
Xu is a very confident, talented and prolific translator with strong character and innovative spirits in the translation field. He has a special calling card; in it there are two phrases "over sixty books published in China and aboard,the one and only person translated series of Classical Chinese poetry into English and French." In another calling card reads "without the title of academician, but he excels an academician; translated over one thousand classical Chinese poems to Europe and America". His translation theories and practices gained a wide range of recognition at home and abroad. Reading his translation of Tang poetry is an enjoyment. Nowadays, there are still many translators and translation theorists support his translation theories, particularly three aspects of beauty and the method of “San Hua”. Looking at the translation of Tang poetry in history, Xu Yuanchong's translation makes our eyes shine. The beauty of classical Chinese poetry, which is thought could not be translated, came to life in his writing. Under the guidance of the beauty in form, sound and sense, translators adopt approaches of equalization, generalization and deepenization to pursue their goals of letting readers comprehend, appreciate and even admire their translations.
Although some of his translation theories are still controversial and questioned by some translation staffs, as the saying goes:" There are spots even on the sun", this does neither affect his lofty status in the translation field, nor does it negate his great contribution to the inheritance and dissemination of translation field and culture. Mr. Xu Yuanchong devoted his whole life to the cause of translation and the pursuit of beauty. He spent most of his life summarizing his valuable translation experience and forming his own translation theory system, which is helpful for us to further understand translation and further practice it. His works let us appreciate the local conditions and customs of foreign countries, but also bring foreigners to enjoy the beauty of classical Chinese poetry. In this paper, we studied Xu's mainly translation theories and cited several Tang poems to illustrate his translation methods. Through the analysis of his works, we get a clearer picture on the use of his translation theories, and we also know more about the defects of his translation which casses our reflection. After all, translation theory system can not be completed in one day. It requires us to explore and improve it through trial and error.

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==英语笔译张国浩 Zhang Guohao 202170081606==

<center>'''The Influence of Electronic Language on Chinese Language and Culture in the Internet Age'''</center>

<center>Zhang Guohao</center>

===Abstract===

Language is the most important communication tool and the carrier of culture. Language itself is also a cultural phenomenon. The Chinese nation has a long history of thousands of years, and its language and culture are an indispensable part of Chinese traditional culture. With the development of electronic network and information technology, electronic language is also booming under this background. Electronic language is the product of the times. It has both positive and negative effects on Chinese language and culture. Starting with the analysis of the emergence and characteristics of electronic language, this paper focuses on the positive and negative impact of electronic language on Chinese traditional language and culture in the new media era, and further puts forward a series of measures to protect Chinese traditional language and culture.

===Key words===

New media; Electronic language; Language culture

===Introduction===

With the development of current information technology and network technology, a large number of electronic languages, also known as network languages, have appeared on the Internet. And they have increasingly penetrated into people’s daily life with the development of the Internet. Electronic languages reflect the current hot social issues, and have the characteristics of simplicity. With the increase of electronic languages, it is bound to have a certain impact on Chinese traditional language and culture. Electronic languages have both positive and negative effects on Chinese traditional language and culture. While expanding the vocabulary of modern Chinese, some vulgar and malicious electronic languages are eroding the traditional Chinese language and culture. How to make electronic language and Chinese traditional language and culture coexist harmoniously in the new media era is a topic that is worth studying and discussing. This paper will introduce the background of electronic languages, the characteristics of electronic languages and the impact of electronic languages on Chinese traditional language and culture, and explore measures to protect Chinese traditional culture in the new media era.

===The Electronic Language in the New Media Era===

'''1.1. The Emergence of Electronic Language in the New Media Era'''

After three technological revolutions, the new media era has finally arrived. With the rapid development of the Internet, the momentum of new media in people’s lives is also growing. And the electronic language that followed became one of the most important parts of it. Today, under the circumstance of the new media era, electronic language has developed with the development of the network. The continuous development of society has made the traditional language unable to meet people’s spiritual needs. People are now facing a colorful language world on the computer screen. While lamenting people’s strong adaptability, we have to say that this is the result of the transformation of the media. The media carrier has to decide the trend of culture. When we look at the characteristics of electronic language in the era of fresh media, it is not difficult for us to have such results.

'''1.2. The Definition of the Electronic Language'''

Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on. It was born in the electronic media and developed with the popularity of the network. Electronic language is participated by the public and can not be separated from the carrier of electronic media. It passes between the instructors of electronic media. Compared with the traditional language, there is no classical version of the electronic language because the electronic media has only appeared for a few decades. Therefore, the grammar and word order of it do not seem to conform to the traditional language norms.

'''1.3. The Characteristics of Electronic Language in the New Media Era'''

1.3.1 Electronic language is the combination of written language and spoken language.

According to different media, language can be divided into written language and spoken language. Written language has very restrictive grammar rules, a standard punctuation system and a very strong logic. With no intuitive feeling like spoken language, written language has a deterrent to people and help to form people’s rigorous rational thinking. However, spoken language is very flexible, and is not stick to one pattern. It has the characteristics of immediacy and transience, which makes spoken language not as easy to store and popularize as written language. There is a confrontation between written language and spoken language inadvertently, and this confrontation has been eased in today’s new media era. Electronic language acts as such a bridge. Electronic language not only has the expression environment of written language, but also has an obvious tendency of colloquialism. Whether it is online chat, forum post or mobile phone short message, it is not completely the same as the traditional expression. Since electronic language requires users to type what they want to say on the screen, and requires the receiver to browse the information through their eyes, so it has obvious characteristics of written style in this way. However, it is also influenced by the colloquial style, so there is obvious mutual penetration from both sides. Generally speaking, electronic language is a kind of colloquial written language, which fully integrates the two types to serve its own needs.

1.3.2 Electronic language is pictorial and vivid.

In the new media era, the recipients of electronic media can not learn the rich body language of the communicator from the electronic screen, but they can get some information by some vivid dynamic expressions sent by the messenger. People often use various symbols on the keyboard to create a lot of very vivid and humorous facial expressions to express their body language at that time, in which there is almost no difference between happiness and sadness in real life. These electronic languages are very interesting on the electronic screen and often make people laugh, which instantly shorten the distance between the information sender and the receiver. Through these vivid cartoon symbols which are different from words, the communicator penetrates parts of the meaning he wants to convey, making the virtual electronic media full of reality and immediacy. As a result, many relaxing and humorous electronic languages have emerged. They are not only humorous, but also easy to understand. This kind of relaxing and humorous style caters to the needs of modern people to relax their body and mind, so that the tense young generation can speak freely. When facing a boring topic, they can also discuss with each other in a humorous tone, which undoubtedly brings an unparalleled happy experience to the users of new media.

1.3.3 The expression of electronic language depends on the context and its meaning is vague.

Context refers to the speech environment, which includes both linguistic factors and non-linguistic factors. Contextual factors such as context, time, space, situation, object, and discourse premise, are all related to the use of words. Context includes specific time, specific space, specific scenes, specific characters and so on. Electronic context mainly refers to some new media such as electronic bulletin boards and e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Electronic context mainly refers to some new media such as e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Therefore, electronic language is bound to be misunderstood without a big context. The context of electronic language has always been open, allowing everyone to join freely. Different media will produce different languages. Electronic language is generated with the arrival of the new media era and will develop with the continuous development of the new media. The characteristics of electronic language are inseparable from the convenience of transmission, fast replication and various presentations of new media. Therefore, with the continuous development of new media, the era of electronic language has come.

1.3.4 Electronic language is highly dependent on network information technology media.

The intelligent terminals represented by computer, electronic information technology and Internet technology have created electronic language and the unique paralanguage of electronic language such as emoji, which not only makes up for the lack of body language such as expressions, movements and moods of language users, but also makes electronic language form multiple forms of expression, such as structured, semi-structured and unstructured forms. At the same time, network information technology has built a platform for the use of electronic languages, such as various forums, QQ groups, micro-blogs, We Chat and other virtual spaces, so that spoken or written languages and other different types of languages and dialects communicate with each other. Without the network information technology, the electronic language cannot exist. This technology also breaks the limitation of traditional spoken and written language, making the electronic language a super language without the limitation of time, space and region. Therefore, the modern information technology with computer, communication, network and electronic technology as the core is the material basis for the generation and use of electronic language.

===The Influence of Electronic Language on Chinese Traditional Language Culture===

The new media era is a multilingual society, so there is an obvious language-mixing phenomenon in electronic language. In electronic language, there is no absolute authority and anyone can speak freely, which makes the electronic language have a strong vitality and a huge impact on the traditional Chinese language and culture.

'''2.1 The Positive Influence'''

2.1.1 It can promote the development of Chinese language and culture

The electronic language has a variety of changes. Its simple, fast and vivid features not only meet the needs of the new media era, but also give people a fresh and lively feeling. Any language in the world is constantly updated and developed in use. Language innovation is an extremely important factor and a manifestation of vitality of a language. Without innovation, there is no development of language. Denying innovation and resisting innovation are equal to killing the vitality of a language. With the continuous development of electronic language, a large number of new words have emerged and the number of loanwords have increased. And with the extensive use of lettered words and numerals, Chinese vocabulary has been greatly enriched and developed. In the aspect of pronunciation, we use some homophonies to replace some Chinese words. For example, now we use “酱紫”to replace “这样子”. In terms of grammar, electronic language does not adhere to traditional grammar, which enriches and transforms the grammar system, and distorts conventions. In addition, electronic language has accelerated the demise of some old words. This series of characteristics makes the Chinese language fully nourished and breaks the barriers to knowledge. As a result, Chinese language spreads rapidly. At the same time, it adds the fun and color of people’s lives, making cultural exchanges unprecedentedly free and prosperous.

2.1.2 It can promote the transformation of reading methods.

In the era of new media, electronic language is constantly innovating and changing. With the continuous progress of technology, people’s reading methods are changing. Today’s electronic media reading is basically replaced by “hypertext” and “hyperlink”. People can read everything related to the text by clicking on links one by one, which is much more convenient than before. This way also satisfies people’s psychology of seeking knowledge and curiosity. In addition, with the popularization of high-tech products such as mobile phones and tablet PCs, mobile reading begins to prevail. People’s reading is no longer confined to a place. Through these new media, people can easily read anytime and anywhere, which generally improves the reading efficiency.

'''2.2 The Negative Influence'''

Firstly, the emergence of electronic language may make Chinese traditional language and culture be in danger of dating. Chinese traditional language and culture is the summary of experience of the continuous development of the Chinese nation. And it is also the national spirit gradually condensed in the long-term social practice. The language culture full of the fine tradition of the Chinese nation not only provided great power for the development of the Chinese nation in the past, but also will play an important role in the future of the Chinese nation. However, in today’s new media era, young students are the main users of electronic media. Since they are particularly sensitive to new things and electronic language has the characteristics of convenience, rapidity and image, it has a fatal attraction for young students who like to pursue new things. While they continue to create electronic language, they also continue to penetrate electronic language into their own lives, which makes Chinese traditional language and culture more and more distant from them. If things go on like this, it will inevitably lead to the dating of Chinese traditional language and culture, and make the future of traditional language and culture bleak.

Secondly, the trend of vulgarization of some electronic language has produced cultural garbage. In the new media era, electronic language constantly pursues individuality and innovation. However, there are also some shortcomings. The virtuality and obscurity of the network make it easy for both sides of the dialogue to relax or even unbridled in their communication, which results in the uncivilized electronic language. Some electronic languages abuse other people or even carry out personal attacks with rude words and dirty words, losing the minimum civilization. And information surplus will produce information garbage, making people consume more time to filter the information. This is a manifestation of information pollution. All these phenomena will seriously affect people’s normal life order. Nowadays, the vulgarization trend of electronic language is becoming more and more serious, and it begins to penetrate into the traditional media. If it is not guided as soon as possible, our traditional language and culture will be destroyed.

Thirdly, electronic language does not conform to grammatical norms. Since electronic language does not conform to grammatical norms and blindly pursues novelty and convenience, it violates Chinese language norms in many ways. Some typos and words and phrases with misinterpreted meanings will have a negative impact on the education of Chinese language. Although these nondescript languages are novel, their damages to Chinese or other languages are obvious. Adolescents are extremely sensitive groups and are willing to accept new things. However, their ability to generally distinguish between right and wrong is not strong. Therefore, in the process of learning, it is easy for them to be affected by these electronic languages, which makes them easy to develop bad habits of not using standard words and standard expressions. As a result, it is detrimental to the learning of traditional language and culture, and their appreciation ability will be decreased.

Fourthly, electronic language can form linguistic generation gap and cause communication difficulties. Electronic language represents a certain type of language and culture in the new media era, and has been widely used in the new media era. It continues to penetrate into the life of the young generation pursuing fashion. In this specific new media language environment, electronic language has its significance. However, when it leaves this specific environment, it will no longer become a tool for people to communicate with each other. If people do not understand it, it will hinder normal communication between people. In terms of the communication effect of a language, this generation gap misleads the communication between the communicator and the receiver, and has a great impact on the traditional language and culture. Many electronic languages cause generation gap between parents and children. Due to the non-standard use of language, parents often don’t know what their children mean. The gap between the two generations is hard to erase. Now, coupled with the novel electronic language, the generation gap between the two generations is bound to deepen and the communication between them will become more and more difficult.

===Measures to Protect Chinese Traditional Language and Culture===

First of all, the government should introduce relevant laws and regulations to regulate electronic language. The support of the government is like a beacon, which can guide Chinese traditional language and culture to a bright road. In this aspect, China has also made some attempts, such as popularizing Mandarin Chinese nationwide, which is not only the necessary measures to facilitate communication, but also can effectively regulate the Chinese language so as to promote effective dissemination of Chinese language and culture. In addition, in the aspect of creating a good new media environment, the role of national laws and regulations cannot be replaced by other methods. This kind of compelling force can guide the development of electronic language towards the right path. While standardizing itself, it will also promote the traditional language and culture and electronic language to absorb the advantages of each other, learn from each other, and finally achieve a win-win situation.

Secondly, the government should popularize the education of Chinese traditional language and culture. Education has always been the foundation of people’s livelihood. Improving education has no harm to the spread of traditional language and culture. In order to strengthen the proportion of Chinese studies and standardized the use of Chinese language in compulsory education, teachers should pay attention to the cultivation of students’ traditional language accomplishment. High school period can’t pay more attention to the science education but to grasp both sides. In addition, it is necessary to popularize quality education and improve the overall quality of students from all aspects in order to lay a good foundation for entering university. In the university curriculum, we should add the curriculum of Chinese traditional language and culture and the comparative appreciation of Chinese language and culture with other countries, especially in western countries. In this way, we can increase students’ appreciation ability, so that the majority of students can feel the charm of Chinese traditional language and culture, deepen the understanding of Chinese traditional language and culture in the process of comparison with other countries, and make more efforts to protect our traditional language and culture. Many attempts have been made in folk such as the rise of modern private school. Although there is a conflict with the law of compulsory education, but its spirit of exploration should be affirmed and supported.

Thirdly, we need greater efforts to enhance the development of traditional media. Under the pressure of new media, traditional media has a trend of decline. Newspapers are in danger of dying out in the new media age; book sales are also declining year by year. Although journals have entered the digital age, the cultural capacity of them is not high and the transmission channel is not unblocked. If all of these are not solved in time, the consequences will be serious. Moreover, traditional media is an excellent way to spread traditional language and culture. Therefore, it is necessary to continuously explore the new advantages of traditional media and learn advantages from other media, so as to make the traditional language and culture flourish in the traditional media.

Fourthly, The media should hold more programs about traditional culture. The traditional language and culture should be consciously or unconsciously integrated into the program, so that the audience can get spiritual sublimation. Traditional cultural programs may have low viewing rate due to their monotony and slow rhythms. This requires the media director to find a way. In this regard, CCTV’s ''Lecture Room'' is a good example. It integrates traditional language and culture into the program in a novel and unique way. It not only spreads Chinese traditional language and culture to the audience, but also leads to an active atmosphere and increase the attraction. As a result, the viewing rate will naturally be higher. In recent years, the film about traditional language and culture is also very popular. The film Confucius and Sacrifice have achieved good earnings. These films show the charm of Chinese traditional style to the world, and have a great significance for the inheritance and development of traditional language and culture. The media therefore has a long way to go in this regard.

Fifthly, we need to speed up the construction of websites that can inherit Chinese traditional language and culture. In the new media era, with the rapid development of science and technology, electronic language is also sweeping the whole network. How to open up a new world of Chinese traditional language and culture in this new field has attracted more and more attention. From my perspective, it is very important for us to adhere to our own principles in the virtual network. In order to protect the traditional language and culture and resist the invasion of electronic language, we must first make the traditional language itself become strong. It is a good choice to run a website that can inherit Chinese traditional language and culture. The website we want is not a pile of meaningless electronic language, but to carry forward the development of Chinese traditional language and culture. This is a spirit that needs to be firmly observed. There is no doubt that if all of these are truly achieved, it will be of great significance to the standardization of language.

===Inheritance and Innovation of Chinese Traditional Language and Culture through New Media Means===

The above measures are general protection measures for Chinese traditional language and culture. With the continuous development of the new media era and the continuous innovation of science and technology, we need to learn to use the means of new media to protect and inherit Chinese traditional language and culture. This part takes cultural TV programs as an example to discuss how to use TV cultural programs to effectively inherit traditional language and culture.

In recent years, TV cultural programs have become increasingly popular. Under this background, many TV media have participated in the creation of traditional cultural TV programs. The explosive and hot broadcast of TV cultural programs can not only give full play to the communication function of TV programs, but also realize the role of TV program communication in promoting traditional language and cultural spirit. Therefore, how to maintain the original intention of traditional cultural heritage of TV cultural programs is the main purpose of its development. At the same time, through the continuous optimization of the content of the program, it realizes the effective dissemination of traditional language and culture, and thus plays a good role in promoting the construction of a harmonious society.

The first thing is to innovate the program content so as to inherite our excellent language and culture. As a kind of mass media, TV has its own artistic variability. This is mainly because television provides a lot of communication channels, and also shows the diversity of traditional cultural content in the process of inheriting traditional language and culture. Therefore, television should be the main channel for inheriting traditional language and culture. When disseminating knowledge, TV cultural programs also choose higher quality traditional language and culture and realize the inheritance of high-quality traditional language and culture through the continuous innovation of communication forms, thus showing the vitality of traditional language and culture and the responsibility of mainstream media. As early as 2016, the State Administration of Radio made a new deployment for the innovation of radio and television programs. At the same time, it also guided radio and television stations at all levels to actively do a good job in building cultural self-confidence, encouraged radio and television stations to actively innovate, so as to lay a good foundation for the prosperity and development of socialism and high-quality traditional language and cultural programs. It also constantly promotes the effective integration between television media and traditional language and culture. The innovation and creation of excellent TV cultural programs can not only realize the inheritance of traditional language and culture, but also guide young people to actively undertake the main task of inheriting traditional language and culture, which provides reliable support for traditional culture education. At the same time, young people can be striven to be the promoter of traditional language and culture. Students have a certain leading ability and exemplary role. They can not only show the cultural confidence of contemporary young people through the program and enhance the educational function of traditional culture, but also accumulate traditional language and culture in the process of continuous exploration.

Secondly, television should improve the program structure so as to undertake the educational function. With the advent of the information age, there has been an ideological collision between various cultures, which has also affected the traditional consumption concept. With the rapid development of modern information technology, television, as an important cultural industry, plays an important role in cultural communication and transmission of Chinese cultural ideas. Under the background of cultural infiltration, China should actively publicize traditional language and culture and take it as the key content of its soft power development. Cultural strength is an important factor for the prosperity of a nation. TV cultural programs should actively enhance their comprehensive strength in the process of its development. At present, the diversified world culture is booming and the culture of various countries are infiltrating each other. The national cultural soft power plays a major role in the world development competition. TV media should actively undertake the task of spreading the traditional language and culture of the Chinese nation, and take TV cultural programs as the main way to enhance the development of national cultural soft power. In addition, the content of traditional language and culture spread by TV media should also have unique characteristics and highlight the advantages of traditional culture. Only by strengthening the dissemination of traditional language and culture can we lay a good foundation for the future development of China. At the same time, we can also spread the high-quality traditional cultural spirit for young people so that 5000 years of brilliant treasures can be inherited and carried forward. As an important carrier of socialist core values, television should realize the arduous task of carrying forward traditional culture, accelerate the popularization and inheritance of Chinese traditional language and culture and guide teenagers to correctly understand excellent traditional language and culture so as to realize the effective penetration of socialist core values. Although the Internet has had a great impact on the media, and also made the cultural communication have a new direction and mode, the television communication media still occupy a dominant position and should take the responsibility of the mainstream media. Therefore, TV cultural programs should take full use of the advantages of TV media, choose innovative communication methods, fully display the characteristics of traditional language and culture through the optimization of communication content. With the assistance of Internet media, we can inherit and carry forward traditional language and culture, and promote the sustainable development of traditional language and culture in the era of new media.

On the other hand, cultural TV programs should enrich their forms and highlight characteristics of Chinese language and culture. TV cultural programs should actively use the interactive mode of all media. Many TV cultural programs in their production process are integrated with variety show forms to attract audience attention. In addition to the traditional on-site interaction, TV programs should also actively mobilize the participation and interaction of off-site audience in the new media era. In addition, we should also actively enrich the stage manifestation of TV programs. Through the effective application of modern data technology, high-tech elements can be added to the broadcast of TV programs, so that the audience can be immersive and close the distance between traditional language and culture and them. Especially with the continuous improvement of people’s aesthetic level, the design of TV cultural programs should actively innovate the stage design, show the charm of cultural programs under the support of high-tech forces, and build a dynamic artistic space.

===Conclusion===

In a word, Chinese language and culture has a long history, which has made great contributions to the progress of human civilization. The inheritance of traditional Chinese language and culture needs our continuous efforts. In the new media era, the electronic language is characterized by humor and vague context, which makes it a double-edged sword. Therefore, it will also have an impact on the traditional language and culture in the process of its development, which has both positive and negative sides. This requires the state and society to actively guide the electronic language. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language. It is believed that electronic language can coexist peacefully with traditional language and culture and develop together through continuous efforts of all parties in the near future. At the same time, in the new information age, the mainstream TV media should actively take full advantages of new media, increase the dissemination of traditional language and culture through media integration, improve the national cultural soft power, and shoulder the arduous task of inheriting culture. In addition, we should also actively create original program content with our own characteristics. Under the influence of traditional language and culture, we should increase the communication effect through the form of media integration, so that the influence of traditional language and culture can be fully displayed.

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===Terms and Expressions===

*电子语言 electronic language
*文化垃圾 cultural garbage
*粗俗化 vulgarization
*普通话 Mandarin Chinese
*素质教育 quality-oriented education
*现代私塾 modern private school
*《百家讲坛》 Lecture Room
*《孔子》 Confucius
*《赵氏孤儿》 Sacrifice
*广电总局 the State Administration of Radio

===Questions===

*1. What is the definition of the electronic language?
*2. The expression of electronic language depends on the context and its meaning is vague. (T/F)
*3. Why is the viewing rate of traditional culture programs low?
*4. Adolescents are not extremely sensitive groups and are not willing to accept new things. (T/F)
*5. What are important measures to guide the healthy development of electronic language?

===Keys===

*1. Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on.
*2. T
*3. Traditional cultural programs may have low viewing rate due to their monotony and slow rhythms.
*4. F
*5. The formulation of laws and regulations, the popularization of education and the development of traditional media are all important measures to guide the healthy development of electronic language.

==英语笔译张姣玲 Zhang Jiaoling 202170081607==
<center>'''The comparison of the translations of Li Bai’s poem Changgan Xing(Ezra.Pound's Version and Xu Yuanchong's)'''</center>

<center>Zhang Jiaoling</center>

===Abstract===

As one of the representatives of Traditional Chinese culture, poetry and its English translation are favored by literati. Li Bai's masterpiece Changgan Xing has been translated by many Chinese and foreign scholars. This paper makes a comparative study of Ezra Pound's and Xu Yuanchong's translations under the guidance of functional equivalence theory, and finally points out the translation steps that should be followed when translating poems under the guidance of this theory.

===Key words===

Comparison; ChangGanXing; Ezra Pound; Xu Yuanchong; Functional Equivalence

===Introduction===

As a literary genre, poetry is rich in thoughts, emotions and imagination, with refined language and beautiful rhyme, and particularly strong imagery. The translation of poetry not only requires accurate reflection of the original content and its imagery, but also requires the translation to be consistent with the original in form and style. When it comes to Chinese poetry, especially Romantic poetry, one can easily associate it with the Poet Immortal Li Bai. He wrote more than 1000 poems throughout his life, which occupy an important position in the development of Chinese classical poetry. His poems is wild and unrestrained, dashing and bold, thus leaving a deep impression on readers. Li Bai's life was unusual in that he revered freedom, loathed the worldly officialdom, and lived his own life. His romantic life provided material for his poetry, and he left many masterpieces in the history of Chinese poetry. It is noteworthy that it was his rich life experiences that had a profound influence on his poetic creation. The poem Changgan Xing is a household Yuefu poem written by Li Bai. The whole poem is written in the form of a merchant woman living in Changganli self-talking, recalling her loving past with her husband and expressing her undying love for her husband in another country. The poem mainly describes the merchant woman’s memory of her and her husband’s innocent childhood, then their wonderful married life, and the protagonist’s endless missing of for her husband after his departure.

Xu Yuanchong is a professor at Peking University and a renowned translator. He has been engaged in literary translation for more than 60 years, and his achievements are so high that he was awarded the Aurora Borealis Prize for Outstanding Translation of Literature in 2014, one of the highest awards in the international translation community. He has been publishing his translations since 1956, and his major works include The Songs of Chu, Three Hundred Tang Poems, and Three Hundred Song Lyrics. Mr. Xu Yuanchong's translation works have promoted the exchange between Chinese and Western cultures and brought outstanding Chinese literary works to the world, especially his translations of classical Chinese poems. In addition, he put forward a series of translation theories, which enriched the traditional Chinese translation theory and promoted the development of translation studies. Mr. Xu Yuanchong's translation theory is mainly based on his "Three Beauties" principle, which holds that "the beauty of meaning means that translated poems should touch the reader's heart as much as the original poems do; while the beauty of sound is that they should have pleasant rhythm as the original poems have; and the beauty of form means that the translated ones should maintain the form of the original poem as much as possible.” Mr. Xu once talked about the relationship between the "Three Beauties" in his article on translating poems: "the beauty of meaning" is the most important, "the beauty of sound" the second, and "the beauty of form" is even less important. (Xu Yuanchong, 1979).

Ezra Pound (1885-1972), a leading representative of 20th century imagist poetry, was also a major founder of British and American modernist poetry. Both a poet and a translator, Pound translated many Confucian classics as well as classical Chinese poems. In 1915, Pound published his English translation of an ancient Chinese poetry anthology, Cathay, which was immediately received by Western society as "one of the best ten or so American poems of the 20th century”. Jeff Twitchell says, "Before Pound, China had no literature worthy of her name popular in English-speaking countries." (Jeff Twitchell, 1992) Pound's idea of poetry creation greatly influenced his idea of translation. Pound advocated translation without emphasizing fidelity to the meaning of the original text; what he sought was to reproduce the details and imagery of the original text in the translation. Imagery is the soul of the poetry translation, without which the translation of poetry would be meaningless.

This paper takes Li Bai's Changgan Xing as the object of study and compares and analyzes Pound's translation “TheRiver-Merchant’s Wife: a Letter” and Xu Yuanchong's translation “Ballad of a Trader’s Wife” under the perspective of Eugene Nida’s functional equivalence theory.

===Methods and Theories===

The term "dynamic equivalence" was first proposed by Eugene Nida in his 1964 book Toward A Science of Translating, emphasizing that "the relationship between receptor and messageIn such a translation (dynamic equivalent translation) one is not so concerned with matching the receptor-language message should be substantially the same as that existed between the original receptors and the message"(1964:159). In The Theory and Practice of Translation, Nida proposed that "Translating consists in reproducing in the receptor language the closest natural equivalence of the source-language message, first in terms of meaning and secondly in terms of style." (Nida & Taber 1982: 74). By the end of the 1980s, Nida replaced "dynamic equivalence" with "functional equivalence" in order to emphasize the concept of "function" and to avoid the misunderstandings of "dynamics" by some people, emphasizing that translation is a form of communication focused on reproducing the original language. Functional equivalence requires "not only the equivalence of the content of the message, but also, as far as possible, the equivalence of the form.” Nida clearly states that "the closest natural equivalence" is used to reproduce the original message. In the early 1990s, "functional equivalence" was further divided into two categories including the maximal level of equivalence and the minimal level of equivalence; the former is defined as “The readers of a translated text should be able to understand and appreciate it in essentially the same manner as the original readers did" , which is the highest level pursued by the translation, while the latter is stated as “The readers of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it”.(Nida 1995:224;1993:118) The highest level of functional equivalence is an ideal state, which is rarely achieved in texts other than those with little aesthetic value of factual information. The lowest level of functional equivalence is more realistic, and any translation below this level is unacceptable (Nida, 1993: 118). A good translation always lies somewhere between the two levels (Nida, 1995). The theory of "functional equivalence" is flexible, and there is considerable diversity between the highest and lowest levels. Compared with other translation theories that focus on a single theoretical criterion, the "functional equivalence theory" allows for diversity in the translation process. Translators have more autonomy to "deal with some of the problems of variability in different texts, of significant differences between readers, and of differences in the use of translation for research, for publicity, for pleasure, etc." (Nida, 1996: 114).

===On the level of word===

First, from the translation of the title, Xu Yuanchong translated it as "Ballad of a Trader's Wife", while Pound translated it as "The River-merchant's Wife: A Letter". Both of them are translated by understanding the whole poem, rather than simply translating it as "Changgan Xing". This is because the whole poem is mainly about the woman's longing for her husband through the description of various imagery. Such a translation is also closely related to the context in which the poem was composed. In the middle and lower reaches of the Yangtze River and the Han River valley, business was flourishing back then, and cities were prosperous with frequent trade contacts, and merchants were running their businesses from region to region. The wives of merchants had to wait and miss their husbands at home. Xu Yuanchong's and Pound's translations are all appropriate in this respect.

Every word in Changgan Xing is carefully chosen as it describes the merchant wife's longing for her husband. As words are the smallest unit in poetry, they are nevertheless the first step in translating poetry. In the first six sentences of this poem, Li Bai described the growth of two children, depicting the happy childhood of a boy and a girl playing merrily, leaving readers a good memory of the protagonist and her husband, and creating a pair of innocent and lively children images.

妾发初覆额，折花门前剧。
郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: While my hair was still cut straight across my forehead：
I played about the front gate：pulling flowers.
You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people：without dislike or suspicion.

Xu Yuanchong’s version: My forehead barely covered by my hair：
outdoors I plucked and played with flowers fair.
On hobby horse you came upon the scene：
around the well we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Analyzing the translation of these sentences, it is easy for us to see that Pound only tried to express the meaning of the original poem, while Xu tried to make the translation more like the original poem. In the first line, Pound chose the word "still" to emphasize the time and state, making the translation closer to the original. As for the understanding of the two’s playground, Pound translated it literally as "front-gate", while Xu chose "outdoors", the same thing was meant with their different choice of words. Then concerning the understanding and illustrating of an ancient toy made of bamboo, Pound chose "bamboo stilts," which is less faithful but easier for foreigners to understand, while Xu chose the word "hobby horse," which is easy to understand for the Chinese, but not so easy for foreigners. The word "bed" in modern times has a different meaning than it does in ancient times, so Pound chose "seat", while Xu chose "well" according to his understanding. In the last sentence, Li Bai described the friendship between two children, and Pound chose "two small people" to indicate their childhood, while Xu's "children twain" is a further explanation, which is more faithful to the original poem as it shows the happy sporting and innocent friendship between the boy and the girl.

These two lines delicately depict the shyness and sweetness of the newly married.

十四为君妇，羞颜未尝开。
低头向暗壁，千唤不一回。

Pound’s version: When I was fourteen: I married my master.
I never laughed: and I was shy.
I lowered my head and looked at the wall.
I had never looked back at one thousand calls.

Xu Yuanchong’s version: When I was fourteen：I became his bride.
I often turned my shyness face to the side.
I hung my head on the dark wall：
and I refused to answer his call.

In the translation of these two sentences, Pound chose to use "my master" to explain the meaning of "husband" to expresses the wife's respect and obedience to her husband, which is very appropriate for the time. Compared with Xu's choice of "he", "my master" seemed to be more appropriate. As for Pound's choice of the phrase "one thousand calls", it clearly showed the girl's shyness and her respect for her husband. Taking the fact that the girl is only 14 years old, and they live in a feudal society, so Pound's choice of words was very appropriate. As for Xu's choice of "dark wall", he actually misunderstood the original meaning, so his choice of words seemed to be inferior.

The following two sentences indicate the wife’s worries about her husband's business trip, showing her genuine concern and love for her husband, creating a heavier atmosphere for the reader.

十六君远行，瞿塘滟滪堆。
五月不可触，猿声天上哀。

Pound’s version: At sixteen years old：you leave：
you go to a distant place：in a swirling whirlpool.
You’ve been away for five months.
The monkey made a sad voice on the top of his head.

Xu Yuanchong’s version: When I was sixteen years old： he went far away：
through three Canyon covered with rock gray.
In the ship crash： when the spring flood was rising：
The crying in Gibbons seemed to come from the sky.

Pound chose to translate these two verses indirectly. The biggest problem with his translation is the misunderstanding of five months. In the original poem, Li Bai meant May. While Xu wisely skipped the time marker and used only phrases to express the time.

门前迟行迹，一一生绿苔。
苔深不能扫，落叶秋风早。
八月蝴蝶来，双飞西园草。
感此伤妾心，坐愁红颜老。

Pound’s version: You’ve dragged your feet when you go out.
Now：the moss are green：
different moss：too deep to clear them!
In autumn the leaves fall early in the wind.
The pairs of butterflies have turned yellow on
the lawn of the Western Garden in August.
They hurt me. I’m getting old.

Xu Yuanchong’s version: Now the green moss in front of our door are slight;
his footprints：hidden：can no longer be seen.
The moss cannot be washed away：the dense leaves will grow：
and when the wind blows： the leaves will fall early.
The yellow butterflies in the autumn will pass two on the
grass on the west side of the garden.
The scene would break my heart：
and I was afraid to sit alone：
and my cheeks would fade.

In these next four lines, in Li Bai's description, the protagonist was touched by the scene she saw and then fell into a constant state of anxiety. The description of the scene gives the reader an immersive experience as well. Pound's translation of these four lines also created a more vivid picture than Xu's. In order to show worry and fear, Pound chose the word "hurt" to imply the double meaning, referring to both psychological and physical injuries. The protagonist's mourning showed her helplessness as a feudal woman. Xu's choosing of "cheeks" and “fade” was even better, because women's cheeks are like roses which only shine their beauty in youth, while fading indicated her growth and fear of growing old.

===On the level of sentence===

In the translation process, when the translator has decided and embellished the words to be used, they must also take the entire sentence pattern into account.

郎骑竹马来，绕床弄青梅。
同居长干里，两小无嫌猜。

Pound’s version: You came by on bamboo stilts: playing horse.
You walked about my seat: playing with blue plums.
And we went on living in the village of Chokan.
Two small people: without dislike or suspicion.

Xu Yuanchong’s version: On hobby horse you came upon the scene：
around the wall we played with plums still green.
We lived: close neighbors on Riverside Lane：
carefree and innocent: we children twain.

Through analysis, it is easy to see that Pound used different syntactic techniques, such as "playing" to express two actions at the same time, while Xu only used simple past tense to imply the time, which is slightly inferior.

The last two lines of the poem express the protagonist's hope and deep love for her husband, and her wishes of him coming home early and promises that she will meet him not far from home.

早晚下三巴，预将书报家。
相迎不道远，直至长风沙。

Pound’s version: If you are coming down through the narrows of the river Kiang：
please let me know beforehand.
And I will come out to meet you as far as Cho-fu-sa.

Xu Yuanchong’s version: O when are you to leave the western land?
Do not forget to tell me beforehand!
I’ll walk to meet you and would not call it far
Even to go to Long Wind Beach where you are.

By comparing the two translations, Pound used "If you are coming down" to express the wife’s longing for her husband; Xu chose direct words to show what the wife wanted to say to her husband, creating a more vivid scene. For readers, Xu's inner monologue is more touching than Pound's.

===On the level of culture===

1.Translation of Idioms and Allusions. There are two idioms and two allusions in the overall content of Changgan Xing. They are "青梅竹马（Qingmei Zhuma）" and "两小无猜（Liangxiaowucai）"; "抱柱信（Baozhuxin）" and "望夫台（Wangfutai）". The cultural interpretation of "Qingmei Zhuma": Qingmei refers to green plum; Zhuma is a bamboo pole played by children as a symbol of horse. It describes the innocence and playfulness of young children. Now it refers to the intimacy between men and women when they were young. Pound obviously failed to interpret the cultural meaning of it, and mistook it for the boy stepping on bamboo stilts and playing horse, which is a ridiculous mistranslation in Chinese readers’ eyes, but fills English readers with a surprised and fresh feeling and making them impressed on how romantic the young boys and girls in ancient China were! This unintentionally became his punch line. Professor Xu Yuanchong's translation cleverly replaces the "Zhuma" in the original poem with the "hobby horse", a common childhood game tool, so that English readers can easily appreciate the true meaning of the innocent game of boys and girls in the original poem according to their own life experience. This not only preserves the real intention of the original poem, but also makes it easy to be understood by English readers. It may seem to be unfaithful to the original poem in the surface, but in fact it is an evocative interpretation of the classical Chinese culture contained. In addition, "around the well" is even more impressive, vividly depicting the happy scene of boys and girls chasing and playing in the courtyard and by the well.

The allusion "Baozhuxin" is from Zhuangzi, a man named Weisheng made an appointment with a woman to met under a bridge, Weisheng arrived first, and suddenly the water rose, he kept his promise and refused to leave, so as a result, he was drowned while holding to the pillar of the bridge. Since then, people used "Baozhuxin" as a metaphor for keeping faith with love. "Wangfu tai" is taken from the Southern Dynasty Liu Yiqing’s The Book of Ghost Stories: there is a stone resembling a woman in Beishan, Yangxin County, Wuchang; Legend has it that: in the past, there is a chaste woman, her husband joined the army to save their country, so the woman together with their weak son bid farewell to him to this mountain, standing there lookout and turned into a stone, therefore got the name of “Wangfutai”. This is an allusion used to describe a wife missing her husband, or to describe the utmost sincerity. These two lines mainly express the wishes of the merchant woman to her husband, who should remember the vow he made on that day and never leave her and adhere to their love, so that the merchant woman will never have to climb up the mountain to look at her husband’s direction. These two lines contain both the wife to her husband's entrust as well as her hidden worry for him. Pound failed to translate these two allusions, and delivered a weak transformation in the cultural dimension. Xu Yuanchong's translation adopted the domesticating method, as he avoided a direct translation of the allusions but managed to convey the spirit of the allusions: that is men should keep their promises.

2.Translation of rhetorical devices. Figures of speech are used to express the true feelings of the protagonist. Therefore, translators must pay attention to the translation of those devices. The use of simile, metaphor, personification and other figures of speech are prominent features of Li Bai's poems. Both Pound and Xu Yuanchong are flexible in dealing with exaggeration in this poem, which can also reflect the translator's skills in choosing appropriate sentence patterns in translation. The change of words or sentence patterns will affect the feeling of translation, so the artistic conception of the original poem must be taken into consideration by the translator.

===Conclusion===

This paper mainly studies two translated versions of Changgan Xing. One is Pound's interpretation and translation. , because Pound himself knew little about Chinese as well as about Chinese historical background. Pound, American poet and literary critic, is a representative of the magist. He is one of the leading figures of postsymbolism. From the study of the Chinese classical poetry and the Japanese haiku, he put forward the theory of “poetic imagery”, and made great contributions to the study of Eastern and Western poetry. Pound does not understand Chinese. The Chinese classical poetry can be translated because he got Earnest Fenollosa’s private manuscript. Pound chooses 19 Chinese classical poems and translates them into English, including Li Bai’s Changgan Xing. Pound’s translation of Li Bai’s works has already been the second interpretation, which can cause misunderstanding to the poem. Although Pound’s translated poem has enjoyed a high popularity in the western literature and is named as one of the excellent translations, it has some obvious mistakes, which deserve our attention and discussion. The other translator is Xu Yuanchong, an expert in translation of the classical poetry, who has published numbers of works of translation and translation theories. As a representative of the imagist movement, Pound is very fond of imagist poetry which especially emphasizes the hazy beauty. Therefore, the interpretation of concrete words is not taken very seriously. In order to pursue the creation of hazy beauty, Pound’s interpretation of Li Bai’s poetry damages the poetic mood and rhythmic beauty of the original poem. And Pound himself also explained that he was eager to pursue the image of the poem and did not blindly interpret the meaning of poem but to grasp more details and compress the author’s thoughts and feelings. As the first translator to win the Aurora Borealis Prize for Outstanding Translation of Literature, one of the highest awards in the international translation community, he has made great contributions to Chinese literary translation. In his translation career, Mr. Xu not only translated a large number of Chinese and Western cultural classics, but also wrote several books on translation theory. In particular, his views of "Three Beauties" (beauty of sound, meaning and form) and "Three Perfections" (equalization, simplification and deepening) in poetry translation have been gradually accepted by the translation community. In particular, his principle of "Three Beauties" has been regarded by many scholars as the criterion for judging poetry translation. In Xu Yuanchong’s opinion, “to preserve the beauty in sense we may use the method of ‘paraphrase’ (free or liberal translation); to preserve the beauty in sound, we may use the method of ‘imitation’ (or adaptation); to preserve the beauty in form, we may use the method of ‘metaphrase’ (or literal
translation)” (2006: 131).
Different translations have distinctive styles. In the process of translation, complete equivalence with the original is not advocated. The translator's aim is to satisfy the needs of readers, not to cater to them. Choosing how to translate the original text is actually a balancing process between the target language and the source language. When translators try to translate some works, they can be guided by functional equivalence in order to be faithful to the original text. For functional equivalence to be achieved in poetry translation, the following steps need to be followed: The first step is to understand not only the literal meaning of the original text, but also the implied meaning of it, so as to achieve functional equivalence in poetry translation. The second step is to use one’s own words to express, to translate the allusion properly, and also to choose the appropriate rhetoric. Only in this way can the translation be easier to understand for its receiver.

===Terms and Expressions===
Changgan Xing; TheRiver-Merchant’s Wife: a Letter; Ballad of a Trader’s Wife: 《长干行》

"Three Beauties" (beauty of sound, meaning and form)：“三美”（音美，意美，形美）

"Three Perfections" (equalization, simplification and deepening)：“三化”（等化，浅化，深化）

functional equivalence theory：功能对等理论

Eugene Nida：尤金·奈达

Toward A Science of Translating：《翻译科学探索》

The Theory and Practice of Translation：《翻译理论与实践》

Zhuangzi：《庄子》

The Book of Ghost Stories：《幽明录》

the Aurora Borealis Prize for Outstanding Translation of Literature：“北极光”杰出文学翻译奖

poetic imagery: 诗学意象

===Questions===

1.What are the main methods adopted by Pound in his translation?

2.What are the main methods adopted by Xu Yuanchong in his translation?

3.Since there are many mistranslations in Pound’s version of Chang Gan Xing, is it ok for us to draw the conclusion that Pound’s translation is inferior than Xu’s?

4.Is it possible for us to find the best or a precisly equivalent translation of the original poem?

===Answers===

1.Free translation and domestication.

2.A combination of literal translation and free translation, domestication and foreignization.

3.No, it’s not. Different translations have distinctive styles. Pound’s translation has its own merits and demerits and so has Xu’s translation.

4.It is almost impoosible for us to find a precisly equivalent translation since there are always something untranslatable because of the cultural differences, and it is also difficult for us to choose the best version that everyone agrees on as each has one’s own standards.

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*Eugene A. Nida. and C. Taber. The Theory and Practice of Translating. Leiden: Brill,1969.

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*Liao qian, Luo Dijiang, 廖倩,罗迪江.许渊冲“三美”翻译原则和庞德创意翻译理论对比研究——以李白《长干行》为例[A Contrastive Study of Xu Yuanchong's "Three Beauties" Translation Principle and Pound's Creative Translation Theory -- A Case Study of Li Bai's Changgan Xing][J].牡丹江大学学报[Journal of Mudanjiang University],2018,27(12):103-105.DOI:10.15907/j.cnki.23-1450.2018.12.029.

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*Zhang Qiaoping, 张巧平.诗学视域下李白《长干行》两英译本的对比研究——以庞德、许渊冲译本为例[A Comparative Study of the Two English Versions of Changgan Xing by Li Bai from the Perspective of Poetics -- A Case Study of the Two Versions by Pound and Xu Yuanchong][J].发展[The Development],2017(01):89-90.

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==英语笔译张瑞 Zhang Rui 202170081608==
<center>'''An analysis of honorifics between Chinese and English'''</center>

<center>张瑞 Zhang Rui</center>

===Abstract===

The purpose of this paper is to study the use of honorifics in modern languages and the expressions of politeness in address forms. In this paper, English and Chinese are selected to study the corresponding expressions by means of data collection and analysis. The results show that the use of honorifics is influenced by language habits, cultural backgrounds, social changes and other aspects, and the development direction of honorifics is explored.

===Key words===
Honorific; personal pronouns; Comparison
===Introduction===

1.1 Background of research

In recent years, with the background of globalization, international communication and cross-culture contact has become an essential part in the modern world. When communicating with others, the question “How do I want to be addressed” might come to the mind. Languages, seen as human culture relics, have their own features that embody different customs in different societies. In everyday life, the use of language is an essential part which enables us to express, receive and communicate ideas as well as massages. Among different functions of languages, honorifics stand apart from other functions. Even though there are various forms of honorific used in different languages, the existence of honorifics serves one very purpose: to express your respect to others. The use of honorifics changes from one culture to another culture and different usages of honorifics in different languages deserve our attention.

1.2 Aims of research

Different honorifics have different meanings and are used for different purposes. Honorifics have developed along with the language itself. Theories that are used in the study of honorific include Language typology and linguistic anthropology theories.
Thus, in the following part, I’d like to illustrate the development of honorifics, similar and different uses of honorifics and the cultural connotations that honorifics indicate. Besides, the relationship between politeness and honorifics will be discussed.

===Literature Review===

2.1 Theoretical Framework

Moravcsik (2013) claims that Language typology aims to describe and explain the common properties and the structural diversity of the world's languages. Goals and tools for language typology are the key points, on which the author had put most attention and efforts to introduce and illustrate. And the author focused more on the similarities of different languages when looking into language patterns.

The key question raised is that: What is the reason for their differences and for their similarities? To find out the reasons, the author put his attention more on the similarities and differences in vocabularies, word structures, and word orders. By comparing the similarities of vocabularies, three reasons— shared historical origin, language contact and shared cultural environment (supported by respectful person pronouns)—are discussed. Then, the author talks about language types and universals with the examples of different word orders and sentence structures, and introduced the definition of language typology—the study of typologically and universally shared features of languages.

Another focus point is different kinds of statement types and corresponding statements. Statement types differ in mainly three aspects. First, the author gives the examples of alveolar nasals with the illustration of examples of food stores. Crosslinguistic statements are existential and universal. Existential statements tell us results under different language conditions. Based on universal statements, they differ in modality (absolute universals and statistical universals) and the universe they pertain to (unrestricted universals and implicational universals). Statistical statements are about probabilities: it is not only possible that the next language that you encounter has a particular feature – it is said to be probable. Absolute universals in turn are about certainties: they say that the next language you look at will have a particular feature. Difference between unrestricted universals and implicational universals lies in the relationship between implicans and implicatum as well as their complexity.

According to the relationship between terms, we can label the three implicational types: paradigmatic, syntagmatic and reflexive universals. According to their complexity, there are single implicans and/or implicatum and complex implicans and/or implicatum.

When it comes to language samples, we cannot inspect all languages. The reason for that is we cannot know what future languages will be like. Secondly, we don’t know about all the languages which have existed throughout human history. Thirdly, even with today’s extensive data bases, no linguist can consult all descriptions that are available. Thus, Matthew Dryer’s theory aims to find out a universally valid tendency based on genetic groups, geographic groups and measure of universal tendencies.
The type of a language influences the way it express meanings (金立鑫, 2006). For example, inflected languages, such as English, changes meanings by changing word forms, while isolating languages, such as Chinese, use isolated words to express special meanings.

2.2 Honorifics

Honorifics are one way we express our honor or respect to others. They are in both spoken or written languages. Different words are used to express different level of honorific. Honorifics are a simple language mechanic that allow us to express esteem or respect for the person we are speaking to. Most languages use honorifics up to some extent. But at the same time, in many languages, the need to use honorifics dissipates when we know someone well. For example, some languages like English consider it acceptable to address a senior without any title.

There are situations where one generally uses an honorific outside of official environments.

David (2013) surveys the use of honorifics in a variety of languages illustrate the forms of honorifics vary in different languages. According to the author, honorifics refer to the addressee, the utterance referent and the bystander of the discourse. How we make use of honorifics determines categories of honorifics. In most cases, we change words we use on occasions where we are supposed to revere others, so that we can communicate better. That means honorifics are lexically different. The use of honorific varies based on the situations. With different individuals’ status being expressed, there are three main types of honorifics.

The first type of honorifics is the addressee honorific, which aims to indicate the social status of the individual spoken to, or the hearer. Addressee honorifics express the social status of the person being spoken, which are normally higher than that of the speakers. Besides, people may use honorifics to show his politeness to the hearers, even though their social statuses are equal. For instance, honorifics in Javanese are involved in this type. And the contents of the conversations don’t matter.

The second type of honorifics is the referent honorific, which is used to express the status of the one being spoken about. Addressee honorifics change forms of words, while referent honorifics are marked by the lexicon. In some Indo-European languages, there is another second person pronoun used to express respect, such as tu/vous in French, or du/Sie in German, siz in Turkish, thee in Middle English. In Chinese the similar variation is 你/您. For example,

German Du isst Sie essen.
French Tu manges Vous mangez.
You eat.

The T-V distinction contains the terms T-form and V-form. The idea introduced by Brown and Gilman (1960) that the use of T-V distinction was governed by power and solidarity. The T-form refers to the Latin tu, the singular pronoun indicating informality. The V-form refers to the Latin vos, plural pronoun that indicates respect and formality. By choosing a different form of pronouns, relative social status of the speaker and the hearer is shown. However, in modern English this variation has disappeared.

Another type is the bystander honorifics, which express the status of someone who is nearby, but not participating in the conversation (the overhearer). This is the rarest form of honorifics, which is mostly seen in aboriginal languages in Australian languages—the "mother-in-law languages". In these languages people change their speeches when there are in-law or other tabooed relatives’ presence. The lexicon, morphology and phonology are all affected.

As far as I am concerned, the existence of honorifics results from the differentiation of communities and societies across the world. Honorifics are seen as an embodiment of speakers’ or hearers’ social status. On the other hand, the choices of honorifics also depend on whether it is formal or informal.
Chinese scholar 孙芮乔 (2019) takes English and Chinese honorifics as examples, illustrating the politeness strategies that honorifics follow. Face-saving viewing by Brown,P. and Levinson,S (1987) refers that all qualified social adults attaches importance to their face, which consists of positive(to be praised) and negative(not to interrupt others) faces. The politeness strategy thus follows these two aspects.

Honorifics have experienced a very long history. The use of honorifics might vary in different language. But the purpose seems to be clear: to contact with other social individuals more comfortably and efficiently.

2.3 Linguistic anthropology

Linguistic anthropology is one of the branches of anthropology. Unlike linguistics which is the scientific study of the language, linguistic anthropology gives its attention more to language as it relates to socialization and culture. Linguistic Typology analyzes, compares and classifies languages according to their common structural features and forms.
Tasks and aims of linguistic anthropology includes a) the classification of languages, i.e., the construction of a system to order natural languages on the basis of their overall similarity; b) the discovery of the mechanism of construction of languages, i.e., the construction of a system of relationships, a 'network' by means of which not only the obvious, categorial mechanisms of language can be read but also the latent ones.

According to Pier Paolo Giglioli (1990) in "Language and Social Context," anthropologists study the relationships between worldviews, grammatical categories and semantic fields as well as the influence of speech based on socialization and personal relationships, and the interaction of linguistic and social members and communities.

Another scholar Wierzbicka (1997) demonstrates that every language has its key concepts and that these key concepts reflect the core values of the culture. Further, she argues that within a culture-independent analytical framework one can study, compare, and even explain cultures to outsiders through their key concepts.

According to Alessandro Duranti (1997), linguistic anthropology is the study of language as a cultural resource and speaking as a cultural practice. As an interdisciplinary study of language, it covers interdisciplinary fields of language and puts its focus especially on the effects given by the different usages of language in society. Constitutive social acts represent the social orders that people follow interpsychological (between individuals) and intrapsychological (in the same individual). linguistic anthropology specializes in the questions and topics that are at the core of anthropological research, politics of representation, the constitution of authority, cultural contact and social change, etc. The author attached importance to the culture and language diversity theories, giving the idea that “What used to be thought of as outside of language is now more and more often seen as part of language”. In the following chapters, the author illustrated Meaning in linguistic forms Speaking as social action, Conversational exchanges and Units of participation.

The author introduced ethnographic methods. That means committed to traditional ethnographic methods including participant-observation and work with native speakers, linguistic anthropologists obtain local interpretive glosses of the communicative material they record. Otherwise, they also use elicitation techniques similar to those employed by typological linguists who are interested in grammatical patterns. Recently, these methods have been combined with new forms of documentation of verbal practices developed in such ﬁelds, like urban sociolinguistics, discourse analysis, and conversation analysis.

Duranti introduces linguistic anthropology as an interdisciplinary field that studies language as a cultural resource and speaking as a cultural practice. B discussing about linguistic diversity, grammar in use, the role of speaking in social interaction, the organization and meaning of conversational structures, and the notion of participation as a unit of analysis., the theories or methods of linguistic anthropology are introduced.

One example given by the author about the standards of acceptability is that pauses and overlaps are used to interpret what is going on. And these re-starts, cut-offs as well as other corrections that speakers make of their own talk. The author noticed that the position of the corrected item is typically at the word which leads to the new topic.
In the joint work of Zdenek, S., James M, S., & Nobuko, A. (2012), it is mentioned that society and culture are key elements that differs linguistic anthropology from linguistic. Linguistic anthropologists study language in its cultural framework and think about the rules for its social use. In this way, linguistic anthropology is defined as the study of language in its biological and sociocultural contexts. An obvious difference between linguistic and linguistic anthropology is that those who study linguistic anthropology have never isolated language from social intercourses but have in interdependence with cultural and social structure.

According to the author, the method that linguistic anthropologists commit to is participant observation—observe the day-to-day activities in the field places. And then, the author analyzed speech sounds, sentence as a link to social behaviors and nonverbal communications such as emotions and feeling. From chapter 3 to chapter 10 the author focused on the different aspects of language itself. In the following chapters, cultural elements were introduced to elaborate how language shapes communication and influences culture.

One example is the salespeople’s pronunciation of r-sound in New York City. The researcher, Labov who later gathers examples in a supermarket, assumed that salespeople in large department stores were likely to borrow prestige from their customers and hypothesized that “salespeople in the highest-ranked store will have the highest values of (r); those in the middle-ranked store will have intermediate values of (r); those in the lowest-ranked store will show the lowest values”, which was proved to be true. That means language reflects personal identity.

Christine Jourdan (2006) takes language as a tool of thought and perception and discussed how language influences our perception of the world.

Linguistic anthropology solves the problems such as how to collect language data and how language influences the understanding and perception of human societies. It aims at the actual use.

===Methodology===

3.1 Collection of examples and data

To compare different languages, we need a great number of data as well as examples. As loads of examples are gathered, the first problem that gets in the way is that: what are the most typical examples that we can use to support the theories? The subject of this paper is honorifics of languages: English and Chinese. Most examples were collected from actual use of languages including living honorifics that are used nowadays and ones that are in limited use or are already ‘dead’. To compare different examples, we need not only those we are using but also ones that appeared in the history and later were abandoned. Attentions are also put to clearly support the theories. The examples as well as terms are obtained from dictionaries, grammar books or Internet.

3.2 research questions

1) In different languages, the standards in choosing most proper words are quite different. Still, it shouldn’t be neglected that there are similar or even same forms of honorifics used in the different languages. So, here comes the first question: What are the culture connotations that differentiate the various uses of honorifics?
2)Languages in the same culture groups share many similarities. But as languages develop, uses of honorifics may go on separate ways. In the following part, I’d like to discuss: what are the elements that have made languages formed their own expressions and rules?
3) As we are studying and analyzing existing samples, it is also important that we get our eyes on the future: In which direction may honorifics develop? What are the development patterns of honorifics?

To sum up, by gathering, comparing and analyzing data and examples in different languages, the author focuses on above questions.

===Honorific examples in English and Chinese===

Nationality, language and religion—these are the elements that influence people of certain cultures. As languages reflect nationality, so do honorifics. Even though there may be as many forms of honorifics as languages, the very purpose is basically the same—express respect and communicate in a better way. It reflects the relationship between the speaker and the listener. Moreover, the use of honorifics shows difference in social status, distance as well as in occasions.

To compare different languages, we need a great number of data as well as examples. Most examples were collected from actual use of languages including living honorifics that are used nowadays and ones that are already ‘dead’. To compare different examples, we need not only those we are using but also ones that appeared in the history and later were abandoned. Attentions are also put to clearly support the theories.

4.1 English honorifics

In Modern English, honorifics are also frequently used. However, its honorific terms are relatively few compared with languages like others. Usually, a man is cited as Mr. and a woman Miss. By prefixing a person’s name could we express our respect to the listener. Such prefixes include: Mr, Mrs, Miss, Ms, Mx, Sir, Dr, Lady or Lord as well as titles or positions—President, General, Captain, Father, Doctor,etc. In Table 1 are some English honorifics that are frequently used.

Neutral Male Female
Mx Master Miss/Mrs
M Mr Ms
Gentleman Ladies
Sir Madam/Ma’am
Sire Dame
Lord/Baron Lady
Fr: (Father)
Br: (Brother) Sr: (Sister)
His/her Excelency
His/her Honour

Linguistically, there are basically three types of honorific terms in English: honorifics. that prefixes immediately a person’s name (Mr., Ms.); honorifics denoting the honored person's occupation (Doctor, Father); some honorifics completely replace a name or occupation, as "Sir" or "Ma'am", or "Your Honor”. Subordinates will often use honorifics as punctuation before asking people of higher status a question or after responding to an order: "Yes, sir" or even "Sir, yes, sir."

Based on the actual uses, there are common tiles, formal titles, and religious titles. Common titles, such as Mr., are frequently used in daily life. These honorifics don’t put too much emphasis on one’s social status. Their classifications are based on the natures of hearers—ages and genders. For formal titles, the difference of social status does make a difference. By addressing someone with his academic or professional titles, both politeness and respect is achieved. Under some circumstances these appellations are necessary. For example, “John Bercow, Speaker, Britain's First Commoner (that's an honorific for the class conscious of you out there), was greeting and welcoming his new intake in Portcullis House. He is master of this domain."(Simon Carr, "My Ill-Tempered Encounter With the Speaker." The Independent, May 12, 2010)

Affected by religions like Christianity, Judaism, Islam and Buddhism, there are also relevant terms for believers to express their respect in special situations. In some religious organizations, members follow certain religious orders where appellations also follow some rules. Here is an example from Bible:

But when you pray, go into your room, close the door and pray to your Father, who is unseen. Then your Father, who sees what is done in secret, will reward you.

Matthew 6:6
As we can see, English honorific terms mostly belong to the referent honorific and the bystander honorific, which means English users express their respect to the ones they are talking to and talking about in a direct way.

4.2 Chinese honorifics

Etiquette, one of characters that has been valued in Chinese’s society, reflects special features of Chinese culture. Choices of honorific terms or titles are an important element in the proper observation of etiquette. The history of Chinese honorifics could be divided by New Culture Movement into two periods: honorifics in Classical Chinese and in vernacular Chinese. There are general four types of honorifics: Respectful Language(employs modified words or substitutes called respectful vocabulary that convey a sense of respect for the addressee), Humble Language(Language employs modified words or substitutes called humble vocabulary that convey a sense of self-deprecation and humility for the speaker), Indirect Language(employs words called indirect vocabulary - e.g., euphemisms that are used to hide or beautify an otherwise unfortunate event or action.), and Courteous Language(employs specific words or phrases that have courteous and praising connotations intended to flatter the addressee). Most honorific appellations belong to the range of Respect Language and Humble Language, which will be talked about.

In Classical Chinese, the difference of social status and classifications breeds respectful and humble forms in the use of language. The honorific system is quite complex. A large number of fields, including pronoun substitutes, modified nouns, proper nouns, and pronouns, modified verbs, honorific adjectives, honorific idioms, and honorific alternatives for other neutral or deprecating words, indicate its complicacy. During a conversation or when writing a letter, using proper appellations is necessary. Speakers always employs humble terms to indirectly beautify the listener and respectful terms to directly for the same purpose.

Speaker（I, me） Listener（You）
某公
在下足下
先生
君侯
For example,
“某为医一生，未尝见此，君侯真天神也！” —《三国演义》第七十五回
As one indicates someone or something that is not present in the conversation, he would prefix XX with following prefixes and suffixes.
(the bystander honorifics)

Praise degradation
贵~（noble）鄙~（humble）
尊~（Respected）贱~（lowly）
令~（excellent）舍~（my/our）
贤~
~公

With the promotion of vernacular Chinese, New Culture Movement in China further hastened the demise of the traditional Chinese honorific system. In modern China, those terms representing traditional monarchy have been outdated in the history. Instead, salutations, such as 亲爱的/尊敬的/敬爱的, are frequently used in speeches and letters. Other appellations, according to one’s social position (老师，科长，处长)，age or gender (大伯，大婶，大爷) convey respect to the listener. The second person pronoun“您”and variants such as“您老人家”are also another form of honorifics in modern China.

===Comparison===

As time goes by, languages are changing initiatively or passively. Even though most languages do not look like its original forms, the inner spirits of the way languages used could somehow pass down with history. When it comes to honorifics, both eastern and western languages conform to that. Whether it is English or Chinese, honorifics in different periods of time reflected the specifically social conditions and social background of its time.

Nowadays, based on the above examples of these languages, we can find that concerns about elements like gender, age or the degree of intimacy. Thus, the use frequency, word choices, attitudes, classifications, existence basis and development levels vary greatly from each other. In the process of communications, languages, seen as the reflection of cultures, may have different methodologies. One of them is the use of honorific terms. Even though languages differ from each other in many ways, we can still find something common when honorific terms are employed. Nowadays, contacts between nations have never been so convenient and frequent. During the conversations, people would like to take certain methods to express ways in crosslinguistic communications. For example, the term Mr. /Miss. Is always welcome. There were also counterparts of the term Mr./Miss which were not used in their languages. So, it is international communication that has somehow contributed to the transformation of certain languages.

As far as I am concerned, two key elements are showing respect and avoiding taboos. The earth is seen as a small village where members can exchange different ideas though convenient technologies. Still, it comes first how we can communicate better and more effectively, how we can be respected by those from another culture? Face with these problems, language users may have increased their tolerance for wrong usages in their languages and tried to avoid taboos. In the following part, I would like to illustrate some points during the study.

5.1 T-V distinction

Of more than ninety languages, there is a different form of second personal pronoun to deliver formality. Such phenomenon is called T-V distinction, which is named from the Latin pronouns tu and vos. Originally in Latin, two terms differ only in singular/plural use. The idea introduced by Brown and Gilman (1960) that the use of T-V distinction was governed by power and solidarity. A powerful person to use a T-form but expect a V-form in return.

Take English and Chinese as examples. In Modern English, there is no such variation. The pronoun you is used both in formal and informal situations. And its function of showing respect towards addressee is not that clear as its counterparts in German or French. However, back in Middle English, the second person pronouns thou and ye conformed to the distinction, as T form (thou) was used by people with higher social status to lower ones and V form (ye) is used by people with lower social status to higher ones. But over time that was considered polite to use the formal meaning in more and more contexts until the informal meaning was lost. Besides, T form was used within lower classes, when addressing God and when the addressee was not absent. and V form was also used by upper-class members when talking to each other. Such usage was believed to have come into effect with imitation of French among Norman French nobility. Later as other pronouns demised in Modern English, leaving you as V singular and plural pronoun. English was discarded from T-V languages.
In modern Chinese, this distinction shows as 你/您. Its V form (您), however, didn’t exist in Middle Chinese when it was in Tang Dynasty. Later in Yuan Dynasty, it appeared in the form of 恁, which worked as second person plural pronoun in vernacular language. With Beijing dialect taking -們 as plural, the plural function of 您 was decaying as honorific function was accepted in the second half period of Qing Dynasty. As vernacular Chinese promoted across the country, the honorific 您 was accepted as out-of-date personal pronouns were abandoned.

As we can see, English and Chinese went on the separate ways on T-V distinction: while Chinese created a new word and changed its semantic functions, English deprived the word of its respective meaning. However, these changes ended up in the same direction.

Under the rule of feudalism for more than two thousand years, Chinese had developed the concept and psychology of distinguishing the dignity from the inferiority and the order of the nobleness deep in mind (蔡红艳, 2015). Influenced by Confucianism, Chinese people associate language communication with morality and ethics, and regard rhetoric as an important means to regulate interpersonal relationship. Complicated honorific systems and terms are just the evidence for that. Nowadays, the word 您 has taken the place of traditional appellations used at feudal times. In western culture, which values individualism democracy and equality, s seen as a tool to extend individual influence.

Simplification of the distinction reflects the pragmatism of English users. Today they generally indicate formal address by using a salutation and last name.

5.2 Development trend of Honorifics

In the modern society where feudal systems were discarded and different forms of democracy system were established in most countries, languages have also changed a lot. In the above discussion, we have talked about some elements that affect the use of honorifics. Based on that, we may find out some points of how honorifics develop in the next step.
The essence of honorifics is the recognition of different personalities. The change of honorific represents the change of how people view diverse personalities. In most countries, there are different kinds of social hierarchy, which offered social basis to the existence of honorifics. Social status, therefore, is the only standard for the use of honorifics, which has the supremacy and was matched with the feudal systems. Therefore, although the addressee character who possessed a higher social status was not respected by the speaker, he must use the honorifics with high respect blindly according to the social rules and principles at that time. The speaker, with a lower social status, was deprived of the basic personality as a man. Compulsory social standards directly influenced the use of the language. On the contrary, the existence of modern honorifics bases on the consciousness of social equality and mutual respect among people, emphasizing the respect for each other's personality, which is adapted to the modern social system. As social systems shifted from feudalism to democracy, people no longer use honorifics involuntarily in the process of communication. Instead, according to the relationships with each other, they would judge whether to use honorifics based on the degree of respect other, the contents as well as the environment. The voluntary use of honorifics follows the process of equalization of personalities. In this way, honorifics no longer serves traditional hierarchy, as people pay more and more attention to mutual respect, mutual recognition and equal personality. But that doesn’t mean extreme equality among people, which ignores the difference of age or ability.

The objects of using honorifics are no longer limited to people with social status in feudal system. The use of honorifics depends on the individual's judgment as well as the situation at that time. To whom honorifics are used, what honorifics are supposed to be used, what levels of respect one should present, all of these matters conforms to the specific circumstances. In this way, as honorifics changed from status use to social use, their functions are correspondingly changing. For language users, social characters honorifics, which contributes to the better communication, are increasing prominent. The number of people who study and use honorifics has increased dramatically. Honorifics have become an essential part of work and social life. It can be seen from this that the subject and object of using honorifics have been extended to all social members, and the purpose of using honorifics is mainly to serve as a "lubricant" for dealing with interpersonal relationships. The function and applicability of their use have changed qualitatively. In this way, the objects of honorifics are gradually used by lower classes that once was ignored.

Since the new social ideological basis of the existence of honorifics - mutual respect, basic personality equality has been deeply rooted in the minds of the people, honorifics are really freed from the shackles of the former absolute honorifics and identity honorifics, and develop towards the direction of relative honorifics and social honorifics. At the same time, in this process, people's ideological activity is greatly improved, and they should always use their proper honorifics according to different environments and different objects they face. However, with the popularity of honorifics, the semantic meaning of honorifics has turned upside down - the mutual change from high to low, from low to high, that is, the functional usage of honorifics has changed, which has appeared some sprouts in today's new trend of honorifics, and even some have been widely used. One of the main reasons for the emergence of the new expression of honorifics is the establishment of a new social ideology - basic personality equality and mutual respect.

Following the trend of economy development and globalisation, honorifics would focus more on the function of facilitating communications instead of distinguishing different ranks in a society. As far as I am concerned, honorifics are going to simplify itself: traditional honorific titles were abandoned while there might be new forms of honorifics which are easily accepted by large members.

===Conclusion===

As the clock ticks, languages are also changing. The change of languages follows the change of those who use the language. As we invent a word, abandon a word, or transform a word, the underlying changes of the language are going on. When something new appears, we give it a new word. When something old is no longer needed, we keep it in the vault. With small changes happening, the language might look like something different compared with its original forms. Through the study we can find that honorifics are used in many languages.
Here are my conclusions:

Firstly, in different languages, the appellation systems differ in scale. Languages such as Chinese have more complex appellations systems than western languages. The reason for the difference lies in the different historical political and cultural structures. They also differ in methodologies. The English language prefers to using different words to express respect while the Chinese language adds prefixes. Another difference between honorific expressions lies in the existence of self-depreciation terms, which shows different attitudes towards modesty that eastern cultures highly valued. The forms of address ale in a dynamic course，differ from period to period and vary from one situation to another.

Secondly, with globalization and international communication pushing forward, the appellation systems might be affected by another language. In different languages there might be some similar expressions that spread between nations. We can find honorific titles in a language and their counterparts in other language. As cultures are spreading across the world, religions for instance, we can find similar religious titles in related languages. Thoughts or new ideas from other countries may also influence one’s honorifics. Such as the appellation 先生 in Chinese, which was used to address teachers, now is commonly used to address other males— just like Mr. in English.

Thirdly, it is true that honorifics convey respect. But as learning a second or third language is welcomed by more and mor people across the world, individuals from a language without a complex honorific system would have difficulty learning a language with a complex honorific system. Besides, in translation honorifics might be a tough part. Whether to use honorifics or not actually reflects the conflict between cultures.

We may predict the development trend of honorifics. Even though expressions of honorifics in different languages are diverse, many languages are gradually simplifying themselves, as a result of economic development, political changes or mentalities changes. Honorific changes happen normally after social changes. The influence and restrictions between language and culture are two-way. This kind of relationship requires us to study honorifics as a social and cultural phenomenon, to put it under the broad social and national cultural background and to analyze problems and find rules. Certain changes of language contain rich national cultural connotation, condensing the cultural characteristics of national world outlook, philosophy, thinking mode, concept mentality, religious belief, folk custom and folk sentiment, aesthetic interest, etc., which is worth the future research.

===References===

Brown, P., & Levinson, S. (1987). Politeness: Some Universals in Language Usage. Cambridge: Cambridge University Press.

David, A. (2013). Honorifics: Types, Data, and Importance for Linguistic Theory. Frankfurt a.M.

Duranti, A. (2013). Linguistic anthropology. Cambridge: Cambridge University Press.

Giglioli, P. (1990). Language and Social Context. New York: Penguin Books.

Moravcsik, E. (2013). Introducing language typology. Cambridge: Cambridge University Press.

Jourdan, C., & Tuite, K. (2006). Language, Culture, and Society: Key Topics in Linguistic Anthropology. Cambridge: Cambridge University Press.

Zdenek, S., James M, S., & Nobuko, A. (2012). Language, culture and society: an introduction to linguistic anthropology. Boulder: Westview Press.

Cai Hongyan 蔡红艳.(2015).浅谈汉语敬语及英汉尊敬表达方式差异.[The differences between Chinese honorific and English-Chinese respectful expressions]. 南京：江苏经贸职业技术学院.

Jin Lixin 金立鑫.(2006).什么是语言类型学.[What is language typology]. 上海：上海外语教育出版社.

Sun Ruiqiao 孙芮乔.(2019).礼貌策略与敬语表达.[Politeness strategies and honorific expressions]. 大连：大连外国语大学.

==英语笔译赵宇翔 Zhao Yuxiang 202170081609==

<center>'''Zhao Yuxiang: Dunhuang Frescoes In Contemporary China'''</center>

<center>赵宇翔Zhao Yuxiang</center>

===Abstract===

===Key words===

===Introduction===
''' Introduction On Mogao Grottoes'''
''' Introduction On Dunhuang Frescoes'''
===The origin of Dunhuang civilization ===
''' The Origin of Mogao Grottoes'''
''' The Origin of Dunhuang Frescoes'''

===Dunhuang Frescoes Are Enjoying New Life: Taking the Skins in Honor Of Kings As Examples===
''' Yu Jian Fei Tian (Meet A Flying Apsaras)'''

''' Yu Jian Shen Lu (Meet A Fairy Deer)'''

''' Yu Jian Hu Xuan (Meet A Huxuan Dancer)'''

===The Future Inherence And Development Of Dunhuang Frescoes ===

=== Terms and expressions ===

=== Questions ===

===Answers ===

==英语笔译郑冬琴 Zheng Dongqin 202170081610==
<center>'''A Study on the Influence of Sino-German Cultural Differences on International Business Negotiation and Its Countermeasures'''</center>

<center>Zheng Dongqin</center>

===Abstract===
In 1972, China and Germany formally established diplomatic relations. Since then, trade exchanges between the two countries have become more frequent and the diplomatic relation has become closer. With the continuous improvement of China's opening up to the outside world, a large number of economic and trade exchanges have been carried out between China and Germany. In recent years, through the efforts of both governments, Germany has gradually become one of China's most important trading partners. However, "ten miles of different wind, a hundred miles of different customs". First of all, international business negotiation belongs to the field of economic activity, and also, it is a cross-cultural communication activity involving various cultural factors. Cultural differences between countries are often one of the most prominent obstacles in international business negotiations. In this thesis, the author studies and analyzes the impact of cultural differences on Sino-German international business negotiations from the following aspects: values, communication style, verbal and non-verbal behavior, dietary habits, corporate culture and fulfillment of contract. In view of the objective facts of the cultural diversity of the world, this thesis mainly discusses the cultural differences between China and Germany by means of illustration and comparative analysis, and then puts forward some useful countermeasures in order to provide some reference for negotiators to overcome some unnecessary barriers to negotiation.

===Key Words===
China; Germany; cultural differences; international business negotiation; influence; countermeasures

===Introduction===
In the era of highly developed economic globalization, the economic policies, political attitudes and cultural factors are playing an increasingly important role in international affairs and daily exchanges between different countries and regions. And among these main factors, culture is often a factor that cannot be underestimated. Because the success or failure of intercultural communication is determined by culture to a large extent. Fortunately, nowadays, we have a more open and inclusive world. Although there are some obvious or subtle distinction among different cultures, we are still able to carry out some effective international communication activities.
In October 1972, Germany and China formally established diplomatic relations. Since then, the exchanges between the two countries have been generally smooth in all aspects. For example, the leaders of China and Germany met at the UN General Assembly. In addition, the two countries frequently conducted high-level state visits and carried out various economic consultations. Especially since China's accession to the World Trade Organization, the trade exchanges between Germany and China has developed rapidly. Furthermore, in 2013, the Chinese government proposed "the Belt and Road" Initiative. With the development and promotion of this initiative, extensive cooperation and exchanges have been carried out between China and many other countries. In this case, China's foreign trade has reached a new level. Moreover, the China-Europe Railway Express has also greatly promoted the economic exchanges between Germany and China. Besides, in the last few years, the United States has launched a trade war against China, which has dramatically reduced the volume of trade transactions between China and the United States. To a certain extent, it has also created more opportunities for Sino-German trade transactions.
As an important trading partner of China, Germany often needs to conduct business negotiations with China. However, it is not easy to successfully reach the negotiation goal due to the complexity of international negotiations. They involves foreign policies, economic strategies and cultural differences. As we all know, the special negotiations with different modes of thinking and behaviors are more challenging than general negotiations. Whether we can correctly understand and deal with the cultural differences between China and Germany is crucial to the success of the negotiations. So negotiators need to master some useful business negotiation skills. They also should try to cultivate their keen awareness of cross-cultural communication. Only when they pay attention to the commonalities and differences between different cultures can they understand others better and communicate more effectively in cross-cultural activities, so as to promote the success of international business negotiations.

===Definition of Culture and Intercultural Communication===
1.1 The Definition of Culture

Regarding the definition of culture, different scholars hold different views. If we consider it in a narrow sense, culture refers to the behaviors, habits, traditions or beliefs peculiar to a particular region or organization. However, if we regard it as a broad concept, culture is considered to be the way of life of a country or a nation. It includes customs, religious belief, political system, science and technology, language and other elements. Culture is usually considered to be a broad concept in international business negotiations. Generally speaking, it refers to the modes of thinking and behaviors and the values of a country or a nation, which affects people’s social style to a great extent. It also embodies the characteristics of a particular social group. Due to the specific history and tradition, different countries or regions have developed their own cultural characteristics and cultural models. Due to the differences in traditional habits, value system and social styles, we can find that there are some trade frictions in Sino-German business negotiations.

1.2 The Definition of Intercultural Communication

"Communication between native speakers and non-native speakers, or between any people who are different in terms of language and cultural background, is called cross-cultural communication."(Zhuang Enping, 2004:8)In essence, it refers to the direct verbal communication between two parties. What it studies includes the differences in value orientation, way of thinking, language norms, customs and habits and so on, and it involves not only in-depth theoretical analysis, but also practical application. And only in this way can it better serve the intercultural communication activities.

===Concept and Characteristics of International Business Negotiation===
2.1 Concept of International Business Negotiation

"International business negotiation is a process of consultation. It involves two or more negotiators who are from different countries and represent different interests. They are meant to conclude a transaction with each other."(Salacuse.J.W, 1991:40) As we all know, there are inevitable conflicts of economic interests in negotiation. If negotiators are unable to reduce trade frictions and settle disputes, it will be very difficult for them to conclude a transaction in the end. In essence, international business negotiation belongs to a kind of cross-cultural communication activity. Therefore, culture plays an important role in international business negotiations. In a word, in foreign trade activities, we need to recognize the close relationship between culture and international business negotiation.

2.2 Characteristics of International Business Negotiation

2.2.1 Being Closely Related to National Policies

Essentially, international business negotiation is an international communication activity, which is closely related to national policies. Generally speaking, international business negotiation involves at least two countries or nations. Different countries or nations have different national policies. For example, a product is allowed to be sold in one country, but it may be explicitly prohibited in another country. From this we can see that national policies vary among many countries and affect economic activities to a large extent. Therefore, in international business negotiations, negotiators are supported to be very familiar with their own country's national policies. At the same time, they also need to have a basic understanding of the national policies of other countries and abide by a series of laws and rules governing foreign trade and economic relations, which can greatly help reduce unnecessary trade frictions.

2.2.2 Being Much More Complex

Negotiators who come from different countries and regions have different cultural backgrounds, values, ways of thinking, ways of behavior, languages and personal habits. Therefore, in the face of an unfamiliar cultural environment, it is inevitable that there will be some communication barriers and different opinions between negotiators, which will easily produce conflicts of interest and unpleasant phenomena in the negotiation process. At last, it will make the negotiation environment more complex. So it will be more difficult for both parties to come to an agreement.

2.2.3 Being both Conflicting and Cooperative

International business negotiation is a process of conflict and cooperation. If the interests of both sides are exactly the same, there is no need to negotiate. So it is normal that there are conflicts of opinions and interests between the two parties. International business negotiation, in fact, is a process of reducing differences through consultation so that the interests and objectives of both parties tend to converge and finally reach an agreement. If disputes escalate and differences widen, it is easy to lead to the breakdown of the negotiations. Therefore, it is very important for both parties to seek common ground while reserving differences in order to gain mutual benefits.

===The Embodiment and Causes of the Cultural Differences between China and Germany===

3.1 Difference in Values

"In the process of international business activities, time is an important concept worthy of our attention. However, people's view of time varies greatly since there are cultural differences between different nations."(Wang Tianwen,Wang Shimin, 2008:39) Germans are strictly punctual, doing only one thing at a time. The plans they made were highly binding. Even if things do not end within a specified period of time, they must stop without affecting the next arrangement or keeping the next person waiting. What's more, they think being punctual is a kind of basic courtesy as well as a sense of responsibility. If someone don't be punctual, it not only wastes the time of both parties, but also is a lack of honesty of someone. On the contrary, Chinese people tend to do many things at the same time or many people do the same thing together. They emphasize multiple participation and better completion of tasks. In most cases, people get along very well. Generally speaking, Chinese people have a more flexible schedule or plan, which does not emphasize that everything should be in accordance with a fixed schedule or a strict plan. Chinese people don't like to make appointments because they think plans can be changed depending on specific circumstances. Instead, they prefer to visit at any time. In most cases, even if an appointment is made in advance, the visitor may not come.

Due to the totally different modes of thinking between Chinese and Germans, people tend to have opposing or misunderstanding views on things. “The individualism＆collectivism dimension describes the extent to which the society is organized around individuals or the group.”(Xue Qi, 2006:6)The ideological core of Chinese culture is collectivism. The Chinese believe that everyone is not a separate individual, but an individual living in a social group. No matter what they do, they should follow the principle of collectivism, stick to the collective wisdom and give full consideration to the collective common interests. Otherwise, people will not be able to live in society and community, and may even be abandoned by society and group. In conclusion, it is obvious that Chinese people are more talkative and are fond of participating in various social activities. They often get together with relatives and friends, and attach great importance to the harmony of the group. In German culture, the basic unit of society is not the collective but the individual, and people attach great importance to the existence and achievement
of the individual. German culture also does not emphasize the maintenance of collective harmony and consensus of opinion. They tend to pay more attention to the expression of their personal opinions when considering problems, and will not easily make concessions even when they disagree with others. Moreover, Germans, who are deeply influenced by individualism, prefer to be quiet and alone, enjoying a good time by themselves. They think that frequent socializing is a waste of time.

3.2 Difference in Communication Style

"In order to better explain and show the diversity of world culture, the American anthropologist Edward T. Hall proposed the concept of high and low context culture."(Fan Lei,Fan Weiwei, 2001:148) As we all know, China and Germany are classified as two totally different contextual cultures. China is known as a high-context country. Chinese people attach great importance to the role of context in interpersonal communication. They often express their thoughts and feelings in a very implicit and euphemistic way. This makes it difficult for others to quickly understand what the speaker is really trying to express. While Germany is a typical low-context country, people usually express their views and true feelings directly and clearly. And they seldom say some nonsense or crack a joke that is irrelevant to the topic. This inevitably gives the impression that Germans are serious and difficult to approach. Therefore, different contextual cultures influence communication styles to a great extent.

In addition, the Chinese and Germans have completely different attitudes to the concept of face, which largely affects their communication styles. As is known to all, Chinese people prefer to attach great importance to their so-called honor and reputation. In interpersonal communication, they will feel very embarrassed and disgusted if others directly say something negative or rejecting. Because in their opinion, it is a kind of inconsiderate and damaging behavior of others' reputation. In Germany, people don't care much about so-called face. They do not express their thoughts and opinions in a roundabout way. Hence, sometimes it is easy to offend others unintentionally.

3.3 Difference in Verbal and Non-verbal Behavior

German, as a typical Germanic language, of course belongs to the Indo-European language family. Each language has its own characteristics. And accuracy is one of the labels of German. German has many prescribed sentence structures and grammatical rules, which are naturally reflected in its expression patterns. Germans often use words such as "have to" and "must", which tends to give people the impression of being rigid and arrogant. In fact, it is a manifestation of German conscientiousness and preciseness. There are also many words in German that require foreigners to understand their usage environment and idioms in detail so as to accurately understand the real intention of the other party. However, Chinese belongs to the Sino-Tibetan language family, which has rich and profound connotations and flexible and diverse sentence patterns. “Chinese people tend to speak in a euphemistic way, which usually gives people the impression of humility.”(Tong Fang, 2006:58) When expressing opinions, Chinese people are fond of adopting the mode of induction, explaining the reasons first and then drawing a conclusion. The Germans, on the other hand, prefer the deductive method, which states the conclusion first and then puts forward the reasons.

We also need to pay attention to nonverbal behavior because it is a critical part in intercultural communication. It consists of various gestures, body movements, eye contact and so on. The meanings of these behaviors may be quite different in different cultures. Therefore, negotiators should have a good command of different non-verbal signals of their own nations and other nations. Otherwise, it would be easy for them to misunderstand these signals, and then they may not be aware of the mistakes. In Germany, for example, silence signifies approval. While in China, the embodiment of politeness and respect to others is given priority. Therefore, people do not express their disagreement or dissatisfaction directly. If someone remains silent for a long time, he may disagree with something. In addition, Chinese people also like to use eyes and expressions to show their attitudes. So it is also important to learn to observe the changes of Chinese people’s expression.

3.4 Difference in Dietary Habit

Speaking of the dietary habit, we know that people from different countries and regions have different dietary habits. To be specific, Chinese people prefer to eat rice and drink tea while Germans prefer bread, noodles and coffee. In addition, Chinese people adopt the dinner party system.They believe that eating is not just to replenish the body's energy needs. What is more important is to meet people's spiritual and emotional needs through dinner. Eating in groups and chatting together can strengthen relationships with friends and family. In Germany, people prefer separate meals. Even though many people sit at the same table, everyone eats their own food and there is little interaction. In addition, by the way, the wine culture of China and Germany are distinctly different. Chinese people have the habit of toasting and encouraging people to drink in order to show the host's hospitality. If the guests enjoy drinking the wine provided by the host, the host will be wonderfully happy. In Germany, there is no such habit. Germans are used to drinking beer, usually alone, in a do-it-yourself way.

3.5 Difference in Corporate Culture

The outstanding characteristic of German enterprise culture is to pay attention to the cultivation of ability and solve the actual problems. Each employee is given sufficient space to think freely. It can greatly improve the quality and problem-solving ability of the participants. Another very important task of German corporate training is to let employees identify with the values of the company. As is known to all, German enterprises always put product quality in the first place. They believe that there are no both good and cheap products, only good or bad ones. Most German products are famous for their quality and become world-famous brands. However, Compared with the German enterprise culture, China's enterprise culture pays much more attention to the form of corporate culture. In this way, it naturally ignore the true connotation of corporate culture. Influenced by traditional culture, Chinese enterprises attach great importance to the paramount power of leaders and the harmonious relationship between teams.

3.6 Difference in Fulfillment of Contract

"In 1980, Hofstede put forward a four-dimensional model of national culture in The Effect of Culture. After the four dimensions, he put forward the fifth dimension, which is called the long-term orientation and short-term orientation."(Geert Hofstede, 1984:82)Specifically, long-term orientation is a type of behavior that fosters and encourages the pursuit of future returns. China is a long-term oriented country. Managers of Chinese enterprises pay attention to the development prospects and future profitability of the enterprise. And they are willing to make great efforts for achieving long-term goals. However Germany is a short-term oriented country. Germans are more concerned with the current profits of companies. When the adverse factors in economic activities increase, they will hold the attitude of uncertainty avoidance. In a word, as for international business negotiation, Chinese and German negotiators have very different views on the fulfillment of contract.

===The Impact of Cultural Differences between China and Germany on Negotiation===
4.1 Impact on Communication

First of all, in terms of verbal communication, due to the existing different cultural traditions of different countries, Chinese people are very roundabout. But Germans are straightforward. In the eyes of Germans, however, euphemism is not sincerity but pretence. “Chinese people always need to think again and again when they make decisions. To the Germans, this is a sign of indecision. Germans often bristle at such behaviour.”(Lin Zhengqi, 2016:40)Sometimes, the two sides of a negotiation have very different understandings of the same thing. For example, "dragon" is a mascot in all ages in China. It mainly stands for happiness and good luck. In Germany, however, it is an evil monster and is generally believed to bring misfortune to people.

When it comes to non-verbal communication, what i want to mention is body language. Different body languages deliver different messages. Sometimes, in different situations, even the same body language can convey completely different meanings. For example, Chinese people are used to nodding their heads repeatedly in conversation. People nodding their heads in different situations conveys different messages, such as encouragement, hesitation and agreement. Germans, on the other hand, often regard a nod as simply agreement. Therefore, in the process of international business negotiations, negotiators are easy to misunderstand the body language, which reduces the possibility of successful negotiations to a large extent.

4.2 Impact on Negotiation Mode

The mode of thinking of Chinese is totally different from that of Germans. The way of thinking of Chinese is subjective. They often attach great importance to the humanities and interpersonal relationship, which makes Chinese people be in the hope of making friends with foreigners before negotiations. They think that many problems are easier to solve if they have a close relationship with others. While Germans are objective in their thinking. They attach more importance to issues rather than relationship. Besides, they devote themselves to dealing with problems in a rational and efficient way. As a result, they don't want to take the time to build relationships before doing business. In the business negotiation, there will be some misunderstanding between the two countries. For example, Germans may make a bad impression on Chinese. In this way, Chinese would think that the Germans are so indifferent and serious that it is difficult to contact with them. While on the other hand, Germans may hold the idea that Chinese people are fond of cottoning up with others. As a result, both sides will think the other is insincere. Thus, there is little possibility of continuing negotiations.

4.3 Impact on Decision-making

Chinese and Germans have different values orientation, which will certainly affect the negotiators' behavior. Generally speaking, Chinese attach great importance to building an excellent negotiating group. And they have a strong sense of hierarchy and collectivism. Each person in the group is responsible for specific task, and there must be irreplaceable chief leader. In contrast, Germans emphasize individuality. Members of the group respect each other's views. In short, they are more inclined to show the independent personality of each individual. In international business negotiations, if cultural difference is not realized, it may well be impossible to carry on the negotiation successfully at the very beginning.

4.4 Impact on the Signing of the Contract

Influenced by the traditional Chinese culture, Chinese people are more inclined to pay much more attention to the feelings of others. And in their opinion, it is very important to build harmonious interpersonal relationships. Even in the process of international business negotiations, in order to maintain the good economic partnership that has been established, the Chinese sometimes take the initiative to make compromises and concessions to the terms of the contract. In the choice between emotion and law, they often choose the heartwarming emotion rather than the severe law. For them, rigid laws tend to damage the relationship between people, so it is worth doing a little harm to their own interests to maintain a harmonious relationship. However, for the Germans, the choice of emotion and law is just the opposite of the Chinese. They believe that rules and laws are the basis for settling the matter, so they often write almost all the details into the contract explicitly. “In case of breach of contract, compensation or return of goods must be made in strict accordance with the contract. ”(Chen Zhaoyang,Chen Jingliang, 2007:2)It is precisely because of the two different attitudes that there is a potential risk that the negotiation will break down during the signing of the contract.

===Countermeasures to Reduce the Impact of Sino-German Cultural Differences on Negotiation===
5.1 Recognizing the Existence of Cultural Differences

As we all know, the existence of cultural differences cannot be changed. So it is very important to overcome the cultural differences and reduce the conflicts in negotiations. There is no doubt that the recognition of the cultural diversity of the world is the premise of a correct understanding of cultural differences. "First of all, we should have a sense of identity with our own national culture. At the same time, it is necessary to respect the culture of other nations."(Dou Weilin, 2014:24) In international business negotiations, the excellent negotiators are supported to recognize and respect cultural differences in the first place. And then, they should try their best to adapt to it. Furthermore, it is essential that negotiators have a tolerant attitude towards cultural differences. Of course, striving for "common ground while reserving differences" is not the same as fully absorbing other cultures. One should hold a moderate view of foreign culture rather than totally tolerate or ignore it. Therefore, it is very important to respect the etiquette, customs and taboos of various countries and nationalities for a successful negotiation.

5.2 Making Adequate Preparations before the Negotiation

As the saying goes, "Opportunity favors the minds that are prepared". If the negotiators want to be in the active position in the negotiation, they must make full preparations in advance. Only in this way, the negotiators can deal with the various adverse situations that may appear in the negotiation process, and finally achieve the success of the negotiation.To be brief, the preparation for the negotiation includes the background of the negotiation, the purpose of the negotiation, the differences that may be encountered during the negotiation, the agenda, alternative plans and concession strategies and so on. The negotiation background includes negotiation place, negotiation time, negotiation expectation, scene layout, the number of participants and so on. Compared with the monoculture, the preparation of international business negotiation is more complicated because of the intercultural factor. As a result, different countries have different views on these issues. Before the negotiation, the negotiators should have a comprehensive understanding of the partners' expectations, customs, negotiation means and so on. For example, the Chinese and the Germans have very different notions of time. For the Germans, time is money, and they are very efficient when negotiating. In China, by contrast, the Chinese like to cement a partnership through brief chats before the negotiations begin.In a word, sufficient preparations before a negotiation can greatly improve the possibility of a successful negotiation.

5.3 Respecting Each Other's Customs

Custom is a very important concept. It is passed down over a long period of time. It has the characteristics of relative stability, variability and spontaneity. And custom is also the external embodiment of the lifestyle and values of a particular group of people. It includes modes of production, ways of life, manners and beliefs. Compared with the external elements of culture, such as language, body language and behavior, customs are more subtle and complex. If we are not careful enough, we may offend others unintentionally.Therefore, before international business negotiations, negotiators should have a full understanding of the customs of each other in order to avoid accidentally offending others. In the process of negotiation, it is especially important to respect the customs of each other. It can create a more harmonious atmosphere for negotiators to achieve the success of negotiations.

5.4 Eliminating Conflict through Effective Communication

In the cross-cultural negotiations, the two sides from different cultural modes often have communication barriers due to cultural differences. Negotiators must master the necessary cross-cultural negotiation skills to overcome the communication barriers in cross-cultural negotiation.Generally speaking, in international business negotiations, the following communication barriers are the most common. The first obstacle may be caused by the misunderstanding of speech expression, translation error, and even the meaning of a word or phrase. For example, Chinese people think red represents good luck, happiness and enthusiasm. In Germany, red is associated with evil, radicalism and brutality. The second obstacle is caused by different ways of expression. It is affected by negotiators' professional habits, professional knowledge and understanding ability. For example, most Chinese people speak tactfully, and they usually don't express their true intentions. In this case, negotiators need to communicate effectively to avoid some unnecessary conflicts. The third obstacle is caused by the psychological factors of the negotiators. It includes attitudes, biases, and negotiation experience.In short, in the negotiation, especially in the cross-cultural negotiation, negotiators should try to overcome the above three communication barriers. Therefore, negotiators can manage to avoid some unnecessary problems and troubles. If they are confronted with obstacles and difficulties, they need to break the deadlock through effective communication.

===Conclusion===
Due to the impact of a variety of uncertain factors, there is a more complex and changeable negotiation environment in international business negotiations. So it is very important to enhance sensibility of cultural differences, which can help to create more favourable conditions for effective communication and cooperation.
In view of the cultural differences between Germany and China, this thesis mainly compares Chinese culture with German culture, and then analyzes and explains the reasons for the differences. In addition, this paper adopts lots of cases to study and discuss the impact of cultural differences on business negotiations.Finally, it puts forward some specific coping strategies. Looking at the existing research results on this topic, it is not difficult to find that most of the previous scholars paid more attention to the study of business negotiation principles and skills, while ignoring the role of culture. However, this paper find that culture has great significance for the success of business negotiations.But I know there are some shortcomings in this thesis. For example, because cultural difference is a comprehensive concept, it's impossible for me to give examples one by one and conduct comprehensive research and analysis in this thesis. Therefore, I think that future scholars can make further analysis and research on this topic from other aspects so as to promote the improvement of this issue.

===References===
*Hofstede,Geert.(1984).Cultural Dimensions in Management and Planning. Asia Pacific Journal of Management(2)81-83.
*Salacuse,J,W.(1991).Making Global Deals: Negotiating in the International Marketplace. Boston: Houghton Mifflin Harcourt.
*Tong,Fang.(2006).Negotiation:the Chinese Style. Journal of Business & Industrial Marketing(1)58-60.
*Chen Zhaoyang,Chen Jingliang 陈朝阳,陈京亮.(2007).浅谈中德商务谈判差异[The Differences between Chinese and German Business Negotiations].商场现代化Mall Modernization(12)1-2.
*Dou Weilin 窦卫霖.(2014).跨文化商务交流案例分析[Case Studies on Cross-cultural Business Communication].Beijing:University of International Business and Economics Press对外经济贸易大学出版社.
*Fan Lei,Fan Weiwei 范蕾,樊葳葳.(2001). 跨文化交际失败实例分析及启示[Analysis of the Failure of Intercultural Communication and Its Implications].外语教育Foreign Language Education(1)148.
*Lin Zhengqi 林正奇.(2016).中德商务谈判文化差异案例的跨文化视角分析[A Cross-cultural Perspective Analysis of the Case of Cultural Differences in Sino-German Business Negotiations].华东理工大学硕士学位论文Master's Thesis of East China University of Science and Technology.
*Wang Tianwen,Wang Shimin 汪天文,王仕民.(2008).文化差异与时间观念的冲突[Cultural Differences and the Conflict of Time Concepts]. 学术研究Academic Research(7)37-39
*Xue Qi 薛琦.(2006).文化差异对中德商务谈判者谈判风格的影响[The Influence of Cultural Differences on the Negotiation Style of Chinese and German Business Negotiators].对外经济贸易大学硕士学位论文Master's Thesis of University of International Business and Economics.
*Zhuang Enping 庄恩平.(2004).跨文化商务沟通案例教程[Case Study of Intercultural Business Communication].Shanghai:Shanghai Foreign Language Education Press上海外语教育出版社.

===Terms and Expressions===
*high-level state visits 高层国事访问
*high context culture 高语境文化
*low context culture 低语境文化
*ten miles of different wind, a hundred miles of different customs 十里不同风，百里不同俗
*the Belt and Road Initiative “一带一路”倡议
*the China-European Railway Express 中欧班列
*Theory of Face 面子理论
*individualism＆collectivism 个体主义&集体主义
*Indo-European language family 印欧语系
*Sino-Tibetan language family 汉藏语系
*the dinner party system 聚餐制
*the individual dining system 分餐制
*four-dimensional model of national culture 民族文化的四维模式
*long-term orientation and short-term orientation 长期导向和短期导向

===Questions===
*1.Which of the following countries belongs to typical high-context culture?
A.China B.Canada C.German D.America
*2.Which of the following countries belongs to typical low-context culture?
A.China B.Japan C.North Korea D.German
*3.Which of the following countries are long-term oriented and short-term oriented countries respectively?
A.China and German B.Canada and China C.German and Canada D.America and German
*4.Which of the following countries takes the theory of face very seriously?
A.German B.UK C.China D.America
*5.When did Hofstede propose the four-dimensional model of national culture?
A.In 1979 B.In 1980 C.In 1981 D.In 1982

===Answers===
*1.A
*2.D
*3.A
*4.C
*5.B

==英语笔译钟青 Zhong Qing 202170081611==
<center>'''论文标题'''</center>

<center>Zhong Qing</center>

===Abstract===

The ''History of Imperial China'' is a series of general histories of China edited by Canadian historian Timothy Brook, which was published in Chinese by China's CITIC Publishing House in 2016. This article collects the administrative terms of each dynasty in the History of Imperial China, and explores the translation methods of them. There are a total of 201 administrative terms, spanning the six stages of the Qin and Han Dynasties, the Southern and Northern Dynasties, the Sui Dynasty, the Tang Dynasty, the Yuan and Ming Dynasties, and the Qing Dynasty. According to the statistics, % of the Chinese administrative terms use the word-for word translation method, % subtraction, and % amplification. It is found that in the same book, the same administrative term has different translations, badly affecting readability and coherency. In addition, many administrative terms are rendered into the counterpart in the foreign official system, which may be misleading to the reader. By analyzing the translation strategies of the administrative terms in the ''History of Imperial China'', this paper intends to fill some gaps in the study of English translation of administrative terms, and to provide reference for the translation of administrative terms in the English translation of Chinese works in the future.

===Key words===
''History of Imperial China''; Administrative Terms; Translation Strategy; Consistency

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译周皓熙 Zhou Haoxi 202170081612==

==英语笔译周哲 Zhou Zhe 202170081613==
<center>'''Confucian Teaching Thoughts'''</center>

<center>周哲 Zhou Zhe</center>

===Abstract===
The rise of the philosophic schools began with the practice of private teaching. So far as modern scholarship can determine, Confucius was the first person in Chinese history thus to teach large numbers of students in a private capacity, by whom he was accompanied during his travels in different states. According to tradition, he had several thousand students, of whom several tens became famous thinkers and scholars. The former number is undoubtedly a gross exaggeration, but there is no question that he was a very influential teacher, and what is more important and unique, China’s first private teacher. His ideas are best known through the Lun Yü or Confucian Analects, a collection of his scattered sayings which was compiled by some of his disciples.

===Key words===
Confucian teaching thoughts; kindness; The Analects of Confucius

===Introduction===
Ancient Chinese education is part of the brilliant and diverse ancient Chinese culture, the foundation on which it has been sustained and developed, and the driving force behind its constant innovation. It was passed down from generation to generation through ancient Chinese education. The school education, social education, family education and education in all kinds of craftsmanship were the guarantee of the continuity and development of all kinds of ancient Chinese culture, without which it would have been difficult to create, perpetuate and develop ancient Chinese material and spiritual civilization.

During the Western Zhou dynasty, there was not only a national school but also a country school, which gradually formed a systematic education based on ritual, music, archery, royalty, calligraphy and mathematics. During the Spring and Autumn and Warring States periods, private schools began to develop as a new form of educational organization, and a number of masters emerged, such as Confucius, Mo Zi, Mencius and Xun Zi, who shone with their wisdom.
Ancient Chinese education is a humanistic one. It takes the cultivation of a gentleman as the sole purpose and focuses on teaching people virtue and wisdom rather than mere knowledge. It attaches particular importance to moral education and virtue cultivation, emphasizing moral integrity, ethics and lofty spirituality, advocating the development of ambition, and highlighting a sense of moral responsibility. It also promotes the spirit and broad-mindedness. China has gradually formed a long-term and profound educational tradition, starting from Confucius and Mencius, Lao Zi and Chuang-Tzu, and down to Song and Ming philosophy, all paying special attention to self-cultivation by attaching great importance to inspiring students’ self-awareness and initiative, to be persistent in their determination, to refrain from excessive indulgence and to do self-examination and good deeds, and to be subtle and prevent the gradual corruption. In this way, a series of principles and methodologies of moral education and cultivation with unique Chinese characteristics have been gradually developed.
===Characteristics of Confucian Teaching Thoughts===
In general, ancient Chinese educational thought, broadly speaking, has the following distinctive features.

First, there is the comprehensive view, that is, the big view of education. Ancient Chinese educators recognized early on that education is a subsystem of the larger system of society as a whole, and that many educational problems are essentially social problems that must be examined and solved in the context of the entire social system. In turn, the solution of educational problems would inevitably promote the development and progress of society as a whole. For example, Confucius attached great importance to education and regarded population, wealth and education as the three major elements of "statehood". From the idea of "The root of a state is in the family. Mencius", he attached importance to the education of family ethics and social morality "filial piety, brotherhood, loyalty and faith". He saw the important role of education in governing the state and stabilizing the social order. This idea of placing education at the forefront of governing the state and the people, and seeing the moral cultivation of the individual and the improvement of social morality as the basis for governing the state and stabilizing it, is very profound. The Book of Rites and Learning summarizes the role of education in sixteen words: "To build a state and rule the people, teaching is the first thing to do" and "To transform the people into customs, it must be learned". The role of education encompasses two interrelated aspects: one is to cultivate the various talents needed by the state, and the other is to form a good social moral style. This is a summary of the function of education as outlined and summarized by Chinese philosophers, which is still relevant today.

The second is the dialectical view, that is, the unity of opposites. Ancient Chinese educators emphasized the need to give priority to moral education, while not neglecting the role of intellectual education. For example, Confucius said: "A wise man devotes his attention to what is essential in the foundation of life. When the foundation is laid, wisdom will come. ", "If he (a young man) has time and opportunity to spare, after the performance of those duties, he should then employ them in literary pursuits. " (Analects Xue Er); and at the same time he says: "First there is the mere love of morality: that alone, without culture, degenerates into fatuity."(Analects Yangguo), ""I cannot say," replied Confucius, "if he could be called a moral character."" Dong Zhongshu also said, "If one is benevolent but not wise, one loves but does not distinguish; if one is wise but not benevolent, one is wise but does not do." This is the ancient Chinese view of the unity of morality and wisdom: moral education and its practice come first, followed by intellectual education; moral education is carried out through intellectual education, and intellectual education mainly serves moral education; there is an interdependence and interpenetration between moral education and intellectual education, between "practicing oneself with shame" and "learning from literature" There is a relationship of interdependence and interpenetration between moral education and intellectual education, and between "acting with shame" and "learning from literature". The same is true of moral education. There is also a relationship of unity and opposition between the understanding of moral concepts, the establishment of moral beliefs and the practice of moral behavior. The relationship between teaching and learning, and between teacher and student, is both contradictory and unified, as revealed in everything from the Book of Learning to Han Yu's Teacher's Discourse.

The third is the inner view, which emphasizes the inner moral function and self-awareness of the subject of inspiration. Ancient Chinese education inspires the inner self-consciousness of each person and puts forward a set of principles, requirements and methods of "being human", so that people can get the pleasure of "being human" from it. "It is a set of principles, requirements and methods of being human, from which one can derive the pleasure of being human and express the noble spiritual pursuit of human beings. Unlike Western Christianity and Indian Buddhism, ancient Chinese education is not "sinful education" but "joyful education"; it does not rely on religious beliefs and prayers, and does not advocate leaving society and the family, but emphasizes accumulating moral and good deeds in school, family and daily life, and strengthening self-cultivation. Instead of relying on religious beliefs and prayers, it does not advocate leaving society and family, but emphasizes accumulating moral and good deeds in school, family and daily life, strengthening self-cultivation, i.e., this shore is the other shore, "the highest and the middle way". Ancient Chinese educational thought emphasizes the ability to be self-aware of values in one's heart, to introspect, to reflect on oneself, to be prudent, to cultivate oneself, to perfect oneself, and to seek harmony between the human order and the cosmic order. Its quest for the source of value is inward rather than outward, not listening to the call of God or waiting for the revelation of Buddha. The emphasis on inspiring inner enlightenment and trusting in the inner power of the subject is a very important feature.

===Ancient Chinese Confucianism in Teaching and Learning===
Ancient Chinese educators have accumulated and summarized a wealth of teaching experience and have put forward many valuable ideas and insights into teaching theory, teaching principles and methods, and the requirements for teachers. These ideas not only arose in ancient times thousands of years ago is rare and valuable, but also today still shine with wisdom and are rich in enlightening educational significance. It is the essence of our traditional educational thinking and a major contribution to the world's treasure house of educational thought.

1. Teaching according to the material, inspiration and guidance

One of the best recognized traditional teaching ideas is "teaching to the students according to their abilities". Confucius remarked, "You look at how a man acts; consider his motives; find out his tastes. What the student does, what the student experiences, and what the student's interests are. For students not only "But now, when I want to judge of a man, I have to look at what he does in his life as well as listen to what he says.", but also "But when he has retired, on examining into his life and conversation I find he has been able to profit by what I have said to him." (Analects For the Government), i.e. examining the student's words and actions in private after class to get a full picture of the student's characteristics and reality. He knows the character traits of his students well, sometimes analyzing them in terms of their strengths, sometimes in terms of their weaknesses, and sometimes making comparative analyses of different students. He is able to target the different character traits of the students and follow their advice, instead of preaching in a uniform manner. Sometimes the students asked the same question, but he gave different answers. A disciple, the intrepid Chung Yu, asked if he might at once carry out into practice any truth which he had learnt. "No." answered Confucius. "You have the wishes of your parents and of your old people at home to consult. How can you take upon yourself to carry at once into practice what you have learnt?" Another disciple on another occasion asked the same question. Afterwards another disciple ventured to enquire of Confucius why he gave two totally different answers to the same question.

"That is because," answered Confucius, "the one man is too diffident, I therefore said that to encourage him; the other man, however, is too forward; Therefore I said that to pull him back. Confucius also advocated different teaching according to the level of intelligence of the student: "Confucius remarked, "You may speak of high things to those who in natural qualities of mind are above average men. You may not speak to those who in natural qualities of mind are below average men."" (Analects Yongye)

Mencius inherited and exerted Confucius' idea of teaching according to students' abilities and emphasized the variation of teaching methods. In conclusion, ancient Chinese educators believed that there were differences in students' personalities and that each student's natural endowments were different, so teaching methods should also vary from person to person. They opposed the use of a model to bind students, but advocated the development of each student's personality through education. In terms of teaching methods, ancient Chinese educators paid special attention to inspiration and guidance to develop the intellectual potential of each student. Confucius then went on to say: "In my method of teaching, I always wait for my student to make an effort himself to find his way I also make him find his own illustrations before I give him one of my own. bearing of a subject in one direction and found that my student cannot himself see its bearings into other directions, I do not then repeat my lesson." " (Analects Shu Zi)

2. Learn from the past, learn and think

The first words of the Analects are those of Confucius: "Confucius remarked, "It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what It is indeed a pleasure to acquire knowledge and, as you go on acquiring, to put into practice what you have acquired."" (Analects Xue Er) He also said, "Confucius remarked, "If a man will constantly go over what he has acquired and keep continually adding to it new acquirements, he may become a teacher of men.""(论语-为政) Zhu Xi explained in his Four Books Collected Commentaries, "The old one, what he has heard of the old; the new one, what he has The new one, the present one. The words learn to be able to practice the old heard at times, and every time there are new gains."

Only by repeatedly learning and practicing can we firmly grasp what we have learned; only when we have become proficient in what we have learned and have integrated it, can we learn from the past and know the future, and explore the unknown from the known. This kind of thinking, which attaches importance to learning from the past without neglecting the exploration of new knowledge, is still inspiring today.

On the issue of dealing with the relationship between learning and thinking, ancient Chinese educators mostly advocated the combination of learning and thinking and the importance of learning and thinking together. Confucius remarked, "Study without thinking is labor lost. Thinking without study is perilous." (Analects of Confucius Weizheng) He advocated that study and thinking should go hand in hand, but should be based on study. But it should be based on study: "Confucius on one occasion remarked, "I have spent a whole day without taking food and a whole night without sleep, occupied with It was of no use. I have found it better to acquire knowledge from books."" (Analects Wei Ling Gong) He also emphasized the need to think on the basis of study: "Confucius remarked, "A man who does not constantly say to himself, 'What is the right thing to do?' I can do nothing for such a man."
" (Analects Wei Ling Gong). Xunzi inherited this idea from Confucius. He also said, "I have tried to think all day long, but I am not as good as what I have learned in a moment." He also asked that, on the basis of learning, one should "ponder in order to pass on" (Xunzi Persuading Learning), that is, to integrate what one has learned through thinking activities.

3. Make Steady progress Incrementally

Ancient Chinese educators generally valued the principle of gradual teaching. The students of Confucius praised him for his "good enticement in a gradual manner" (Analects of Confucius Zihan). On the one hand, he believed that teaching was a process of natural development, and that it should be self-improving, not lax or interrupted; on the other hand, it should not be impatient or prostrated. He said, "The gentleman's ambition is not to attain the Way without becoming a chapter." He compares the order of advancement in learning to flowing water, "not without a surplus of subjects", and "he who advances sharply, retires quickly" (Mencius On the Exhaustion of the Mind). Mencius also used the natural growth of seedlings as a metaphor for the process of education. On the one hand, he advocated plowing with all one's might and opposed indulgence; on the other hand, he opposed weeping seedlings to help them grow and rushing to success.

The "way of learning" proposed in the Book of Learning is also against "dilly-dallying". It says: "Those who are good at asking questions are like attacking hard wood, and those who are easy first are followed by their programs, and when they have been long, they say (get off) each other to solve them. Those who are not good at asking are the opposite. He who is good at asking questions is like a bell; if he knocks on a small one, he will make a small sound; if he knocks on a large one, he will make a large sound; if he is subdued, he will make his sound. Those who do not answer questions well do the opposite. This is the way to advance in learning. "This is the principle of gradual progress in teaching.

Zhang Zai believes that the teaching process "should not be slow, but should not be hasty. Because the difficulty of the material and the development of the student's body and mind are "gradual", which requires teaching must also adhere to the principle of "gradual", not dilly-dallying and teaching. Zhu Xi even more clearly put forward the "step by step and progressive, familiar with the reading and fine thinking" teaching ideas. He said: "gentleman teach people in order, first pass to the small near, and then teach to the large far", "such as mountain climbing, people more to the high place, do not know since the low place do not pay attention to, the end of the reason to the high place". He stressed that teaching should be insisted on from near and far, from easy to difficult, from shallow to deep, from concrete to abstract, from known to unknown. Zhu Xi also said: "the sages teach people, the lower learning up to, in an orderly manner, so engaged in the middle of it, and the important, about and not alone, no delusion over the sloppy drawbacks. Today's scholars of the word are mostly opposed to this, so its high fell into the empty illusion, the low drowned in hearing and seeing, and despairingly do not know where they will return to. He thinks that if one does not first engage in lower learning but deludes oneself to reach the top, one is prostrated, and then one is reduced to empty illusion; if one engages in lower learning but does not seek to reach the top, one is drowned in hearing and seeing. In the former case, one is impatient to advance without following a sequence, and in the latter case, one is not advancing despite following a sequence, both of which will waste energy and fail to achieve the goal. He believed that only by learning in a gradual and orderly manner and according to one's ability could one make steady progress.

In conclusion, ancient Chinese educators have realized that the accumulation of knowledge and the growth of intelligence is a gradual process, and it is impossible to finish it all in one go. They emphasized that teaching should pay attention to stages and rhythm, and should follow the natural course of events, which is in line with objective laws.

4. Kindness helps save mistakes

The idea of teaching for long goodness and saving mistakes was put forward in the Book of Rites Book of Learning. The Book of Learning says: "There are four failures of the scholar, which the teacher must know. When a man learns, he may lose much, or he may lose little, or he may lose easy, or he may lose stop. These four are not the same as the heart. He who knows his heart can then save it from its failures. He who teaches is also the one who grows good and saves his failures." This is to say, in the learning process, some students are greedy for more and more, too complicated and do not seek to understand; some students are too narrow in knowledge, holding on to the residue of the queue; some students are not focused on learning, shallow taste; some students are stagnant, afraid of difficulties and retreat. These four types of problems reflect the different psychological states of students towards learning, teachers only understand these psychological states, in order to help students overcome these problems in a targeted manner. Teachers must grasp the specific situation, take advantage of the situation, and be good at both promoting students' strengths and overcoming their weaknesses.

Many and few, easy and difficult are not fixed, and gains and losses can be transformed into each other. Wang Fuzhi said in the Book of Rites, Volume 18: "Although many, few, easy, and stop have their own faults, the many are convenient for the extensive, the few are easy to specialize, the easy are brave to act, and the stop is safe in its order, and each has its own good; to save its faults, it is good at carrying on." Although many, few, easy and stop have their own faults, they also contain certain positive factors. Teachers should observe their students comprehensively, understand the dialectic of teaching, and, according to the "difficulty of learning" and the "beauty and evil" of their "qualifications", explore, cultivate, and This is to make up for the shortcomings of the students, and to save them from their mistakes. This is the idea of making up for the shortcomings, and of saving the shortcomings from the good.

The Book of Rites and Learning also explicitly puts forward the idea of teaching each other. It says: "Although there are excellent dishes, we do not know their purpose if we do not eat them. Even though there is a supreme way, we do not know its goodness without learning. It is because learning is then knowing the inadequacy, teaching is then knowing the difficulty. Knowing inadequacy, one can then reflect on oneself; knowing difficulty, one can then strengthen oneself. Therefore, it is said: teaching each other also. The "Tuijin" says: "Learn and learn half. This is what it means!" Here is a profound exposition of the contradictory relationship between "teaching" and "learning" and the interdependence and mutual promotion of each other. Teaching benefits from learning, and learning improves day by day because of teaching. Teaching can help learning, and in turn, learning can help teaching, which is called "teaching and learning". "Teaching and learning" implies not only a unified relationship between teaching and learning, but also a mutually reinforcing and complementary relationship between teachers and students on an equal footing.

5. Teach by example, respect teachers and love students

Ancient Chinese educators, based on their experience in educational practice, put forward various requirements for teachers, and leading by example and teaching by example is one of the important ones.

Confucius said, "If one's body is right, one does not follow orders; if one's body is not right, one does not obey orders." "If you can't correct yourself, how can you correct others?" (Analects of Confucius Zilu) Here he emphasized the importance of "teaching by example", correcting oneself and others. He also said, "If you do not speak to a man who can speak to him, you will lose him; if you do not speak to him, you will lose him. Those who know do not lose people and do not lose words." (The Analects of Confucius Wei Ling Gong) He advocated the use of both "teaching with words" and "teaching without words" in teaching, using "teaching with words" if it is possible to use "teaching with words", and using "teaching with words" if it is not possible to use "teaching with words", that is, influencing and educating students through hints or one's own daily behavior. There is a certain psychological basis here. Confucius said, "I want to have no words", and he believed in the power of "teaching without words".

Xunzi proposed: "There are four teacher techniques, and Bo Xi is not with it. A strict teacher who is scrupulous can be a teacher; a teacher who is a senior citizen who believes can be a teacher; a teacher who recites and does not offend can be a teacher; and a teacher who knows the subtleties and discusses can be a teacher." (Xunzi Zhi Shi) He believed that a teacher must have four conditions (not including extensive knowledge): first, the teacher must have dignity and be able to make people respect him; second, the teacher must have high prestige and rich teaching experience; third, the teacher must have the ability to teach in an organized and systematic way and not violate the teacher's instructions; fourth, he must know the subtle theories and be able to explain them clearly. The Book of Learning also sets strict requirements for teachers, considering high moral character and academic excellence as essential for teaching and education, as well as the mastery of correct teaching methods and principles.

Yuan Hong, a Jin dynasty scholar, said in "The Records of the Later Han Dynasty The Chronicle of Emperor Ling": "A teacher of scripture is easy to meet, but a teacher of men is difficult to meet." It can be seen that the standard of "human teacher" is not only to impart knowledge, but also to be a teacher of others. This is the excellent traditional educational thinking of ancient China.

Ancient Chinese educators also advocated that students respect their teachers and teachers love their students, establishing a good teacher-student relationship. Confucius loved his students and cared about their moral and academic improvement, as well as their lives and health. He was happy to see the progress of his students; he often helped them when they were poor; he visited them when they were sick; and he was very sad when they died. He established a deep friendship with his students. Confucius said; "If you love, can you not work? If you are loyal, can you not teach?" (Analects of Confucius Xianwen) He also said: "Two or three sons think that I am hidden? I have nothing to hide from you. I have no line and I do not share with the two or three sons. (Analects of Confucius Shu-i) Confucius had "no selfishness and no concealment" for his students, and he had unlimited expectations: "The future generation can be feared, how can we know that the future generation will not be the present?" (Analects of Confucius Zihan). He also believed that when a righteous cause needed to be taken up, the younger generation should be bold enough to go forward and take responsibility, even in front of their own teachers, without having to be humble, "when benevolence does not let the teacher go" (Analects Wei Ling Gong). The students of Confucius admired Confucius for his high morality, profound knowledge, and good teaching. Yan Yuan said, "If you look up to a person who is high, you will learn from him. If you look ahead, you will not be able to follow. The master was good at enticing people, and he taught me with literature and rituals, and I could not stop. Since I have exhausted my talent, as if there is a stand-alone Zhuoer. Although I want to follow him, the last thing I want to do is to do so." (Analects of Confucius Zihan) After the death of Confucius, the students built a house next to his tomb and kept mourning for three years, weeping bitterly when they parted. Tzu Kung could not bear to leave, so he stayed alone for another three years. He said, "The inaccessibility of Confucius is like the inaccessibility of heaven. (The Analects of Confucius Zihan) The student expressed his infinite nostalgia and admiration for Confucius.

Mozi also emphasized respect for teachers and love for students in his educational practice, and Mozi's teachers and students were able to live and die together and share the hardships. Mozi and his students "took fur and brown as their clothes, took crawling as their clothing, and never rested day and night, taking self-hardship as their ultimate goal" (Zhuangzi The World). The students followed Mozi "to the fire and to the edge of the sword, not to be deterred from dying", and this teacher-student relationship was gradually built up through life and death and common suffering.

Xunzi to whether the "valued teacher heavy Fu" to the height of the rise and fall of the country to understand, and advocate students over teachers. He said: "When a country will rise, the teacher will be valued but not the teacher; ...... when a country will fall, the teacher will be despised but not the teacher." (Xunzi Ontario) He believed that students not only have the relationship of inheritance of knowledge and learning to their teachers, but also bear the responsibility of surpassing the wisdom of their predecessors and advancing the academic level. He said in figurative language: "Learning cannot be done. Green, taken from the blue and green in the blue; ice, water for which and cold in the water." This shows that there is no end to learning, and that it is the law of academic development that "the blue is better than the blue".

Some educators of the Song Dynasty were also models of respect for teachers and love for students. Hu Aigong, on the one hand, advocated "strict teacher-disciple manners"; on the other hand, he also advocated deep affection and cordial relationship between teachers and students. He treated all students as his sons and brothers, and they respected him as their father and brother. Roy Cheng was so kind and friendly that students often felt "like sitting in the spring breeze and harmony" when they got along with him. Cheng Yi, on the other hand, is stern and rigid, some students see him sitting in meditation and dare not be alarmed, waiting in the door until the snow is more than a foot deep, leaving a "Cheng door standing snow" of the good story. Zhu Xi once criticized the shortcomings of the indifferent relationship between teachers and students in government schools, "teachers and students see each other, indifferent as people walking on the road". He carried forward the spirit of Confucius "teach people tirelessly", follow the good advice, tireless, have deep feelings for students. His pupil Huang You said in his "Acts of Zhu Zi": "Zhu Zi's lectures on the classics, through the ancient and modern world, were often given until midnight. Although the disease is detached, to the students asked to discern, it is removed from the body of the disease, a day without lectures, is tense often thought worried." Reflects the sentiments of a great teacher. Zhu Xi's requirements for students is strict, but not passive precautions, but positive guidance, do not focus on the form of the provisions of the provisions, but rather to inspire students to consciously comply. Enthusiastic teaching, the method proper, in order to deepen the teacher-student friendship, close teacher-student relationship. These experiences of Zhu Xi, which contain universal laws, reflect the fine tradition of respecting teachers and loving students in the history of ancient Chinese education, and are often praised and drawn upon by later generations.

===Conclusion===
Compared with foreign education, ancient Chinese education has these characteristics: it is not mechanical and dull, but flexible and varies from person to person and from time to time; it is not subdivided and detailed, but comprehensive and integrated; it is not merely teaching knowledge and technology, but the unity of morality and wisdom; it is not detached from teachers and students and disconnected from education and life practice, but teaching and learning together and integrating education into life practice; it is not pivoted on the system of knowledge, but on It is not a pivot on the system of knowledge, but on life, and aims at the building and cultivation of the human style from generation to generation.

===References===
*Mao Lirui(1985-1988), Shen Gouqun, eds. General History of Chinese Education. Shandong; Shandong Education Press

*Sun Peiqing(1992), ed. History of Chinese Education, Shanghai: East China Normal University Press

*Wang Bingzhao, Guo Qijia, Liu Huahua, He Xiaoxia, Gao Qi(1994). A Concise History of Education in China (Revised). Beijing; Beijing Normal University Press

*Guo Qijia(1998). Ancient Chinese Schools. Beijing: The Commercial Press

==英语笔译朱丽娟 Zhu Lijuan 202170081614==
<center>'''Eco-awareness in Traditional Chinese Culture'''</center>

<center>Zhu Lijuan</center>

===Abstract===
The traditional culture of the Chinese nation is brilliant,which contains many profound ideas of ecological civilization and ecological development. These thoughts not only provided the moral foundation for the continuous development of Chinese civilization for five thousand years, but also provided the theoretical premise for the sustainable development of modern ecology and ecological civilization construction. Confucianism, Taoism and Buddhism occupy a very prominent position in Chinese traditional culture and have the greatest influence on later generations. This paper mainly discusses the ecological thoughts of Confucianism, Taoism and Buddhism, so as to provide value guidance for properly handling the relationship between man and nature.

===Key words===
Ecological thoughts;Confucianism;Taoism;Buddhism

===Subtitle 1===
1. Harmony between man and nature.

The core of ecological thought in Chinese traditional culture：Integration of nature and human. The ecological thoughts in ancient China gestate in the traditional culture. Confronted with the ecological problems which bothers the whole mankind, people surprisingly discover that the Chinese ancient philosophy has provided enormous enlightening accomplishments for the problem, or it contains the creative principles to cope with such contradictions and conflicts when we are pondering and searching for the solutions to the crisis, which is the wisdom of "Correspondence between Heaven and Human." "Correspondence between Man and Nature" is an elementary proposition of Chinese traditional philosophy. It is not only a basic spirit of China's traditional culture, but also is the optimal plane pursued by Chinese culture.On the one hand, the word "heaven" refers to "the vast nature," and it also refers to "the highest principle" and "the highest power." On the other hand, the word "unity" attaches importance to the process of a harmonious and unified status, which refers to the state of harmony between man and nature.

The ideology of "Integration between man and nature" lasted for more than 2,000 years, which was publicized, explained and developed by most ancient philosophers and became the basic style of Chinese culture and even Oriental culture. According to Ji Xianlin, a master of oriental culture, "harmony of heaven and mankind" is an elementary form of China's culture and this ideology is concentrated expression for the philosophy in oriental culture. This thought has established the foundation of ancient China philosophy, and it has exerted far-reaching influence on development of traditional culture. It is not only worth carrying forward, but also related to the future of mankind. "Harmony between man and nature" is regarded as a consistent ideological tradition in Confucianism. Confucius as "Yi Zhuan," once said,"Anciently, when the sages made the Yi, it was with the design that (its figures) should be in conformity with the principles underlying the natures (of men and things), and the ordinances (for them) appointed (by Heaven). With this view they exhibited (in them) the way of heaven, calling (the lines) yin and yang; the way of earth, calling (them) the weak (or soft) and the strong (or hard); and the way of men, under the names of benevolence and righteousness. (According to the book Yi Zhuan, there is a contribution made by Confucius: He regarded heaven, earth and man as three resources and regarded them as natural laws, which were finally used to establish an orderly world system. )

In addition, the contribution made by Mencius lies in his mode of mind and nature, completely showing your mind so that you know your nature and heaven. For Meng Zi, people do not need to know their mind or heart, but only show or appear completely in your spirit so that they can recognize human nature and the heaven. Dong Zhongshu believes that There is a natural order to things. Only by following such guidelines in order to achieve the integration between man and nature. Zhang Zai accepted the idea of the universal nature of heaven, and for the first time combined these two parts. As mentioned tree types of knowledge from Zhang Zai: the knowledge from seeing and hearing;the knowledge based on virtue;the knowledge from sincerity. Xunzi believes that Heaven has its seasons; Earth its resources; and Man his government. This, of course, is why it is said that they "can form a Triad." When man abandons what he should use to form the Triad yet longs for the benefits that result from the Triad, he suffers from delusion! The concept of "harmony between man and nature" is also expressed in Xunzi's viewpoint, which expresses the ecological concept of harmony between man and nature.

Similarly, Taoism advocates "Harmony between heaven and man." Laozi first expressed the ideology of "Correspondence between man and nature". He proposed that Man law the law of the heavens, France Road, Imitation of Nature. Zhuangzi also believes that not to receive (as evils) the inflictions of Heaven is easy; not to receive (as benefits) the favours of men is difficult. There is no beginning which was not an end. The Human and the Heavenly may be one and the same. Based on Taoist view, harmony between man and nature is the key for all things in nature to maintain its differences, but also to realize a comprehensive and coordinating relationship between humna and nature. Any destruction of nature will lead to the destruction of the relationship between man and nature, which is opposed by Taoism.

To sum up, the thought of "harmony between man and nature" is the main line of thought running through the main schools in ancient China. "Harmony between man and nature" contains different levels of content, and different philosophical schools and philosophers have different views on it. For example, Taoism pays more attention to "nature" and Confucianism pays more attention to "humanity". However, the basic meaning of this thought is the internal unity of man and nature. The concept of "harmony between man and nature" has undergone a long process of development and it complex in its content. however, it embodies the profound understanding of the relationship between man and nature in traditional China culture. Therefore, the concept of "harmony between man and nature" is the core of ecological thought in traditional Chinese culture.

===Subtitle 2===
2.Taoism thought of the nature law.

Taoism is one of the main schools in the history of ancient Chinese philosophy, which contains rich ecological thoughts. F. Capra, a contemporary humanistic physicist, once said, "As far as I am concerned, among the traditional schools of philosophy that contend with a hundred schools of thought, Taoism provides the deepest and most perfect ecological wisdom. It emphasizes that in the process of natural circulation, all phenomena and potential of individual and society are basically the same." With Laozi and Zhuangzi as the representatives, Taoist philosophy systematically discusses the relationship between heaven and man. The believes in nature is the quintessence of Taoism, and this concept has established the strong foundation for a rich ecological thought.

In Taoism, "Tao" is the beginning and nature for the whole world. The basic, eternal principle of the universe that transcends reality and is the source of being, non-being, and change. Laozi proposed that Tao gives birth to one, and one gives birth to two, and two gives birth to three and three gives birth to all things. What's more, he also pointed out the myriad things under the heavens are born of being, being is born of non being. That is to say, the Too of Tao-ism is the unitary "that" from which springs the production and change of all things in the universe.In other words, people and everything in the universe, everything and on everything, the reason things are unified into the same to my heart.The relationship between "one" and "ten thousand" is not only the relationship between mother and son, but also the relationship between unity and diversity. As the foundation of the existence of all things, "one" represents "nature", where "nature" represents the whole nature. In other words, all things are an integral part of nature, and man is also a thing in all things, that is, a part of nature.

It was the first time that Laozi explicitly put forward the "nature" in the history of philosophy in China, where he discussed the relationship between man and nature. "Man laws the land, the land laws the sky, the sky laws the Tao, and the Tao laws the nature. There were three means of the nature in Taoism: one was the natural in nature, the second was spontaneousness and own so, the third was nature in the life meaning.That is to say, human beings should take "Tao" as the law, because it is the basis of the existence of all things in the world. According to Lao Tzu, everything in nature, including human life, is the result of creation of nature, which is naturally generated and has no master, which is the basic meaning of "Tao follows nature. In Taoism, man is a part of nature.The movement and change of all things in nature are regular.Tao, heaven, earth and man all exist naturally. They exist and move according to the nature of nature, and are constantly changing. Laozi believes that human behavior should conform to nature and follow the operation law of all things in nature. "Knowing often means knowing, not knowing often, making mistakes and being fierce". That is to say, it is wise to act according to the laws of all natural things. If you don't act rashly according to the laws of all natural things, you will inevitably lead to danger. Taoism believes that since man was born in the process of "Tao" giving birth to all things, man should follow the example of heaven and earth, adopt an attitude of conforming to nature to all natural things, and "dare to do things to assist the nature of all things", that is, "inaction". "Natural inaction" is the direct embodiment of "Tao follows nature". Taoist "inaction" does not mean inaction, but does not deliberately act recklessly or force arbitrarily. Therefore, Laozi emphasized that we should do things in an inaction manner, so as to achieve the effects of "doing nothing" and "doing nothing" in nature and human life.

In a word, "Tao follows nature", as Taoist thought and Taoist doctrine, contains rich ecological thoughts, which has important ecological significance in today's deteriorating ecological environment.

===Subtitle 3===
3. Anthropocentrism.

Confucian culture represents the mainstream of Chinese traditional culture, in which the ecological thought about the relationship between man and nature is a very important aspect. Confucianism has always valued man's position in all natural things, but it does not have rich and clear ecological thoughts similar to Taoism. Confucian ecological thoughts are often combined with their theory of caring for heaven, earth and man, thus forming a unique mixture of ecological thoughts with both anthropocentrism and natural centrism. Some outstanding thinkers of ancient Chinese Confucian school put forward many precious ecological thoughts from the study of interpersonal relationship, and formed a relatively complete ecological ideological system. They advocate that man is a part of nature, and man is similar to all things in nature, so man should adopt a obedient and friendly attitude towards nature, and seek harmony between man and nature as the ultimate goal.

Man is a part of nature and a product of nature, which occupies a very special position in nature. It can be said that the most important role of man in nature is "counselor's education". The Doctrine of the Mean expounded the unity of man and nature earlier: "Only the sincerity of the world is to do its best; If you can do your best, you can do your best; If you can do your best, you can do your best; If you can do your best, you can cultivate the towering land; If you can cultivate the towering land, you can participate with heaven and earth. "(Chapter 22) That is to say, only by adhering to the principle of sincerity can we give full play to our good nature; Only by giving full play to one's good nature can one influence others and give full play to their good nature; Only by giving full play to the good nature of all people can we give full play to the good nature of all things; Give full play to the good nature of all things, and you can participate in the cultivation of all things in heaven and earth. People are in contact with everything in nature anytime and anywhere, and treat things with honesty, which is the fundamental attitude to deal with the relationship between people and things. To treat things with sincerity means to respect, sympathize with, love and understand all things, and promote the growth and development of all things by the way of cultivating heaven and earth, instead of using, controlling and destroying all things as external things unrelated to life.

Mencius expounded the relationship between man and nature with the moral category of "sincerity". He pointed out: "Honest body has a good way, don't know about good, don't be honest with its body. It is a sincere person, and the way of heaven is also; He who thinks honestly is the way of man. ". ("Mencius Li Lou") That is to say, he has taken "sincerity" as the theoretical goal of the unity of man and nature. How can people achieve sincerity to achieve the realm of sincerity? Mencius pointed out: "Those who do their best know their nature. If you know its nature, you will know the sky. Save your heart and raise your sex, so things are also ". (Mencius devotes himself to it) is a process of "devoting himself to it", "intellectuality" and "knowing heaven". Mencius' theory of devotion, understanding and knowing heaven advocates achieving the goal of sincerity and realizing the harmony and unity between man and heaven through moral cultivation. Therefore, Mencius put forward that "everything is prepared for me", that is to say, the fundamental principles of everything in the world exist in people's nature, and they only need to be brought into full play. The Doctrine of the Mean also emphasizes the importance of human cultivation, and holds that as long as human efforts are made, the highest point of human nature can be reached and the work of cultural education can be realized. Therefore, the Doctrine of the Mean points out: "Secondly, music can be sincere, sincerity is shape, shape is writing, writing is clear, Ming is moving, movement is changing, change is changing, and only sincerity in the world can be changed. "(Chapter 23) The process from" music "to" energy "is not only a process of self-improvement of human nature, but also a process of dealing with the relationship between man and all things; It is not only a process of achieving" energy ", but also a process of" counselor's education ". Xunzi also proposed: "When the day comes, the land has its wealth, people have their governance, and husbands are called able to participate. "(Xunzi's Theory of Heaven) That is to say, people in heaven and earth have their own functions. Only by understanding the differences between people in heaven and earth can we achieve the realm of" participating with heaven and earth ".

When people reach the realm of "sincerity", they will naturally be able to cultivate all things, which is called "counselor". The Doctrine of the Mean says: "So sincere interest-free. Endless is long, long is micro, micro is far away, far is thick, and thick is clever. Beat thick, so the load is also; Clever, so the cover is also; Far away, so things are also. Strive for thick land, smart sky, long and boundless. In this way, you can't see the chapter, change without moving, and do nothing. "(Chapter 26) That is to say, only when heaven and earth are thick and long-standing can they cover all things; Only when the way of heaven and earth is sincere and interest-free can everything be produced. When people reach the realm of "sincerity", they can achieve everything like heaven and earth, and help to cultivate heaven and earth, which is the greatness of human nature.

===Subtitle 4===
4.Buddhist:equality of all beings.

Buddhism, as one of the world famous religions, has a long history, is extensive and profound, and has abundant documents, including many valuable ecological thoughts. After Indian Buddhism was introduced into China, Chinese Buddhists combined the essence of Indian Buddhism theory with the theory of Chinese traditional philosophy and re-elucidated and innovated philosophical thoughts. Chinese Buddhism contains a large number of ideological portrayal of natural ecology and spiritual ecology, and contains rich ecological theories, which is an important link and resource between Chinese traditional culture and ecology.

Equality of all beings is a basic concept of Buddhism. As an important concept of Buddhism, "sentient beings" expresses the core idea of Buddhism about the symbiotic relationship between human beings and other living bodies, human beings and nature. Buddhism divides everything in nature into two categories: Things with emotion and life, such as people and animals, were originally called "sentient beings" and later called "sentient beings"; Things without emotion, such as vegetation, tiles, mountains and rivers, etc., are called "ruthless beings". With the advancement of history and the influence of Chinese traditional culture, the content of "sentient beings" has continuously expanded its extension, and has been promoted from the initial "sentient beings" to cover both sentient and ruthless universe. Buddhist "equality" can be divided into four levels: Equality between all beings and Buddha, equality between people, equality between people and animals, equality between affection and ruthlessness. That is to say, all things in the universe, namely Buddha, man, animals, plants and inorganic matter, are equal.

In Chinese Buddhism, Tiantai Sect, Huayan Sect and Zen Sect all believe that all sentient beings have Buddha nature. Zen believes that not only sentient beings have Buddha nature, but also low-level life such as ruthless vegetation has Buddha nature. Ji Zang pointed out in Volume 3 of Mahayana Metaphysics: "According to the right, according to the right, all living beings have Buddha nature, then vegetation has Buddha nature. Therefore, not only all living beings have Buddha nature, but also vegetation has Buddha nature...... Therefore, if all living beings become Buddhas, all vegetation will become Buddhas. "That is to say, all phenomena in nature are in the causal relationship of interdependence and mutual restriction, and all life is an organic part of nature. Without nature, life cannot exist. The so-called "green bamboo is full of Dharma body; Gloomy yellow flowers are nothing more than Prajna", that is to say, flowers, trees, birds and animals all have Buddha nature, so we must care for every grass and tree in nature and build an interdependent, harmonious and free environment.

Buddhism believes that life is very precious to human beings and all animals and plants that can't talk. Human beings become masters of nature because of their superb thinking ability, but they can't harm other things. As small as dust, as large as the universe, and all living beings are in the same life flow, and "all living beings have Buddha nature", all things may reach the highest level and comprehend Buddha nature. Buddhism's concern for life is most concentrated in the compassion of all living beings. Compassion is the foundation of Buddhism and Taoism. "Compassion is the greatest in all Buddhism" (Great Wisdom Theory). In Buddhism's view, "harmony with happiness" is called "kindness", and "pulling out bitterness" is called "sadness". It teaches people to be merciful to all life. "Great kindness is happy with all sentient beings, and great compassion pulls out all sentient beings' sufferings" (Great Wisdom Theory). The former means giving happiness to all people and creatures, while the latter means pulling out the pain of all life.

===Conclusion===
Therefore, we can sum up the traditional culture of the ecological thinking inherent in the characteristics possessed.

First of all, The traditional China culture of ecological thought boasts deep the philosophy of "life." The "God" is the Word of God. "Yi" play to the thought of Confucius, said: "It's easy. " He said,"The great virtue of heaven and earth is born." Life is the growth of all things, is to create life. Life, is born and born, create and create. The meaning of the word is that the world takes "life" as its way and "life" as its virtue. Later generations of Confucian thinkers inherited this idea from Confucius and the Yi Zhuan, emphasizing that human benevolence and kindness originated from "the heart of heaven, earth and creatures." Thus,"life" refers to "benevolence," and "life" is good. In the Song Dynasty, Zhou Dunyi said,"Heaven gives birth to all things with yang and makes all things with yin." Life is benevolence; success is righteousness. " Cheng Yi of Song Dynasty said,"The nature of life is benevolence." Zhu Xi of the Song Dynasty said,"Benevolence is the vitality of heaven and earth." "It's the end of the world. " Therefore, the "benevolence" advocated by Confucianism is not only to kiss and love people, but also to extend from kissing and loving people to loving all things in heaven and earth. Because people and the universe, belong to a big life world. Mencius said,"To be close to one's family is to be kind to the people; to be kind to the people is to love things." Zhang Zai of Song Dynasty said,"People are my compatriots, and things are my friends." (All the people of the world are my brothers, and all the things in heaven and earth are my companions.) Cheng Ying of the Song Dynasty said,"Man and heaven and earth are one thing." He also said,"The benevolent takes the heavens and the earth and all things in them as one." "Benevolent and all things." Zhu Xi said,"All things in the world are one." So a lot. These words are said, people and all things are the same, is equal, so people should put the love to the universe.

A letter from Zheng Banqiao, a great painter in Qing Dynasty, fully expressed this thought of Confucianism. Banqiao said in the letter, the heavens and the earth, an ant insect, Xinxin love to read, this is the heart of the day. "The heart of God is the heart of God." So he said he was most opposed to "cage birds." "I want to entertain, he in prison, what feeling what reason, and must bend the nature of things to suit my nature!" Is the Wolf butch, that is, put them far away, don't let them harm human beings, people also have no right to any killing. Man and all things, so people and all things are equal, people can't think of themselves as the master of all things. This is the Confucian concept of great benevolence. Banqiao then and he said, really love birds will be a variety of trees, make a bird bird home. When I wake up in the morning, there are birds chirping. The birds are very happy, and so are the people. This is called "each has his own day." The so-called "each suitable for its day," is that all things can be in accordance with their natural nature to survive. In this way, as the same kind of people and all things also can get real happiness, get the greatest aesthetic feeling.

Secondly, associated with the consciousness of ecological philosophy and ecological ethics, there is also a kind of ecological aesthetics consciousness in China traditional culture. Ancient China thinkers believe that nature (including human beings) is a life world, the universe contains up life, business, this kind of life, business is the most worth watching, people in this kind of viewing, experience the state of man and all things, to get great spiritual pleasure. Cheng Ying said: "The business of all things is the most impressive." The "business of all things" is a favorite of the Song and Ming scholars. "I like to see the grass in front of the window." Asked why he didn 't, he said: "I don't know what you mean." He also said,"Observe the biological meteorology of heaven and earth." Zhou Dunyi experienced from the growth of grass in front of the window that there is a kind of "business" in heaven and earth, which is shared by "me" and all things. The experience gave him a kind of happiness. Cheng fish, always, and said: "I want to see you." He also likes to watch the newly hatched chickens, because the young chickens are lively and lovely, which can best reflect "business." He has a poem to describe their own happiness: "All things are content to watch quietly, and the four seasons are happy with people." "The clouds are light and the wind is light near noon, and the flowers follow the willows across Maekawa." He experienced the "business" between man and all things, experienced the harmony between man and nature, and obtained a kind of happiness. This is the "joy" of the "benevolent."

Finally, this ecological consciousness of "loving and thinking" and "business" of observing all things in heaven and earth is clearly reflected in ancient China literary and artistic works. Ancient China painters emphasized the expression of the "vitality" and "business" of all things in the world. Dong Qichang, a painter of the Ming Dynasty, said that the reason why painters live long is that "there is nothing but vitality before their eyes." In the Song Dynasty, Dong Di emphasized in the postscript to Guangchuan Painting that the artist's painting must be "born from business and obtained naturally." The painter Zhu Yunming said,"Or say: 'Plants are heartless, how can they be intentional?' I don't know that there is a kind of business between heaven and earth. The creation is wonderful, and it is as wild as it is indescribable. " So the king of Qing Dynasty is the painting fish tactic said: "The fish must be lively to get its swimming image." "I admire his happiness leisurely and agree with others." China painters never draw dead fish, dead birds, Chinese painters of flowers, birds, insects, fish, are up, business is abundant. The image world of flowers, birds, insects and fish of China painters is a life world in which human beings and all things in the world are integrated, which embodies the ecological consciousness of Chinese people.

The same is true China ancient Chinese literature.The poems of Tang and Song Dynasties show the beauty of flowers, birds, trees and people.Such as "swallows fly in the mud, mandarin ducks sleep in the warm sand.""I'm a friend of the mountain birds and flowers. "(Du Fu)"Men and birds are not in disorder, and animals are mutually close."(Wang Wei)"A pine and a bamboo are true friends, and a mountain bird and a mountain flower are good brothers."(xin qiji) some poems filled with gratitude to the nature, such as du fu "peach":"Gao Qiu always gives the poor people real life, and his eyes are still full of flowers when he is old."That is to say, the nature (here is the peach tree) not only for people to life necessary food items, and give a person with aesthetic enjoyment.This is a very profound thought.In the qing dynasty great writer pu songling's novel "liao zhai zhi yi" also runs through the consciousness of the people and the universe.The beauty of "liao zhai zhi yi," is the beauty of man and all things.The poetry of "liao zhai zhi yi," is one of the people and all things of poetry.In this literary work, flowers and trees, birds and animals insect fish can translate into a beautiful girl, and love with people.For example, the two girls in "Xiangyu" are the peony and winter resistance of the Qing Palace at the foot of Laoshan Mountain, one is Xiangyu and the other is crimson snow."The winter is two feet long, the peony is more than ten feet tall, and the flowers are bright like brocade."The breeze and the qing dynasty palace reading Huang Sheng love each other, crimson snow and Huang Sheng for friends.Only to infamy, there is a tourist saw white peony, love, just dig it move home.White peony so dead.Huang Sheng is very sad, as "crying flower poem" 50, every day to the peony growth chanting.Then Jiang Xue almost died. The Taoist priest of Xiagong Palace wanted to cut down the tree to build a new house. Fortunately, Huang Sheng stopped him. Later, the peony grew again. Huang Sheng dreamed of Xiangyu. Xiangyu asked Huang Sheng to water her with a glass of water every day. From then on, Huang Sheng added more and more irrigation. The flower bud grew fatter and fatter. The next year, a flower bloomed. The flower was as big as a plate. There was a little beauty sitting in the pistil. "In a flash, it floated down, and the Xiangyu also." From then on, the three of them lived a happy life. Later, Huang Sheng became seriously ill. He said to the old monk: "In the future, there will be red buds growing under the peony, and I will be the one who puts out five leaves." In the second year after Huang's death, there will be fat buds protruding from the fruit. The old Taoist priest irrigated it diligently. For three years, it was several feet tall, but it did not bloom. After the old Taoist priest died, his disciples did not care for it and cut it off when they saw it did not bloom. As a result, the white peony soon withered and died. Then, Nai Dong also died. These image worlds created by Pu Songling are full of love for the life between heaven and earth. It shows that man and all things belong to a big life world, that man and all things-one, life and death together, solidarity. This is what people now call "ecological beauty,""ecological beauty" is "man and all things one" beauty.

This kind of ecological consciousness in China traditional culture embodies the universal values of all mankind today, which is full of modern implication. To sum up, Chinese traditional culture contains rich and profound ecological thoughts. These thoughts have always been respected by scholars at all times and in all countries, so it is of great practical significance to explore and carry forward Chinese traditional ecological thoughts for the construction of ecological civilization in China.

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

==英语口译段小蝶 Duan Xiaodie 202170081615==
<center>'''Chinese Movies Going Global'''</center>

<center>Duan Xiaodie</center>

===Abstract===
With the acceleration of China's economic and social development and the process of globalization, the going global of culture has become one of the unecessary parts of China's construction in the new era. China's cultural transmission is achieving remarkable results in many aspects, such as foreign trade and exchanges of culture, And China's position in international societies is becoming prominent, and China's voice is gradually gaining attention. However, at the same time, the difficulties that have emerged when Chinese culture has gone out cannot be ignored; the international competitiveness of cultural products is weak, the concept of international dissemination is unscientific, there is a lack of a reasonable system of evaluating results, and there is still a certain distance between the overall situation and the goal of a culturally strong country. As a kind of cultural medium, the film has become an important value carrier under the globalization, and is an important link and key to the cultural outflow; the cultural outgoing movement has also created a platform and opportunity for the international dissemination of the film.
The international spread of literature and film helps the enhancement of the soft power of Chinese culture. Therefore, under the perspective of cultural outgoings, from the microscopic point of view, through the interpretation of chinese film cases and the analysis of the experience of other countries' films and television, we can sum up the development status of international transmission of Chinese television and film, and put forward countermeasures and suggestions for the overseas broadcast of Chinese films and television, which have great practical significance and research value.
===Key words===
Chinese Movies; Culture Going Global; Countermeasures and Suggestions
===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语口译方楚晗 Fang Chuhan 202170081616==
<center>'''Bullet Screen in Chinese Online Video Sites'''</center>

<center>Fang Chuhan</center>

===Abstract===

===Key words===

===Introduction===
“Bullet screen”, or “dan'mu” in Chinese, is an emerging new feature on online video sites in China and Japan, which allows real-time comments from viewers to fly across the screen like bullets. Mostly used for virtual nods and zingers, this “social viewing” feature is phenomenally popular with the younger crowd.
===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语口译胡雯雯 Hu Wenwen 202170081617==

<center>'''Chinese Baijiu Culture'''</center>

<center>Hu Wenwen</center>

===Abstract===
Chinese Baijiu can be compared with wine in France, but it is made of rice. We have a long history of Chinese Baijiu, which develops with our own culture. And more importantly, we have cultivated a kind of special culture about Baijiu on the table.

===Key words===

===Introduction===
Baijiu is one of the main beverages in Chinese people's life. China has a long history of baijiu making, with a wide variety of famous bajiu spreading with a good reputation at home and abroad. Yellow rice wine is one of the earliest baijiu in the world. About 3000 years ago, in the Shang and Zhou dynasties, the Chinese people created the liquor koji double fermentation method and began to brew a large amount of rice wine. Chinese Baijiu has permeated the entire 5000 year history of Chinese civilization. It plays an important role of literary and artistic creation, cultural entertainment, food and cooking, health care and other aspects in Chinese people's life.
Chinese Baijiu culture is an important part of Chinese food culture. Wine is one of the most ancient foods of mankind. Its history almost began with the history of human culture. Since the emergence of baijiu, as a material culture, baijiu has a variety of forms. Its development process is synchronized with the history of economic development. Baijiu is not only a kind of food, but also has spiritual and cultural value. As a kind of spiritual culture, it is embodied in many aspects, such as social and political life, literature and art, and even people's attitude towards life, aesthetic taste and so on. In this sense, drinking is not just drinking but also drinking culture.
As to drinking etiquette, Chinese people pay attention to people with whom they drink . It depends on who they drink with and what they want, to be more specific, the atmosphere of drinking; drinking etiquette reflects the respect for drinkers. Who is the host ? Who is the guest? What about the fixed seats and toast sequence for them respectively. When toasting, you should start from the host. If the host doesn't finish, others are not qualified to propose a toast. If you mess up the order, you will be punished. The toast must start from the most distinguished guest. Your container must be full when toasting, which also shows respect for the person you drink with. The younger generation should take the initiative to toast the elders, which is the same for the juniors and superiors, and we also regard‘ bottom-up’ as a sign of respect.
When we talk about purpose of drinking，Chinese baijiu is often used as a tool. People drink for pursuing something they hope for other than alcohol itself. Green plum baijiu is used to prove who is a hero; Beimoting is used to eliminate all the worries within you; The Seven Sages singing wildly in the bamboo forest and drink to seek refuge in spirit. In the eyes of Chinese people, baijiu is more used as a tool for communication. Therefore, there is a lack of scientific and systematic theoretical analysis and evaluation of baijiu itself in Chinese baijiu culture, and more attention is paid to the wonderful effect brought by drinking baijiu.

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语口译黄天琪 Huang Tianqi 202170081618==
<center>'''Marriage Culture in China'''</center>

<center>Huang Tianqi</center>

===Introduction===
Marriage is something related to all of us. It is the start of family and kinship. Most of our life will be spent within a marriage. And an unhappy marriage will ruin many things. This starts by lowering the quality of our life, threatening the quality of our children’s life, and then forming a family without happiness and warmth. Eventually, this will have a bad impact on the harmony of the society. Judging from all these, we can see that how important marriage is to our life and society. Besides, marriage represents not only a union between couples, but also a union of two families. In the past, marriage was often arranged by parents, while today’s young people prefer to choose spouse that they love by themselves. However, it is still common that parents hold sway over the marriage of their children. Marriage culture is a part of social culture, which can reflect people’s mentality and views towards marriage in a particular period. In the following, marriage system, wedding customs, and dissolution of marriage will be covered.

===Marriage System===
From the earliest group marriage to monogamy, marriage system has become increasingly rigorous, which is conducive to ensuring family stability and social peace. China went through primitive society, slave society, feudal society, modern society, and it is now contemporary society. The characteristics of marriage system in each period are distinctive. From the evolution of our marriage system we can see that each change has been in line with the change in the political and economic system. The marriage system is a guarantee of social stability, and the main evolutionary history includes the following periods.

Group Marriage

Under this marriage system, a group of men and a group of women are married to each other. The specific forms of the group marriage are not necessarily the same between different regions and races, and even differ greatly. The process of its development has not been simultaneous throughout history. Group marriage showed itself in China as a natural and chaotic situation where people lived in groups without social obligations. At that time, no constraints were imposed on the interaction between men and women. There were no clear and fixed spouse, no restrictions on elders and children, and no concept of parents or siblings.

Consanguineous Marriage

With the development of human history, people gradually differentiated themselves from each other and formed different groups or tribes. Soon, blood relation became the identification standard. At that time, parents and children have blood relation were not allowed to marry each other, while siblings could. This is what we called consanguineous marriage. This kind of marriage were recorded in ancient Chinese literatures as legends. For example, Fengsu Tongyi describe that Fuxi and his sister Nüwa married each other and lived together.

Sub-Consanguineous Marriage

The main difference between sub-consanguineous marriage and consanguineous marriage is that consanguineous marriage only prohibited intermarriage between the parents and their children, while sub-consanguineous marriage also prohibited marriage between siblings of the same generation. The most important feature of the sub-consanguineous marriage system is that brothers can share a wife and sisters can share a husband, but the "wife" or "husband" must be someone from another clan. Sub-consanguineous marriage facilitated the natural selection of marriage partners, which is significant for improving the quantity and quality of the population.

Dual marriage

Dual marriage refers to the marriage between adult men and women from different clans in a long or short period of time, which is not stable. Under this marriage system, the spouses are not married for love, but for personal interests and needs. People usually obtain a spouse through exchanges of goods or forceful competition.

Monogamy

Monogamy means that when two people are married to each other, they can only maintain this marriage with each other for the rest of their lives, or at any period in their lives. Under this system, no one may have two or more spouses at the same time, and people’s marriage is more stable and can last longer. Monogamy is the result of the development of material and spiritual civilization. This marriage system is also more progressive and reasonable.

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)
===Wedding Customs===

===Dissolution of Marriage===

===Conclusion===

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

Consanguineous Marriage 血缘婚

Fengsu Tongyi 《风俗通义》

Fuxi 伏羲

Nüwa 女娲

Sub-Consanguineous Marriage 亚血缘婚

===Questions===
===Answers===

==英语口译兰绮 Lan Qi 202170081619==

<center>'''Chinese Panda Diplomacy'''</center>

<center>Lan Qi</center>

===Introduction===

Gift-giving is a common courtesy in diplomatic activities. And this kind of diplomatic culture has a profound history. Via exchanging gifts, a cordial and friendly bond can be built upon two countries. Diplomatic gifts are not only limited to some still-life items, but also can be some living creatures, such as animals. China has a history of presenting panda as a diplomatic gift to forge diplomatic relations with other countries, which is known as Chinese Panda Diplomacy. Panda, listed as an endangered species in 2008 and a vulnerable species in 2016, is endemic to China. It’s the national animal or say, national treasure of China. It is recorded that panda diplomacy can date back to the later Tang Dynasty when Emperor Wu ever gave two pieces of skin of pandas as a gift for foreign envoys. And after the founding of People’s Republic of China, China has been carrying out diplomatic activities through giving panda as gifts, lend panda to other countries for traveling exhibitions or signing commercial leases of pandas to show friendliness. In the 26 years from 1957 to 1982, China gave a total of 23 pandas to 9 countries. Panda, as a national treasure of China, has served as a messenger of friendship abroad many times and has made indelible contributions to the development of friendly relations with foreign countries.

===Origin and History of Chinese Panda Diplomacy===

====Panda as a gift====

Animals play an important role in China's diplomatic activities. As early as the Yongle period of the Ming Dynasty, Zheng He brought back many "qilin" (giraffes) from the African continent on his way to the West, which was called "qilin diplomacy". These giraffes were transported to China as tribute from African countries, and although they were not "gifts" in the modern sense of diplomacy, they fully illustrate the phenomenon of using "animals" as a medium to express messages in national exchanges. At that time, the Ming Dynasty was strong and the African continent was still very primitive, so the "giraffes" represented the awe and dependence of a weak country on a strong country. In modern society, animals can be found everywhere in diplomacy. In the early years of New China, China befriended the Soviet Union under a "one-sided" foreign policy. Between 1954 and 1959, the Beijing Zoo exchanged animals with the Soviet Union's State Zoo, and in 1957, China gave the giant pandas Ping Ping and An An to the Soviet Union. This "animal diplomacy" reflected China's quest to consolidate the Soviet-led socialist camp in the 1950s and its desire to receive assistance and support from the Soviet Union as a means of countering the U.S. blockade.(Zhang Enming, 2018,66-70) Vietnam, which is in the same socialist camp as China, also gave two Asian elephants to China in 1953. These two elephants had participated in the Vietnam War, so in addition to the usual diplomatic rituals, the two elephants also implied Vietnam's gratitude for China's support in the war.There is also a close animal exchange between China and North Korea. Since 1959, African lions, South China tigers, and Korean leopards have been gifts exchanged between the two countries. Behind these gifts are the development strategies of the two countries and the complex game of international relations. Whether it is the "Korean leopard" of North Korea or the "Asian elephant" of Vietnam, the animals chosen in animal diplomacy are all national protected animals that can represent the image of the country and have certain profound connotations at the same time. In China's cultural context, the panda is naturally the most appropriate choice.

"Panda diplomacy" begins with Wu Zetian. In recorded history, on September 18th, in 685 AD, the first year under the reign of Wu Zetian, the Chang'an palace guards and two animal handlers clustered round two tall, spacious and red-colored cages and set off from Chang'an on a stagecoach, sailing eastward. They went to Yangzhou, boarded a sea ship, and accompanied the Japanese envoys to Japan. This time, Wu Zetian gave two "white bears" and 70 furs to Emperor Tenmu of Japan. The "white bears" here are actually giant pandas. Westerners first heard about giant pandas from the French missionary Arman David. David was the first Westerner to study the wildlife of China in 1869, when David traveled across the ocean to give a panda specimen as a gift to the French Natural History Museum. This was the first panda to be welcomed in the West. Although only a specimen, this masterpiece of the creator was the first panda in the West. driven by panda fever, many people began to travel to China in search of pandas. (Lin He,2010,6-17)

Technically speaking, the first time giant panda served as the highest-level national gift was in 1941 when the Song sisters, Song Qingling and Song Meiling presented a pair of pandas to the United States as a token of appreciation for their relief of Chinese refugees.After the founding of New China, giant panda became an important gift for the country's diplomacy. In the modern era of friendship between China and foreign countries, pandas are treated like "heads of state" when they arrive as a national gift.(Xie Jianping,2021,93) China's most famous "panda diplomacy" dates back to 1972, when President Nixon's visit to China. Premier Zhou Enlai announced at a banquet to welcome President Nixon. Premier Zhou Enlai announced at a banquet to welcome President Nixon that giant pandas Lingling and Xinxin would be given to the United States. The "Panda Diplomacy" laid a solid brick for China to open its doors and go global.And in September 1972, when diplomatic relations were established between China and Japan, China decided to present two pandas. On November 4th , 1972, a grand ceremony was held in Ueno Park in Tokyo to accept the gift. At the ceremony, the Japanese director said, "This pair of pandas is the best gift from the Chinese people to the Japanese people, and November 4 is a symbol of friendship between the people of Japan and China." Between 1957 and 1982, China gave 23 giant pandas to nine countries: the Soviet Union, North Korea, the United States, Japan, France, the United Kingdom, Mexico, Spain and Germany. Britain, Mexico, Spain and Germany.(Sun Jiahua, Xia Jun, 2005,51)By the 1970s, giant pandas were sent around the world by China, and "panda diplomacy" reached its peak.

Here is a list of the giant panda as a national gift.

{| class="wikitable"
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | '''Date of gift'''
| style="height:40px; width:200px; text-align:center;" | '''Giver'''
| style="height:40px; width:200px; text-align:center;" | '''Name of Giant Panda'''
| style="height:40px; width:200px; text-align:center;" | '''Recipient'''
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | November 9,1941
| style="height:40px; width:200px; text-align:center;" | Republic of China
| style="height:40px; width:200px; text-align:center;" | Panda
| style="height:40px; width:200px; text-align:center;" | United States Joint Committee for the Relief of Chinese Refugees
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | November 9,1941
| style="height:40px; width:200px; text-align:center;" | Republic of China
| style="height:40px; width:200px; text-align:center;" | Pandi
| style="height:40px; width:200px; text-align:center;" | United States Joint Committee for the Relief of Chinese Refugees
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | May 1946
| style="height:40px; width:200px; text-align:center;" | Republic of China
| style="height:40px; width:200px; text-align:center;" | Lianhe(Union)
| style="height:40px; width:200px; text-align:center;" | The United Kingdom
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1957
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Pingping
| style="height:40px; width:200px; text-align:center;" | Soviet Union
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1958
| style="height:40px; width:200px; text-align:center;" | The Beijing Zoo
| style="height:40px; width:200px; text-align:center;" | Jiji
| style="height:40px; width:200px; text-align:center;" | Austrian animal trader: Heini Demer
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1959
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Anan
| style="height:40px; width:200px; text-align:center;" | Soviet Union
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | NO.1
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | NO.2
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Lingling
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Sanxing
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | unknown
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Dandan
| style="height:40px; width:200px; text-align:center;" | People's Republic of Korea
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | April 1972
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Lingling
| style="height:40px; width:200px; text-align:center;" | The United States
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | April 1972
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Xingxing
| style="height:40px; width:200px; text-align:center;" | The United States
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | October 1972
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Lanlan
| style="height:40px; width:200px; text-align:center;" | Japan
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | October 1972
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Kangkang
| style="height:40px; width:200px; text-align:center;" | Japan
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | December 1973
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Yanyan
| style="height:40px; width:200px; text-align:center;" | France
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | December 1973
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Lili
| style="height:40px; width:200px; text-align:center;" | France
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | April 1974
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Jiajia
| style="height:40px; width:200px; text-align:center;" | The United Kingdom
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | April 1974
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Jingjing
| style="height:40px; width:200px; text-align:center;" | The United Kingdom
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | September 1975
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Yingying
| style="height:40px; width:200px; text-align:center;" | Mexico
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | September 1975
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Beibei
| style="height:40px; width:200px; text-align:center;" | Mexico
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | September 1978
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Shaoshao
| style="height:40px; width:200px; text-align:center;" | Spain
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | September 1978
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Qiangqiang
| style="height:40px; width:200px; text-align:center;" | Spain
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1980
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Huanhuan
| style="height:40px; width:200px; text-align:center;" | Japan
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | November 1980
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Tiantian
| style="height:40px; width:200px; text-align:center;" | West Germany
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | November 1980
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Baobao
| style="height:40px; width:200px; text-align:center;" | West Germany
|- style="vertical-align:top;"
| style="height:40px; width:200px; text-align:center;" | 1982
| style="height:40px; width:200px; text-align:center;" | People's Republic of China
| style="height:40px; width:200px; text-align:center;" | Feifei
| style="height:40px; width:200px; text-align:center;" | Janpan
|} (From: 熊猫外交_百度百科 (baidu.com) )

Due to the deterioration of the panda's living environment and the fear that the very limited number of giant pandas in China was dwindling, China stopped the purely political mode of gift to foreign countries after 1982, and many countries have invited Chinese pandas to "visit" them in various ways, and China has also organized dozens of "Giant Panda Visiting Missions". During the Los Angeles Olympics, the International Olympic Committee invited a pair of Chinese pandas to go on display. During this period, however, China's gift of pandas was limited at home, such as Hong Kong and Taiwan. In fact, as early as 1988, the mainland had expressed its intention to send pandas to Taiwan. In March 2001, the mainland was ready to send pandas to Taiwan, and the then executive president, John Chang, said positively in the Legislative Yuan that "if it is in line with the Washington Convention, we certainly welcome it. However, there was no follow-up, and the panda's visit to Taiwan became an empty talk again. If we follow the model of the United States, Japan and other foreign countries and "lease" pandas to the mainland, Taiwan will not only need to set aside a huge budget of tens to millions of dollars each year to provide the mainland with funds for research and improvement of panda habitat, but the lease will be "country-to-country", which would turn into a lease from the mainland to Taiwan, and Taiwan would become a foreign country, which did not meet the political requirements.It was not until 2005 that the two sides of the Taiwan Strait decided to adopt an "animal exchange and breeding conservation program", whereby the Taipei Muzha Zoo and the Wolong Reserve in Sichuan would exchange animals between the two sides of the Taiwan Strait, avoiding the highly sensitive political controversy. However, the Taiwan authorities, led by Chen Shui-bian at the time, refused to accept the gift of pandas to Taiwan on the grounds that it had political significance. On Dec. 23, 2008, the mainland gifted giant pandas Tuan Tuan and Yuan Yuan to Taiwan finally arrived in Taipei without incident. From 1988 to 2008 2008, the pandas' journey to Taiwan took a total of 20 years.(Lin He,2010,6-17)

====Panda Touring and Leasing====

In 1982, in response to a global call to protect endangered animals, the government of the People's Republic of China announced that it would stop giving pandas abroad starting in 1982. This marked the end of "panda diplomacy" under the traditional political gift model. But a new model, panda leasing, emerged.

During the 1984 Olympic Games in Los Angeles, China temporarily loaned two pandas, Yongyong and Ying Xin, from the Beijing Zoo to the Los Angeles Zoo for a three-month tour to show China's support for the Los Angeles Games. This was the beginning of the giant panda tour abroad. Since then, giant pandas from various zoos in China have been traveling abroad for as short as a few months or as long as a year.

Giant panda touring exhibitions are an activity that can be both politically charged and commercially beneficial. For example, the aforementioned tour at the Los Angeles Zoo during the Los Angeles Olympics was a largely diplomatic event, while the subsequent exhibition at the San Francisco Zoo was a distinctly commercial loan. The traveling exhibition brought considerable economic benefits to the zoos and other institutions where the giant pandas were housed, but it also affected the reproduction and development of the pandas to some extent.

After the mid-1990s, various measures taken to address the problems caused by commercial leasing have greatly reduced the opportunities for giant pandas to go on tour abroad, essentially ending the trend of mainly adopting the touring approach to panda diplomacy. However, in rare and exceptional cases, there are still those who go abroad for short periods of time to conduct diplomatic activities. For example, when the International Olympic Committee held its 112th plenary session in Moscow, Russia, in 2001 to decide on the host country for the 2008 Olympic Games, China sent giant pandas Benben and Wenwen to Moscow as cultural ambassadors to support China's bid.

====Joint Research on Giant Panda====

In the early 1990s, a growing number of environmental groups resisted giant panda leasing. In 1994, two pandas from the Chengdu Research Base of Giant Panda Breeding went abroad for the first time as "research and exchange ambassadors" to the Shirahama Safari Park in Japan. Since then, many zoos around the world, including Wakayama in Japan, Seoul in Korea, and Atlanta and Washington in the United States, have begun long-term cooperative research with China. On September 12, 2007, the State Forestry Administration announced that "China would no longer give pandas to foreign countries, but could still conduct cooperative research with foreign countries. But apparently, the "panda diplomacy" did not come to an end. Instead, China's "panda dance" has gone further and further.

On November 28, 2009, the Chinese giant panda Wang wang and Funini arrived in Australia. This was the first time that Chinese pandas set foot in Oceania. According to the 1975 Convention on International Trade in Endangered Species, foreign zoos can only acquire pandas on a lease basis, in the name of scientific research. At present, China has started cooperative research on giant panda breeding, physiology and other aspects with nine zoos in five countries. The number of giant pandas involved in cooperative research is 30. Among the 24 pandas that went abroad in the pas, only five offspring are still alive, including one from Japan and Germany and three from Mexico. They are still transmitting the friendship of the Chinese people together with the pandas that have gone abroad on lease or in scientific cooperation.
(Lin He,2010,6-17)

==="Giant Panda" as a medium and symbol in International Communication===

People are mediums because they can generate and transmit information. Animals, which have long been known to human culture at all levels, are also mediums. Although animals cannot directly produce human "verbal messages," they can convey a wealth of information through their biological characteristics and the cultural context they carry. Thus, the panda has been promoted from a symbolic "diplomatic gift" to a "diplomatic medium" with a diffuse message in diplomatic activities. The "panda medium" was born. Since the animal is the medium, the message conveyed by the "panda medium" itself is also worth interpreting. The "panda symbol", as an energetic reference, naturally evokes our imagination of the "panda" animal and the range of impressions and connotations it generates.

In terms of the emotions embedded in the form of communication, traditional linguistic symbols are often used in international communication activities to make serious and politically significant statements. Whether it is a logical formal document or a poetic letter, it is labeled as "politicized", with an emotional undertone of gaming and mediation behind it. The "panda symbol" is an effective way to reconcile the audience with emotions from multiple senses. When people watch videos of "cats and dogs" on social media, they are often so enthralled by the appearance and sound of the "cute" creatures that they let go of their guard and engage in pure emotion. The popular "panda" has also conquered audiences in such a communication process. It can be argued that China's international communication activities, in which the national ideology is embedded in the "panda symbol", are not only more subtle and secretive in form, but also more acceptable to the public. Such communication is often invisible and more profound.

From the audience's point of view, the content of international communication through the medium of language and writing requires a certain level of literacy. A "knowledge gap" is created on top of the language barrier, causing greater disruption to communication. The "panda medium" is able to build a bridge over the gap, and as the threshold for understanding the "panda symbol" is lowered, audiences with lower literacy levels are also included, further expanding the audience base for China's foreign communications.The image of "panda" is naive, gentle and lovely. In international communication, this animal image conveys the message of "peace" and "friendship". Today, in the face of Western "threat theory" and "suspicion theory", the "panda symbol" undoubtedly represents the value of China's peaceful rise. At the same time, the "black and white" color covering the panda is reminiscent of the Chinese "Taiji" symbol, which contains the Chinese idea of "harmony" and a deep cultural temperament. This symbolic feature is good for constructing a national image and eliminating stereotypes. In addition, as an endangered species, the panda has received worldwide attention for its conservation, and China's protection of the panda is well known. Out of its love for the panda as an animal itself, as well as universal ecological values, China's conservation work for the giant panda has been praised and recognized globally. This has further enhanced China's standing in the international community and won wide recognition among global citizens. The "panda symbol" provides opportunities for China's foreign communication activities. In China's international communication activities, the panda has crossed the language barrier, established a good national image, and earned China a reputation. The "panda medium" has opened up new ideas for the study of international communication channels.

As an important medium in diplomatic activities, giant panda has the following four positive effects on China's international communication.

1. Building a good national image
For a country, a good national image not only enhances national cohesion, improves the country's recognition and credibility in the eyes of the public, but also helps the country to carry out international affairs in the international community. The "Giant Panda" can leave a deep first impression on the audience. It is so delightful that many people who do not know China can instantly fall in love with this "cute" animal and learn about China. The panda itself becomes a symbol of China in the minds of other citizens, which helps the international community to understand China as a "cute" and "peaceful" country, which plays an important role in building a positive national image.

2. Creating communication topics
The existence of the "panda medium" creates a middle ground for China's diplomatic activities with other countries and creates communication topics. Topics such as "panda conservation and research," "panda habits," and "newborn pandas" etc. can trigger discussions in the social media of different countries. When common topics occur, communication between countries becomes possible.

3. Creating economic value
Just like the "Kung Fu Panda" movies on Hollywood, the giant panda as a medium can give rise to related cultural industries and many cultural products. The development of cultural industries not only drives the popularity of cultural symbols in the world, but also increases the country's international communication power. The global popularity of Disney movies has not only created huge commercial value, but also impressed people with the success of the American movie business, as well as the understanding of American culture. The "giant panda" medium is expected to open up a new cultural industry through which Chinese culture can go global. This will create economic value while increasing cultural influence, which will be a double benefit. Of course, the development of cultural industries needs to be kept in moderation, and excessive commercial development will be counterproductive.(Zhao Lijun, 2017,15-19)

===Problems in Panda Diplomacy===

"Panda diplomacy" has indeed played an important role in China's diplomatic activities, but there are also many problems, making it to play its role as a diplomat.

1. Political misinterpretation
No matter how cute the panda is, the image of China behind it is not accepted and recognized by everyone. The "panda" cannot conquer everyone, so the practice of "panda diplomacy" has certain limitations. The sharp ideological struggle has led many political parties and political elites in many countries to perceive the cultural connotation of the "panda" symbol and interpret it as a cultural invasion. As a result, there are constant media reports reminding people that "pandas are after all carnivores" and "the bite force of a panda is no weaker than that of a brown bear". These statements are contrary to the image of the panda that China is trying to create, trying to remind people of the other side of the "panda symbol". The "panda medium" itself does not have strong explanatory power or tendencies, so audiences' interpretations are often easily influenced by the rhetoric. When political bias intentionally misinterprets the panda image, it can also be portrayed as a beast with a bloody mouth. The connotation of the "panda symbol" at this point will bring negative communication effects.

2. Single content will cause aesthetic fatigue
The "panda symbols" on the Internet is still based on the daily life of pandas and lacks artistic processing and cultural connotation. Such a single content presentation is likely to cause aesthetic fatigue among audiences. Unlike various cats and dogs , pandas have a more fixed and single form, so it is difficult to refresh the image in the public's mind. Once the audience finds the "panda image" boring, it will be difficult to raise interest and the communication effect will be weakened.

3. Over-commercialization and dissipation of public interest
The popularity of panda-related products stems from the public's love for the panda image on the one hand, and from smart marketing tactics on the other. The public's interest in the panda image is a direct motivation for them to buy peripheral products. When commercial companies take advantage of the "panda fever" to over-market, people are inevitably suspicious of the panda image and even question whether the cute panda image is originally a scam by the business. As a unique animal in China, overseas people associate "Chinese businessmen" with "panda marketing". When interest is dissipated, not only will the panda industry suffer, but the international influence of the "panda symbol" will also decline, which will directly affect China's international communication power.(Lan Jianfeng, 2020, 96-100)

===Solutions===

1. Refine the connotation of the symbol to reduce political misinterpretation
In order to reduce the misinterpretation and misinterpretation of the "panda symbol" by political forces, China should extract the core connotation of the "panda symbol" in its international communication behavior and amplify the connotation of "peace" and "cuteness" so that audiences will have a positive cognitive association with it.

2. Enrich the content of communication
In order to break the monotony of the "panda symbol", it is necessary to add more cultural connotations. We should combine other elements of Chinese culture with the panda and deepen the processing of cultural creation, not only to show panda's behavior in nature as a living creature, but also to raise it to the level of a cultural symbol so that the panda symbol can have a wider cultural value.

3. Moderate exploitation of commercial value
As a national treasure of China, the "panda" has a high commercial value, but if it is over-exploited without restrictions, it will lead to a negative impression of "panda products" and also make the symbol of "panda" be labeled as as "expensive". Therefore, the commercial development of panda products should follow the laws of economics, tap into both its commercial value and cultural value.(Lan Jianfeng, 2020, 96-100)

===Conclusion===

China has used different media in its international communication activities. "Panda diplomacy" allows the animal "panda" to be taken out of the picture and become a medium. The "panda medium" refers on the one hand to the panda animal, which is able to express messages through its own form and movements, and on the other hand to the abstract concept of "panda", behind which lies the "and culture" and "Meng" culture. The "panda medium" is also a reflection of the highest ideals we expect from the development of media technology in real life. The "panda symbol" is a strategically important element of international communication. The "panda symbol" constitutes the deeper meaning of the "panda medium" and is transmitted through the "panda medium". "The panda symbol overcomes the barrier of "language symbols" in international communication, and uses concrete images and the perception of the five senses to share more meanings and evoke more resonance. From the initial gift of giant pandas, to their subsequent lease, cooperation in research, and then to their visits as emissaries, pandas are in fact a microcosm of China's diplomacy's gradual progress toward confidence and maturity. "Panda diplomacy" is a way for China to exercise its soft power, and pandas have gradually become a metaphorical animal for China in the Western media. The Chinese themselves, for their part, have come to associate the panda The Chinese themselves, too, have made the panda and this metaphor an important cultural promotion.(Fu Lan, 2019,61) As goodwill ambassadors, pandas have traveled around the world, playing a role that human diplomatic envoys cannot, and greatly improving relations between China and the rest of the world. "Panda diplomacy" is just a miniature experiment in China's international communication activities today. The "panda medium" and the "panda symbol" are also just a novel attempt in the foreign communication strategy. We look forward to seeing the "panda medium" play an even greater role in the international communication in the future, and we look forward to seeing more forms of "mediums" emerge, so that China's international communication power can continue to improve and the Chinese story can be told better.

===References===

[1]浮澜.熊猫“外交官”[J].新湘评论,2019(04):61.

[2]林禾,余里.中国“熊猫外交”揭秘[J].传承,2010(04):16-17.

[3]蓝剑锋.中国国际传播活动中的“媒介”与“符号”——以“熊猫外交”为例[J].今传媒,2020,28(12):96-100.

[4] 孙佳华，夏俊．“熊猫外交”的秘密往事［J］．政府法制，2009( 21) : 51．

[5]谢建平.“熊猫外交”始于武则天[J].文史天地,2021(01):93.

[6]赵丽君，郑保卫．国家形象视角的“熊猫外交”研究［J］．新闻爱好者，2017(12) :15－19．

[7]张恩铭．简述 20 世纪 50 － 70 年代中国的动物外交活动［J］．惠州学院学报，2018，38( 4) : 66 － 70．

===Terms===

Giant Panda 大熊猫

Panda Diplomacy 熊猫外交

Tang Dynasty 唐朝

Emperor Wu/ Wu Zetian 武则天

Emperor Tenmu (日本）天武天皇

Kung Fu Panda 功夫熊猫

===Questions===

1. When does the "Panda Diplomacy" begin ?

2. What roles giant pandas have played in China's international communication ?

3. What are the problems in panda diplomacy ?

4. How to deal with the problems in panda diplomacy ?

===Answers===

1. It begins with Wu Zetian.

2. It helps build a good national image and creates communication topics and economic value.

3. It may trigger political misinterpretation. And its single content will cause aesthetic fatigue. Moreover, over-commercialization may dissipate public interest

4. Refine the connotation of the symbol to reduce political misinterpretation; Enrich the content of communication; And make moderate exploitation of commercial value

==英语口译李丹 Li Dan 202170081620==
<center>'''''Differences of Tea Culture between China and the UK'''''</center>

<center>Li Dan</center>

===Abstract===

The British afternoon tea, with various ingredients such as sugar and milk, is popular all over the world and is completely different from the traditional Chinese tea. But there is in fact a connection between the two. The English afternoon tea was developed after the introduction of Chinese tea to the UK and its localisation. Originated in China, it was first used as a medicinal herb, and was later influenced by Confucianism, Taoism and Buddhism, resulting in a distinctive Chinese tea culture. Tea was introduced to Europe in the 16th century, and many countries began to consume it, except for the long-established Britain which established a British tea culture distinct from that of China, changing not only its native way of life, but also influencing the spiritual life of its citizens. However, instead talking about the similarities between the two, the author is just going to focus on the differences. Chinese tea and the British tea vary in types, utensils, etiquettes, which is overt, yet they are also quite different in their development and philosophies. After that the reasons behind them would be discussed. In doing so, the paper intends to deepen the understanding of both, and to make reflections on how to pass on traditional Chinese culture.

===Key words===
tea culture; traditional Chinese culture; differences

===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.

==英语口译李立飞 Li Lifei 202170081621==
<center>'''Memes in China'''</center>

<center>李立飞</center>

===Abstract===
This paper discusses the distinctive features of memes in China in the context of digital culture. As China is a more politically complicated country and has a totally different mindset compared with Western countries, memes in China are usually closely related to every Chinese citizen's life, rather than only confined to a certain circle (such as video games and anime). In this paper, I will analyse Chinese memes in 3 dimensions: Geng(梗), Biaoqingbao（表情包）, and Guichu（鬼畜）, which represents text, picture and video respectively.

===Key words===
memes; digital culture; netizen

===Introduction===
A meme is an idea, behavior, or style that spreads by means of imitation from person to person within a culture and often carries symbolic meaning representing a particular phenomenon or theme. A meme acts as a unit for carrying cultural ideas, symbols, or practices, that can be transmitted from one mind to another through writing, speech, gestures, rituals, or other imitable phenomena with a mimicked theme. Supporters of the concept regard memes as cultural analogues to genes in that they self-replicate, mutate, and respond to selective pressures. In the vernacular discourse of netizens, the phrase “Internet meme” is commonly applied to describe the propagation of content items such as jokes, rumors, videos, or websites from one person to others via the Internet. According to this popular notion, an Internet meme may spread in its original form, but it often also spawns user-created derivatives. .....
===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.

==英语口译莫雨婷 Mo Yuting 202170081622==

<center>'''Chinese Animal Symbolism'''</center>

<center>Mo Yuting</center>

===1.1 Introduction===

Since ancient times, people started living with the existence of animals. Due to different geological environments, cultural backgrounds, customs, and religions, the symbolic meanings of animals vary in different countries. Animal symbolism evolves with languages and cultures. According to Claire Kramsch: “On one hand, language as an integral part of human being permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps permeate the culture, and the changes in language uses reflect the cultural changes in return.” (Claire Kramsch, 1998).

In the past, China was an agricultural society in which animals played an important role in people’s daily life. Some animals have been tamed by human beings, while others are still wild animals. For different animals, Chinese people have different attitudes and emotions. And many symbolic meanings of animals will show up in myths, fables, fairy tales, proverbs, idioms and etc.

The earliest Chinese animal symbolism could date back to the Western Zhou period (1046-771BC). The Book of Songs, one of the earliest anthologies of verse in China, used various animals, such as horses, rats, fish, birds, etc., to narrate stories and express emotions. These animals are given different symbolic meanings.
Animal symbolism evolves with Chinese culture, and it takes the Chinese language as a carrier. Chinese people are very familiar with the 12 animal zodiac, and some of the 12 animal symbolic meanings have changed with time. It shows a strong relationship between symbolic meanings and Chinese culture. In addition, many Chinese idioms will use animal symbolism to express different meanings. For instance, the Chinese four-character idiom “龙腾虎跃” (spirited dragon and dynamic tiger) shows a positive meaning, while “贼眉鼠眼” (people with furtive eyes) has a negative meaning. This article will focus on the 12 animal symbolism in the Chinese zodiac and animal symbolism in Chinese four-character idioms and show more details by giving more related examples and pictures.

===1.2 Animal symbolism in Chinese zodiac===

The origin of the Chinese zodiac is related to Chinese people’s animal worship. According to the ancient artifacts, a complete zodiac system appeared before the Qin Dynasty. The earliest literature recording the same 12 zodiacs as today’s was Lunheng (《论衡》) written by Wang Chong, a philosopher and writer active during the Han Dynasty.

Rooted in Chinese people’s daily life, language, culture, and custom, the 12 animals of the Chinese zodiac have unique symbolism and cultural connotations. (Ma Dan 2006, 1) The symbolic meanings of the 12 zodiac animals differ in terms of their characteristics and different cultures. They are also influenced by the changes in people’s ideas and ideologies. One animal may have more than one symbolic meaning, it can be positive or negative, and these meanings will also change with time.

===1.2.1 Rat===

The Chinese zodiac begins with the rat. Rat is not a good sign in Chinese culture. According to the ancient folk story “Great Race”, the kindhearted Ox carried the Rat and the Cat across the river because they couldn’t swim. However, the Rat was cunning and tricky. As the Ox was about to reach the other side of the river, the Rat pushed the Cat into the river, jumped off the Ox, and rushed to the Jade Emperor. It becomes the first sign in the Chinese zodiac and the Ox second. People usually associate negative meanings with rats because they look ugly, live in dirty places, and always steal food. They also ruin farmers’ crops and destroy the environment. Thus, in China, the mainstream is that the symbolic meaning of rats is negative. Chinese people will use some words or idioms including the character “rat” to abuse others or to describe those people who have bad habits.

===1.2.2 Ox===

The symbolic meanings of the Ox are complicated and depend on different contexts and situations. For most Chinese people, the Ox symbolizes those people who are tall, strong, hard-working, and patient without complaints (Ma Dan 2006, 3). The reasons for the positive symbolism of the Ox may lie in the history and development of Chinese agriculture. China has been an agricultural society for a long time, and oxen are an important tool of production and a common form of transport (Liu Shanshan 2014, 15). Oxen are large and strong, they can work the whole day for farmers. In some contexts, the symbolic meaning of the Ox can be negative. People will describe those who are stupid, poor, or with low social status by using the symbolism of the Ox.

===1.2.3 Tiger===

Tiger is a symbol of justice and braveness. In Chinese culture, tigers are regarded as the kings of the animal world. Chinese people show their reverence for tigers. Earlier in the Spring and Autumn period, people in Chu State(楚国) conveyed deep reverence for tigers, which was reflected in the totem of tigers in Chu culture. Ancient Chinese regarded tigers as a kind of mysterious animals, some minorities even took tigers as the incarnation of God (Liu Shanshan 2014, 16). Today, tigers still have positive symbolic meanings in Chinese culture, which can be referred to people who are excellent and brave with great talents or people who are healthy, spry, and strong.

===1.2.4 Rabbit===

Rabbits are quiet, docile, and agile. In Chinese culture, rabbits symbolize activeness, flexibility, and quick movement (Shi Juanzhi, He Ling 2011, 1). Chang’e and the Jade Rabbit are well known to Chinese people. In Chinese folklore, the Jade Rabbit plays an important role in making the elixir. Thus, the image of the Jade Rabbit symbolizes health and longevity. Rabbits are also used to describe fleeting times. Apart from these positive symbolic meanings, there are some negative symbolic meanings of rabbits. For example, Chinese people will describe those people who are timid and cunning by using some words or idioms (Ma Dan 2006, 3).

===1.2.5 Dragon===

Dragon is the only mythological sign of the Chinese zodiac. It is a unique animal full of Chinese characteristics. Chinese people’s worship of dragons is deeply rooted. In ancient times, people believed that the Dragon King controlled the weather and rainfall. They regarded floods as a bad sign indicating that the Dragon King was in a rage, so they built many Dragon King temples to appease the Dragon King and pray for good weather and better harvests.

In Chinese culture, the dragon is an honorable and noble animal symbolizing power and right. Especially in feudal society, the emperor believed that he was the son of the dragon. His people and servants used words such as “龙体”(dragon’s body, means the emperor’s health),“龙袍”(dragon robe, means imperial robe),“龙椅”(dragon throne, means the emperor’s chair) to describe things related to the emperor (Liu Shanshan 2014, 18).

In addition, Chinese people are known as the Descendants of Dragon. In people’s daily life, many words and idioms including the symbolism of dragons are used to describe great things and outstanding talent. For example, a famous Chinese idiom says: “望子成龙，望女成凤”, which is frequently used by many parents who hold high hopes for their children. It means parents hope their children will have a bright future.

===1.2.6 Snake===

The snake has always been portrayed in a negative image in Chinese culture. It is a kind of cold-blooded, vicious, and greedy animal, which usually terrifies human beings. In Chinese mythology, the Classic of Mountains and Seas, also known as Shan Hai Jing (《山海经》), records nine types of snakes that can make various strange noises. The appearance of snakes always signifies misfortune (Song Zhima 2009, 2). Thus, Chinese people always associate snakes with bad things or villains.
In some cases, snakes still have positive symbolic meanings. Chinese people use the four-character idiom “灵蛇之珠” to praise graceful and flowing calligraphy (Liu Shanshan 2014, 19). In Chinese mythology, Nüwa, the mother goddess with a human face and snake body, creates human beings. Thus, snakes also signify power, immortality, and exuberant vitality in Chinese culture (Song Zhima 2009, 2).

===1.2.7 Horse===

Horses are large and sturdy animals with patience and stamina. In ancient times, the horse was an important means of transport and a kind of military resource (Liu Shanshan 2014, 20). They were closely related to a country’s military and people’s lives. In the Tang Dynasty, Han Yu, a Chinese historian poet, philosopher, politician, and one of the Eight Great Prose Masters of the Tang and Song, wrote Discourse on Horse (《马说》). In this discourse, Han compared gifted talent to swift horses, and the talent of scouts to Bole. This is the origin of the Chinese words “千里马（swift horse）” and “伯乐（Bole, talent of scout）”. The two words are still used today.

In Chinese culture, horses usually have positive symbolic meanings. Some Chinese characters are used to describe battle scenes, like “千军万马” (a big army includes many soldiers and horses). People also refer to horses as those people who make great contributions to the country or wise men (Liu Shanshan 2014, 20).

===1.2.8 Goat===

Goats are lovely and gentle animals, but they are also very timid. In Chinese culture, whether the symbolism of goats is positive or not depends on different situations. But in most cases, the symbolic meanings of goats are negative. In Chinese, the sheep is often used to describe those people who are weak, helpless, and vulnerable (Liu Shanshan 2014, 21). For example, Chinese people always use the four-character idiom “羊入虎口”(a lamb in a tiger's den) to describe weak people in a dangerous circumstances. It compares weak people to goats. Another famous idiom frequently used by Chinese people is “亡羊补牢，为时已晚” (mend the fold after the sheep is lost), which comes from the Annals of the Warring States. It means it’s too late to do something.

Notes: The Chinese character “羊” is a general word, which can be expressed by different English words like goat, sheep, and lamb.

===1.2.9 Monkey===

Speaking of the monkey, Chinese people are very familiar with the character: Monkey King, or Sun Wukong. Monkey King is a legendary mythical figure best known in the book: Journey to the West（《西游记》）, one of the Four Great Classical Novels. He has unique powers and a spirit of rebellion and defiance, and he is the symbol of pursuing freedom (Zhao Leping 2018, 40-41). In Chinese culture, monkeys signify people who are bright, smart, and humorous.

However, in modern society, the symbolic meanings of monkeys are not always positive. In some cases, people associate monkeys with naughty children who are noisy and like playing tricks. In addition, people usually use the four-character idiom “尖嘴猴腮” to describe people with pointed mouths and thin angular faces.

===1.2.10 Rooster===

The rooster is the tenth sign of the Chinese zodiac. It is a common animal with a long history and various connotations. The Chinese character “鸡” appeared on the oracle bone script written 8,000 years ago. In traditional Chinese culture, dragon and phoenix are mythological animals, while the rooster is a kind of special fowl. In the past, people would raise chickens in their farm yard. Chicken and eggs were important agri-products. Roosters usually crow when the sun rises, so they signify diligence and prophecy. They are also known as “messengers of the sun”.

Nonetheless, the symbolic meanings of roosters are not always positive. In ancient times, the rooster was the sign of a bad omen. People would use “偷鸡摸狗” to describe thieves, or “牝鸡司晨” to describe women who seize power (Liu Shanshan 2014, 21-22).

===1.2.11 Dog===

In Chinese culture, the image and connotation of dogs have dramatic changes. In modern society, people like dogs. Many people believe that dogs are loyal animals that are people’s best friends. Some people raise pet dogs and treat them as their companions. In some cases, dogs even become a member of a family. Today, Chinese people’s attitudes towards dogs are greatly influenced by western countries (Liu Shanshan 2014, 22).

However, in ancient times, people’s attitude towards dogs was totally different. In the past, dogs played an important role in guarding the doors, so people regarded them as their servants. In traditional Chinese culture, people usually associate dogs with derogatory meanings. For example, the four-character idiom “狼心狗肺” is used to describe people who are despicable and shameless (Liu Shanshan 2014, 22). In addition, the famous two-part allegorical saying “狗拿耗子，多管闲事” is used to criticize those who like sticking their noses into other people’s businesses (Ma Dan 2006, 12).

===1.2.12 Pig===

China has a long history of raising domestic hogs. Pigs are very common but useful animals in ancient China. They are fat, have big ears and short legs, and grow very fast. And pork is a kind of delicious food. Thus, in the past, raising pigs was an important means of livelihood for farmers. They could earn money from it, so in ancient times pigs symbolized wealth and fertility.

But in Chinese culture, most symbolic meanings of pigs are derogatory. The cultural connotation of pigs is similar in both China and western countries. People always relate pigs to bad things. Pig is the symbol of laziness, greediness, ugliness, and stupidity (Ma Dan 2006, 5). The typical character based on the pig which is best known in China is Pigsy, also known as Zhu Bajie in the book Journey to the West.

===1.3 Animal symbolism in Chinese Mythological Stories===

After introducing the animal symbolism of the Chinese zodiac, this article will continue to introduce and explain animal symbolism by taking more Chinese four-character idioms as examples. Chinese animals, animal symbolic meanings, and four-character idioms are large in numbers with various types. Thus, this part will be mainly divided into two parts: the animal symbolism in Chinese mythological stories and fables.

===1.3.1 Animals in Chinese Mythological Stories===

Mythological animals play an important role in Chinese culture. These animals do not exist in reality, but they have rich cultural connotations. In ancient times, people couldn’t explain some natural phenomena in a scientific way, so they associate these phenomena with some animals and deify them. Thus, animals such as birds, dragons, and turtles in many Chinese mythological stories signify good fortune, and they have different magic powers. Dragon, Phoenix, Qilin, Turtle, and Pixiu (貔貅) are five famous Chinese mythological animals bringing good fortune. This part will focus on introducing the first three animals, their images and characteristics, and their symbolic meanings in Chinese culture.

===1.3.2 Dragon===

As mentioned before, the dragon is the fifth sign of the Chinese zodiac. The origin of the dragon dates back as early as 8,000 years ago. It is a mythological animal with a long body, two horns, and numerous scales (Mao Huijun 2016, 1). The image of the Chinese dragon was roughly established in the Shang and Zhou Dynasties. In the Han Dynasty, Yinglong became the symbol of feudal imperial power, which was a winged dragon in ancient Chinese legend. As the Classic of Mountains and Seas recorded, Yinglong had the main characteristics of later Chinese dragons: the power to control the sky and the noble mythical status (Xiao Congrong 2021, 92-93). Since the Tang and Song Dynasties, the image of the Chinese dragon symbolizing imperial power was changed into the wingless Yellow Dragon in modern times.

In Chinese culture, dragons usually have positive symbolic meanings. In imperial society, dragons signified supreme power and were identified with the Emperor of China, also known as “真龙天子” in Chinese. Today, dragons still can be used to describe those excellent people or talent. For example, the Chinese four-character idiom “人中龙凤” (the dragon and phoenix) or “人中之龙”(the dragon) is used to praise outstanding people with good personalities who are different from common people. In addition, dragons also appear in some idioms such as “游云若龙” (floating clouds look like flying dragons) to describe smooth and delicate calligraphy.

===1.3.3 Phoenix===

In Chinese, “凤” is the name of female phoenixes, and “凰” refers to male phoenixes. Similar to dragons, phoenixes are mythological animals. They play an important role in Chinese traditional culture and usually have positive symbolic meanings. The earliest origin of the phoenix dates back to the Stone Age. Among the existing Chinese classical books, The Book of History (《尚书》) was the first one to record stories of the phoenix (Ainiwajiang Kuerban 2021, 7). In the first mythological book The Classic of Mountains and Seas, it recorded that the phoenix was one kind of magic birds and described the image of the phoenix: it was an animal having colorful feathers with different patterns on its head, wings, back, and chest (Yuan Ke 1998, 75).

In Chinese culture, the phoenix symbolizes beauty, good fortune, happiness, and peace. People always associate the phoenix with the dragon, both of which are noble mythological animals. For example, the four-character idioms “凤凰来仪” and “龙凤呈祥” both refer to auspicious omen. In imperial society, the dragon signifies the Emperor and the phoenix refers to the Empress. Until today, its positive connotation still exists. People use “凤凰于飞” (a female phoenix and a male phoenix fly into the sky) to describe couples who deeply love each other (Ran Shugui 2012, 2). People also associate the phoenix with the Qilin because they are rare and precious. Thus, the phoenix also symbolizes excellent people or good things that are rare and precious, and “凤毛麟角” (the feather of a phoenix and the horn of the Qilin) is a common idiom used to express that meaning.

===1.3.4 Qilin===

Those who are interested in Chinese culture may be very familiar with the dragon and the phoenix, but not so familiar with Qilin (also known as Kylin). Qilin is a hooved chimerical creature in Chinese mythology. The earliest article recorded the Qilin was Book of Rites: The Conveyance of Rites. The name of the Qilin first appeared in The Classic of Mountains and Seas (Xu Xiujuan 2003, 3). Qilin generally has Chinese dragon-like features: similar heads with antlers, eyes with thick eyelashes, manes that always flow upward, and beards. The body is fully or partially scaled and often shaped like an ox, deer, or horse (Liscomb, Kathyln 2016, 341-378).

Similar to the dragon and phoenix, Qilin is a symbol of auspicious omens in Chinese culture. Ancient people believed that it could bring good fortune. As for people with relatively high social status, they would put a pair of Qilin statues in front of their gates so as to keep away from bad luck and maintain good fortune.
Furthermore, Qilin plays an important role in Confucianism. According to Chinese mythology, Qilin is a kind of docile animal which represents auspiciousness, harmony, and graciousness. Many Confucian classics such as Spring and Autumn Annals (《春秋》) and Book of Rites recorded stories about Qilin (Ma Laiping 2021, 5). Those unique qualities of Qilin stay in line with the philosophies of Confucianism. Thus, the image of Qilin is deeply related to Confucianism.

In modern society, people still associate Qilin with good luck and fortune. For example, the four-character idiom “麟凤一毛” means that good things regardless of their sizes have been collected. In addition, Qilin is frequently used to describe outstanding people, especially men. For instance, “天上麒麟”(Qilin in the sky) is used to praise others’ sons who are gifted in literature (Ran Shugui 2012, 2).

===1.4 Animal sybolism in Chinese Fables and Four-character Idioms===

===1.4.1 The Origin of Chinese Fables===

Before cutting to the chase, a brief introduction will be given to Chinese fables. The word “寓言” (fable) first appeared in the book Zhuangzi (《庄子》). Ancient books recorded that Chinese fables existed in the late Spring and Autumn Period. During this turbulent period, fables were usually used to exhort the emperors by telling them lively stories (Zheng Wenjun 2014, 8). Bao Yanyi, a professor who specializes in ancient Chinese and researches related to fables, explains the definition of fables in Yu Yan Ci Dian (《寓言辞典》, a dictionary about Chinese fables): fable is a literary genre composed by fictional stories. It aims to let people understand moral saws by learning these stories. So it tells that a fable is usually composed of a fictional story, simple and short words, and philosophies.

===1.4.2 Chinese Fables & Four-character idioms===

With the development of Chinese culture and language, some famous fables have been passed down from generation to generation. In order to remember and convey the meanings of these fables, people shortened these fables and turned them into four-character idioms. In general, four-character idioms are concise, but with profound meanings and connotations. Some of them can be understood literally, while others can hardly be understood unless people know the history and origins (Zheng Wenjun 2014, 9).

===1.4.3 Animal symbolism in famous Chinese four-character idioms===

===1.4.3.1 “对牛弹琴”(play the heptachord before an ox)===

Dating back to the Warring States Period (475-221 BC), the story was related to a famous musician named Gong Sunyi who played the heptachord well. At that time, people enjoyed his performance and respected him. One day, Gong Sunyi came to a suburb. Coincidentally, he saw an ox grazing on the grass, so he decided to play heptachord on a whim before it. However, the ox was indifferent to his great performance and continued eating grass. He tried to play different music to impress the ox but in vain. At last, when he was making animal sounds, the ox responded to him, raised its head, and wagged its tail (Yang Yu 2017, 240).

This is the origin of the Chinese idiom “对牛弹琴”. It tells a simple truth: people should not explain something profound to someone stupid, or people should have different responses to different people (Zheng Wenjun 2014, 9). In this story, the ox has a negative symbolic meaning, which refers to those who are stupid and illiterate. In western culture, there are some similar idioms to express the same meaning like casting pearl before swine or talking to a brick wall.

===1.4.3.2 “老马识途”(an old horse knows the way)===

The idiom relates to a historical event, which was recorded in the book Han Feizi (《韩非子》). During the Warring States Period (475-221 BC), Qi State was ready to fight with Shanrong (山戎), a nordic ethnic group frequently attacking Yan State. When the army headed to the destination, it was in Spring. After winning the battle, it was in Winter and the landscape had been greatly changed. The army of Qi State was lost in the forest on their way back home. Guan Zhong (管仲), the Prime Minister of Qi State, thought for a while and found a solution. He believed that old horses were familiar with the route, so he asked soldiers to unleash the reins of several old horses and let them lead the way. Finally, they found the right way and came back to their country (Zheng Wenjun 2014, 9).

As mentioned above, the symbolic meanings of horses are usually positive. This allusion compares the old horse to a man with rich experience who can take a leading role in a group especially when the group is in some difficult situations.

===1.5 References===

[1] 北京周报网（2013）《中国文化中的蛇》

[2] Ran Shugui冉淑贵. (2012). 成语中动物意象符号及其形成原因

[3] Zhang Shu 张树. (2019). 汉语动物成语研究

[4] Ma Dan 马丹. (2006). 论汉语成语中十二种生肖动物的象征意义及其教学

[5] Shi Juanzhi 史娟芝, He Ling 贺玲. (2011). 中国生肖动物词汇的象征含义及其翻译

[6] Liu Shanshan 刘姗姗. (2014). 汉语十二生肖动物类成语研究

[7] Song Zhima 宋志玛. (2009). 谈《山海经》中的蛇形象

[8] Zhao Leping 赵乐屏. (2018). 《西游记》孙悟空形象研究

[9] Miao Huijun 苗慧君. (2016) 英汉动物词汇象征意义对比

[10] Xiao Congrong 肖聪榕. (2021) 探究中华龙纹设计的历史流变

[11] Ainiwajiang Kuerban 艾尼瓦江·库尔班. (2021) 中国民间文学凤凰形象的符号意义及其在当代的传承与发展研究

[12] Yuan Ke 袁珂. (1998) 中国神话大词典

[13] Xu Xiujuan 许秀娟. (2003) 麒麟文化的变迁与中外文化交流发展的关系

[14] Liscomb, Kathyln. (2016) The Zoomorphic Imagination in Chinese Art and Culture

[15] Lv Fulun 吕复伦. (2011) 麒麟及其文化

[16] Ma Laiping 马来平. (2021) 儒家文化视域中的麒麟文化探究

[17] Zheng Wenjun 郑文珺. (2014) 动物寓言成语与对外汉语教学

[18] Yang Yu 杨雨. (2017) 国学知识问答录

===1.6 Terms and expressions===

The Book of Songs 《诗经》

12 animal zodiac/Chinese zodiac 十二生肖

spirited dragon and dynamic tiger 龙腾虎跃

people with furtive eyes 贼眉鼠眼

dragon’s body 龙体

dragon robe 龙袍

dragon throne 龙椅

parents hope their children will have a bright future 望子成龙，望女成凤

The Classic of Mountains and Seas 《山海经》

Discourse on Horse 《马说》

a big army includes many soldiers and horses 千军万马

a lamb in a tiger's den 羊入虎口

mend the fold after the sheep is lost 亡羊补牢，为时已晚

Journey to the West 《西游记》

sticking one’s nose into other people’s businesses狗拿耗子，多管闲事

The Book of History 《尚书》

Book of Rites: The Conveyance of Rites 《礼记·礼运》

Spring and Autumn Annals 《春秋》

Zhuangzi 《庄子》

Han Feizi 《韩非子》

play the heptachord before an ox/casting pearl before swine/ talking to a brick wall 对牛弹琴

an old horse knows the way 老马识途

===1.7 Questions===

1. When did the earliest Chinese animal symbolism appear?

2. Who wrote the earliest literature Lunheng (《论衡》) recording the same 12 zodiacs as today’s?

3. From which ancient folk story, we can know that the Rat exceeds the Ox and becomes the first sign of Chinese zodiac?

4. Why Chinese people in ancient times built many Dragon King temples?

5. What are the five famous Chinese mythological animals bringing good fortune?

6. Which book recorded the earliest article about Qilin?

7. The story of “对牛弹琴” happened in which period?

8. What is the connotation of the four-character idiom “老马识途”？

===1.8 Answers===

1. It appeared in the Western Zhou period.

2. Wang Chong.

3. Great Race.

4. Because they wanted to appease the Dragon King and pray for good weather and better harvests.

5. Dragon, Phoenix, Qilin, Turtle, and Pixiu.

6. It was Book of Rites.

7. It happened in the Warring States Period.

8. It means a man with rich experience can take a leading role in a group.

==英语口译彭慧璇 Peng Huixuan 202170081623==

<center>'''Foot Binding in China'''</center>

<center>Peng Huixuan</center>

===Introduction===

Foot binding, a custom of breaking and tightly binding the feet of young girls in order to change their shape and size, persisted in China for a millennium. Feet altered by foot binding were known as lotus feet, and the shoes made for these feet were known as lotus shoes. The different sizes of feet are different levels of "lotus", feet longer than four inches are called “iron lotus”, those about four inches are called “silver lotus”, and those shorter than three inches are “gold lotus”. In late imperial China, bound feet were considered a status symbol and a mark of feminine beauty.

There are various views on when foot binding began, including the Xia dynasty, Shang Dynasty, Spring and Autumn period, Sui dynasty, Five Dynasties and Ten Kingdoms period, and Song Dynasty. According to the scholar Gao Hongxing’s book “The History of Footbinding”, foot binding began in the late Northern Song Dynasty and entered its heyday in the Ming and Qing Dynasties. (Gao, 1995:1) Later, the popularity of foot-binding spread to women of all social ranks. After the overthrow of the Qing Dynasty, Sun Yat-sen officially banned foot-binding. During the May Fourth Movement, foot-binding became the target of the revolutionary movement, with many denouncing the destruction and oppression of women by foot-binding. After the founding of New China, foot binding was completely abolished, and Chinese women were completely liberated from that.

In this article, the author provides further details on the history and specific process of foot binding. At the same time, the reasons for foot binding will be further discussed in detail, including cultural and social factors. In addition, the paper will describe the impact of foot binding on Chinese women, on China, and on the world in general. Finally, the views on foot-binding will be mentioned, as well as traditions similar to foot-binding in other countries, such as the Victorian corset and their impacts.

===Origin and History of Foot Binding===

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)

===Practice of Foot Binding===

===Reasons of Foot Binding===

===Impacts of Foot Binding===

===Views and Interpretations of Foot Binding and Similar Practice in Other Countries===

===Conclusion===

===References===

[1]高洪兴. 缠足史[M]. 上海文艺出版社, 1995.

===Terms and expressions===
iron lotus铁莲
silver lotus银莲
gold lotus金莲

===Questions===

===Answers===

==英语口译时友洁 Shi Youjie 202170081624==
<center>'''Makeup Revolution in Ancient China'''</center>

<center>Shi Youjie</center>

===Introduction===
Makeup involves dressing and grooming in terms of its broad sense, while in a narrow sense, it refers to the makeup on one's face. By applying cosmetics, a particular feature of the face will be highlighted to be more charming. In ancient China, makeup is generally called “粉黛（fen dai）”，“打扮（da ban）”，“容妆（rong zhuang）”, and in most circumstances, females tend to makeup more than males. Ancient China has witnessed a clear process of evolution about makeup, in which women's makeup in different dynasties will be mainly displayed and analyzed in this paper.
Throughout history, only a few words about makeup has remained owing to the traditional preference of ancient Chinese. On the one hand, the history book prefers to narrate a male with his story of nobility, virtue or great success, or record events of historic importance, leading to a shortage of details about public daily lives, not to mention the makeup. On the other hand, the ancient Chinese artists root for preserving the essence and aroma rather than the details and forms of a painting. This is why modern archaeologists have found it difficult to investigate ancient Chinese makeup. As hard as it may be, some types of makeup in different dynasties can be accessed by a small number of records.
Despite a few historical sources, to learn the evolution of make is still significant, for it is not only the aesthetics but also the national context of ancient China that is behind the makeup. Analysis of ancient Chinese in a visual aspect is only scratching the surface, while the economic, political and cultural background that makeup mirrors is worth studying further.
Many of the unearthed artifacts about makeup can be traced back to prehistoric times at the earliest, which allow us to study makeup customs such as body painting, tattooing, ear piercing, etc at that period. But it was not until the Western Han and Eastern Han Dynasties that the makeup culture was formed with a standard aesthetic appreciation. Subsequently, distinctive aesthetic preferences were bred in Wei, Jin, Northern and Southern Dynasties, the Sui and Tang dynasties, and the Song, Yuan, Ming and Qing dynasties respectively.
This paper will focus on makeup preferences in four major times: prehistory, the Western Han and Eastern Han Dynasties, the Sui and Tang dynasties, and the Song, Yuan, Ming and Qing dynasties, with an aim to provide insights about the integration between makeup and historical background.
===Subtitle 1===

===Subtitle 2===

===subtitle 3===

===Subtitle 4===

===Subtitle 5===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语口译伍佳惠 Wu Jiahui 202170081625==

<center>'''Chinese Dragon Culture'''</center>

<center>Wu Jiahui</center>

===Introduction===
The Chinese dragon, also known as long, loong, or lung, is a legendary creature in Chinese mythology, Chinese culture, and Chinese folklore as a whole. For thousands of years, the dragon has permeated all aspects of Chinese society, becoming a cultural cohesion and accumulation. The dragon has become a symbol of China, a symbol of the Chinese nation, and a symbol of Chinese culture. To every Chinese descendant, it carries national emotions.

The creature can be found in the mythology of many ancient cultures, but nowhere else in the world is the creature quite so revered as in China. The Chinese dragon is a benevolent creature that delivers fertilizing rain to the earth. Strength, good luck, and awe-inspiring might are the spiritual meanings of the dragon. The oriental dragon is widely regarded as a spiritual or supernatural sign of heavenly power. As a result, it has long served as the emperor’s symbol.

The Chinese dragon is easily identified by its long serpentine body which is usually wingless, and its anthropomorphic face with beards. The dragon is considered the most auspicious year sign, so the image is embroidered on the robes of emperors, portrayed in the most valuable materials, such as gold jewelry and jade sculptures. In addition, it has endless references in performing arts and literature.

Generally speaking, the dragon was everywhere in ancient China and looms as large nowadays in the Chinese psyche as ever.

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语口译夏晶 Xia Jing 202170081626==

<center>'''On Differences of Table Manners between China and West'''</center>

<center>Xiajing</center>

===Abstract===

===Key words===

===Introduction===
Manners are different in every country. Some manners that we consider are polite in China are not necessarily polite in other countries. We are more familiar with the dining separately in the West and dining together in China. Chinese people advocate the values of collectivism, so Chinese people like to eat together that the table atmosphere in China is lively and harmony. And the Chinese hosts like to serve the dishes for their guests. But in the West, as western philosophy tends to focus on individualism and personal development, individualist values predominate in western countries. So, people just like to eat the food on their plate. What’s more, it is not a mistake although western people can’t understand the way we serving dishes to guests. This is just a cultural difference between China and West.
Likewise, table manner culture is a part of the diet culture, and the difference between Chinese and western cultures. Sometimes, different etiquette is an important reason of misunderstandings between different cultures, leading to the failure of intercultural communication. Learning the differences and the origin of table manners between China and the West in the aspect of various religions belief, values and cultural connotations, not only can enhance the understanding of the target language culture, but also can perform well during cross-cultural communication, so as to avoid the misunderstanding caused by improper behavior or manner. In addition, communication etiquette becomes more and more important as the bridge and ties to link communication among people. Avoiding abruptness and rudeness, which ensure the activities of diplomacy can successfully. Therefore, understanding table manners habits and characteristics is of great importance to promote the development of Chinese diplomacy.

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===
Sizhi Xiong. The Mystery of Chinese Diet. [M] Henan. Henan people press. 2014.

==英语口译向师琦 Xiang Shiqi 202170081627==
<center>'''The Collision between Confucian Culture and Chinese Modernist Literature'''</center>

<center>Xiang Shiqi</center>

===Abstract===
As the traditional political culture of China, Confucianism permeates all aspects of Chinese national thought, behavior and political life. While influencing Chinese political culture, Confucianism is also constantly being combined with the most popular culture of the times. As the most dominant culture in China today, Chinese modernist literature is merging and colliding with Confucian culture. This paper aims to examine the connotations of Confucianism and Chinese modernist literature in political culture and to analyze the positive and negative influences of Confucianism on the fusion of Chinese modernist literature. It is hoped that the study will enable people to understand, inherit and carry forward the excellent Confucian culture, thereby further improving the overall quality of the nation and enhancing the effectiveness of ideological and political education.

In Chinese history, Confucianism has been the official guiding ideology of feudal society since Emperor Wu of the Han Dynasty adopted Dong Zhongshu's advice to "dismiss a hundred schools and revere only Confucianism". As the mainstream of traditional Chinese culture, Confucianism has played a pivotal role in the history of feudal China for over 2,000 years and has had an immeasurable impact on shaping the national character and spirit of the nation. Exploring the collision between Confucianism and modern Chinese culture is of great theoretical and practical significance to the development and construction of modern Chinese culture.

As the backbone of ancient Chinese thought and culture, traditional Confucianism has always occupied a dominant ideological position from the two Han dynasties to the Ming and Qing dynasties. At the same time, the values advocated by Confucianism became the core values of traditional society. It is therefore of great importance to study the collision between Confucian culture and modern Chinese culture.
===Key words===
Confucian culture; Chinese modernist literature; political culture; national comprehensive quality; ideological and political education
===Introduction===
Confucian culture is a cultural school with Confucianism as its guiding ideology. Confucianism was created by Confucius in the Spring and Autumn Period, who advocated blood relations, social achievements, self-cultivation and moral rationality. Its central ideas are forgiveness, loyalty, filial piety, fraternal respect, courage, benevolence, righteousness, propriety, wisdom and faithfulness. In the new era of socialism with Chinese characteristics, inheriting the essence of Confucian culture plays an important role in promoting China's socialist modernization. The inheritance of Confucian culture can effectively promote the five-pronged construction of China's political, economic, cultural, social and ecological civilization. Each of us should be the disseminator of excellent traditional culture and contribute to the great rejuvenation of the Chinese nation.

In the course of the development of Confucian culture, how to integrate modern Chinese literature with it is significant. Based on this, a large number of scholars and research institutions have carried out research and analysis on it. The earliest scholars who studied the integration of Confucian culture and contemporary modern culture were Japanese scholars. Japanese scholars believed that the role of traditional Confucianism itself was limited and that it should be interrelated with the culture related to modernization. Korean scholars believed that Confucianism lies in the development of contemporary culture. The influence of Confucianism on politics and the corresponding political spirit should be fully considered. American scholars made a full study and analysis of the integration of Confucianism and modern culture, mainly from the past, modern and corresponding values, pointing out the profound connotation of Confucianism and Confucianism. Want to change in the evolution of modern society and its corresponding role.

As China's traditional political culture, Confucian culture runs through all aspects of China's national thinking, behavior and political life. Confucian culture influences Chinese political culture while it is also constantly combined with the most popular culture of the times. As the most mainstream culture in China today, Chinese modernist literature is blending and colliding with Confucian culture. The purpose of this paper is to study the connotation of Confucian culture and Chinese modernist literature in political culture and to analyze the positive and negative effects of Confucian culture on the integration of Chinese modernist literature. Through this study, we hope that we can make the people understand, inherit and carry forward the excellent Confucian culture, so as to further improve the overall quality of the people and enhance the effectiveness of Ideological and political education.

This essay aims to explore the collision between Confucianism and modern Chinese culture. The structure of this paper is as follows:
The second section of this paper will specifically analyze the contemporary value of Confucianism. In the third section of this paper, I will introduce the combination of Confucianism and modern Chinese literature. In the third section, I will give some ways to realize the value of excellent Confucian culture in Chinese modernist culture. The next part will illustrate the contemporary insights from Confucian culture. And in the final part, I will make a brief summary of this paper.

===The Contemporary Values of Confucianism===
For our country, Confucianism is the hallmark of Chinese culture, as well as the unique spiritual symbol and soul of China, which under its own characteristics can make China stand among the nations of the world. In the current multicultural context, various cultures are flooding into China and impacting Chinese culture. If China does not have its own culture, especially Confucianism, then China will have lost its soul. For this reason
The leaders of the country also attach great importance to culture and have been close to Confucianism three times in one year, considering the study of Confucius and Confucianism to be "an important way to understand the historical origins of the spiritual world of Chinese people today".

For schools, Confucian culture is conducive to the realization of the ideological and political education objectives of universities, as Confucian culture advocates such moral cultivation methods as "self-reflection" and "prudence", which are in line with the standards of socialist successors required to be cultivated by the ideological and political education objectives of universities. At the same time, Confucian culture is also conducive to the formation of a correct worldview, and outlook on life and values, helping university students to fully understand their responsibilities and missions; secondly, Confucian culture can enrich the content of ideological and political education in universities, combining Confucian culture with ideological and political education in universities, allowing university students to achieve the purpose of patriotic education through the understanding, appreciation and analysis of Confucian culture, and enhancing Finally, Confucianism culture has certain significance for the teaching concept of colleges and universities. Teachers should respect students, pay attention to them, try to explore the bright spots in their bodies, and at the same time constantly promote students' self-education so that they can see their own value.

Personally, society as a whole is gradually modernizing, but at the same time this has brought about some problems for mankind. In addition to the often mentioned environmental problems between man and nature, there are also problems between man and man, such as the alienation of man, the lack of morality and the confusion of life. Confucian culture is an excellent culture with rich connotations and abundant wisdom, which can give full play to its own characteristics and provide valuable guidance and direction to solve these problems of people.

===The Combination of Confucianism And Chinese Modernist Culture===
The Confucian culture was combined with political systems, political relations and certain economic bases within a certain period, which in turn led to the formation of the corresponding political culture. In the course of its historical development, Confucianism has been the dominant ideology of traditional Chinese political culture. We can see that Confucian culture has changed in connotation accordingly from ancient times to the present day, but its corresponding development has a historical inheritance. Confucian culture followed the idea of "harmony" in its early emergence, followed the idea of putting people first and emphasizing "people" in the course of its historical development, and in its later years, it emphasized the idea of "applying knowledge to the world and learning from it", stressing the unity of knowledge and practice. In terms of political culture, Confucianism emphasizes the idea of integrity in politics. It emphasizes that the moral quality of politicians and the ability of saints should be raised to a certain level. It emphasizes that the upper class of the state should have the awareness of the people.
In the course of its continuous development, Confucianism has continued to merge with contemporary culture. Its corresponding basic characteristics are mainly manifested in the following three points.
As the dominant culture of modern Chinese culture, modern Chinese literature represents contemporary Chinese thought and influences, to a certain extent, people's daily behavior and habits. In some important cultural and literary works, it even represents the dominant thought of the era. Contemporary mainstream modern Chinese literary culture emphasizes the same core values as Confucianism. The values of benevolence, righteousness, propriety, wisdom and trust permeate people's daily lives while guiding their habits and daily behavior.
The collision between contemporary Chinese modernist literature and Confucianism is conducive to the better dissemination and development of Chinese political culture in three main ways, corresponding to the following:
1) Promoting education in worldview
The integration of ideas is conducive to a better grasp of Marxism, further promoting people's worldview education and helping them to establish a correct worldview. The integrated Confucian culture embodies simple materialism and dialectics, which has much in common with the core ideas of Marxism.

2) It is conducive to improving life outlook education
It is conducive to helping educators to develop a correct outlook on life and helping people to develop a "selfless" outlook on life, as well as a view of life in the service of the people.

3) Promotes education on collectivism
It is conducive to helping people develop a sense of family and country, a sense of subordination of individual interests to national, social and collective interests, and a collective consciousness that "the rise and fall of the world is the responsibility of the individual".

===Ways to Realize the Values of Excellent Confucian Culture in Chinese modernist Culture===
In terms of the integration and collision of excellent Confucian thought with contemporary Chinese literature, the methods and relevant details of realizing the value of excellent Confucian thought in Chinese modernist culture are as follows.

(1) Consciously accepting the influence of excellent Confucian culture and improving personal moral cultivation
The corresponding details are mainly reflected in the need to improve the ability to discriminate, cope with the impact of cultural diversity, practice excellent culture, achieve the unity of knowledge and action, internalize the value connotation of culture in the heart, to externalize the value connotation of excellent Confucian culture in action, and to advocate the practice of Confucian cultural thought in study, life and work. I would like to combine it with contemporary Chinese culture.

2) Emphasis on school education, allowing Confucian culture to enter schools
Its concrete measures are mainly reflected in entering primary school campuses to play an enlightening role, entering secondary school campuses to play an inculcating role, and entering university campuses to play a guiding role.

3) Use social power to create an educational atmosphere
Adhere to academic taste, classics to the masses and popularize Confucian culture. Enterprises should incorporate excellent Confucian culture and promote a correct view of interests. Enterprises should combine Confucian culture with contemporary cultural products and integrate relevant Confucian culture into the institutional and spiritual culture of the enterprise. In terms of cultural popularization, the power of parks and grassroots mass organizations can be used to popularize Confucian culture.

===Contemporary Insights from Confucian Culture===
(1) Incorporate the essence of Confucian culture into the ideological and political education of university students

Confucian culture has important inspirations for the ideological and political education of contemporary university students. The Confucian culture emphasizes the need to establish ambitious aspirations. Confucius said: "The three armies can be more handsome, but a man cannot take away his will. During university studies, students should set up ambitious ideals, study diligently, strive to build a solid foundation of theoretical knowledge, enrich their skills in practical exercises, improve their skills to serve the people and strive for the communist cause for the rest of their lives. At the same time, students should pay attention to cultivating the quality of being helpful to others, and be good at helping their classmates to answer questions and solve problems in their studies. The excellent Confucianism, such as "loving people with benevolence" and "restoring rituals to oneself", should be introduced into the ideological and political education of students, and we should practice them in our study life. To become a good youth of the new era. Finally, contemporary students should also adhere to the principle of honesty, as no one can be established without trust. There are many other essences in Confucian culture, which should be incorporated into the ideological and political education of students.

(2) Promote the integration of excellent Confucian culture into the contemporary economic development of China

Confucian culture advocates faith, and in contemporary society, faith means being honest and trustworthy and not deceiving others. Only in this way can we create a good business and consumer environment and implement the concept of honesty in all aspects of production, management, exchange and consumption, so as to speed up the healthy flow of economic activities and create more wealth for the people. In reality, all major merchandising platforms must operate in good faith, abide by their principles, put consumers first and provide them with the best services to achieve steady and rapid economic growth.
In reality, all major merchandising platforms should operate with integrity, abide by their principles, put consumers first and provide them with the best services, achieve steady and rapid economic growth and realize common prosperity for all people at an early date. As for Confucianism, we should remove the essence of the culture, remove the falsehoods and preserve the truth, effectively promote the integration of good Confucian culture into the construction of the contemporary Chinese economy, and contribute to the achievement of high-quality and sustainable development of the Chinese economy.

(3) Promote the core values of socialism and disseminate the essence of Confucian culture

The core values of socialism in the new era are "wealth and strength, democracy, civilization, harmony, freedom, equality, justice, rule of law, patriotism, respect for work, honesty and friendliness". There are many similarities with the Confucian culture, for example, there are also similarities between "the people are precious" and "democracy", as Mencius also emphasized: "The people are precious, the community is second, and the ruler is light. There is a degree of similarity, albeit a difference in degree, with today's emphasis on full respect for the subjectivity of the people and the promotion of their democracy. "Ritual" is consistent with civilization in that it emphasizes the need for people to live in peace and be courteous in dealing with others and building a harmonious socialist society. It requires people to treat each other with honesty and integrity in daily life and to exercise self-discipline. "Justice" and "rule of law" are a transcendence of "benevolence" and "righteousness", and it can be seen that the core values of socialism are similar to the essence of Confucianism. In promoting the core values of socialism, we should combine them with the essence of Confucian culture, promote advanced socialist culture and advance the construction of socialist modernization in China.

(4) Strengthen education on gratitude and build a harmonious socialist society

Education on gratitude is very important for the development of society. Thanksgiving education mainly includes: "filial respect for parents, respect for teachers, love for others, love for the motherland, and gratitude for nature." Respect for teachers means respecting teachers in academic life, humbly accepting their advice and striving to improve oneself to become even better. Loving others means having a loving heart and treating those around you with kindness. We should also love our country, which is a great land in which we are growing up healthy and strong, and cherish it and be grateful to it. Learn to be grateful to nature, live in harmony with nature, respect the laws of nature, act in accordance with objective laws, and strive to build a harmonious socialist society. The ideas of filial piety and fraternal brotherhood emphasized in Confucian culture are similar to gratitude education. In contemporary society, only when a person learns to be grateful can he or she go farther and higher. If we all learn to be grateful, then society will certainly become more harmonious.

(5) Advance the ecological conservation and build a beautiful China

The ancient sages of China emphasized the "unity of heaven and man", which means that the relationship between man and nature should be well coordinated to achieve a harmonious co-existence between man and nature. In Confucianism, man and nature as a whole must be in a relatively stable state, and both "too much" and "not enough" will result in an ecological imbalance, thus disrupting both. In Confucianism, man and nature as a whole must be in a relatively stable state. Without ecological balance, the evolution of life and mankind would be unsupported. If ecology flourishes, civilization will flourish; if ecology fails, civilization will fail. To build an ecological civilization, we must take the carrying capacity of the resources and environment as the basis, the laws of nature as the guideline, sustainable development and harmony between man and nature as the goal, and firmly follow the path of civilized development with development in production, prosperity in life and good ecology, so as to build a beautiful China.

===Conclusions===
Generally speaking, Confucian cultural values have existed for thousands of years and have been the source of their longevity in the construction of family and state culture into a dualistic structure of family and state, shaping the Chinese people's traditional virtues of hard work, and respect for the elderly and love for the young. This is constructive and the path to the construction of core socialist values. The Chinese people's traditional virtues of hard work, respect for the old and love for the young have been shaped by the dual structure of the family and the state. Therefore, a sound institutional mechanism for the construction of core socialist values should be established to ensure that the core socialist values are The Chinese people's traditional virtues of hard work, respect for the elderly and love for children has inspired the construction of socialist core values. The core values of socialism should play a leading role in the construction of culture in China.

The transmission of traditional Confucian culture needs to be passed on and innovated from generation to generation. And a nation without innovation and change can hardly stand in the forest of the world's nations. Confucianism is not only the source of strength of contemporary Chinese culture, but also the core of the traditional culture and national spirit of the Chinese nation, and an important basis for our next generation to establish themselves in the world and build socialism. The development of individuals and nations needs to be rooted in the soil of culture and draw on its nourishment.

===Questions===
1. What are the central ideas of Confucian culture?

2. When was Confucianism created?

3. Where did the earliest scholars who studied the integration of Confucian culture and contemporary modern culture come from?

===Answers===
1. Forgiveness, loyalty, filial piety, fraternal respect, courage, benevolence, righteousness, propriety, wisdom and faithfulness.

2. Japan.

3. The Spring and Autumn Period.

===References===
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==英语口译向望 Xiang Wang 202170081628==
<center>'''Fandom Culture in China'''</center>

<center>Xiang Wang</center>

===Introduction===

A fandom is a subculture composed of fans characterized by a feeling of empathy and camaraderie with others who share a common interest. It can grow around any area of human interest or activity. Fandom culture, or the so-called "fanquan" culture, refers to online youth communities that coalesce around shared obsessions with celebrity idols. Fanquan, literally meaning "fan circles," are highly organized groups of passionate, loyal fans who voluntarily use their time, money and expertise to make their idols, usually budding pop singers or actors, as popular and influential as possible. China has seen a meteoric rise in fandom culture in recent years.

===The Evolution of Fandom Culture===

===Comparison of Fandom Culture between China and Other Countries===

===The Impact of Fandom Culture===

===Conclusion===

===References===

===Terms and expressions===

===Questions===

===Answers===

==英语口译徐舞 Xu Wu 202170081629==
<center>'''The Analysis Of "Chi+O"'''</center>

<center>Xu Wu</center>

===Abstract===
The structure of "Chi + object" widely exists in Chinese, and studies on this kind
of phenomenon emerge in an endless stream. The word "Chi" ranks 105th in the top
8000 words and 77th in the 4000 words commonly used in daily life. Therefore, it is of
typical significance to choose the verb "Chi" with object as the research object. Based
on the research results, this paper attempts to make a comprehensive and multi angle
investigation and research on the phenomenon of "eat" with object through corpus data
statistics. This paper mainly discusses the phonetic distribution, semantic types and
deep semantic structure of the object after "Chi". Finally, it comes to the conclusion:
from the phonetic point of view, the object is mostly monosyllabic and disyllabic; From
the perspective of word meaning, food objects are the first; From the perspective of
deep semantic structure, patient object is still the most typical type of object. Secondly,
by summarizing the diachronic changes of "Chi" with object, we find that the types of
object increase after "Chi". The reasons include the change of word meanings, cultural
influence, network development and so on.

===Key words===
Chi; Object

===Introduction===
"Chi"(eating) has a crucial impact on human life. Its purpose is not only to maintain life, but also to meet people's spiritual needs, and it has become a manifestation of people's enriching life. In Chinese, there are multiple "Chi" structures to describe people's experiences, expressing their inner feelings and thoughts, the semantic and syntactic features of which can always be predicted from the constituent terms. This phenomenon has attracted many scholars to conduct a lot of research on the structure of "Chi" from different perspectives. In modern Chinese, "Chi", as a transitive verb, appears frequently, and it is usually followed by objects, which is also very complicated. Therefore, it has certain scientific value to choose this topic for research.

===Literature Review===
Through extensive reading and material analysis, the following research directions can be summarized.

1.Analysis from the Perspective of Verb-Object Semantic Relationship Classification

Different scholars hold different views on the semantic relationship of verb-object collocation. Xu Wenhong (2001) believes that verbs, nouns and adjectives usually appear after "Chi". At the same time, he divided the "O" in the "Chi+O" structure into abstract and concrete nouns, and then divided concrete nouns into categories such as place, object, method, and tool. Guo Jimao (1998) believes that in order to carry out the semantic analysis of the verb-object relationship, we should firstly distinguish between the definite object and the non-specified object. Fan Xiao (2006) believes that typical objects and atypical objects should be distinguished. Typical objects often appear in verb-object phrases, such as subject objects and result objects. The relationship between these verb-object phrases is the relationship between the verb and the following object. relationship, such as "Chi" and "He"(drink), while atypical objects such as manner objects and instrumental objects are not common.

2.Analysis from the perspective of cultural linguistics

Wen Suolin (1994) believes that many things and concepts in Chinese are used with "Chi", which reflects the characteristics of traditional Chinese culture and psychology. Xie Xiaoming and Xiong Jinxing (2006) studied the cultural characteristics of common verbs such as "Chi" and "He" with objects based on the differences of national civilization, local products, and characteristics of folk culture.

3. Analysis from the perspective of English and Chinese

Wang Yingxue (2009) expounded the metaphors related to the action of "Chi" in Chinese and English, and compared the similarities and differences between "Chi" and "He" in English and Chinese. Hao Ran (2010) compared the differences of eating and drinking verbs at the cultural level, listed 21 eating and drinking verbs and their corresponding English vocabulary, and summed up the cultural similarities and differences of Chinese and English eating and drinking verbs. Ding Xiaoyu (2015) analyzed the syntactic structure and characteristics of "Chi" in English and Chinese in terms of syntactic generation, and came to the conclusion that English expressions adopt a grammatical passive structure.

4. From the perspective of teaching Chinese as a foreign language

Liu Hongyun (2013) proposed corresponding teaching strategies by analyzing the structure of "Chi+ O". However, since the article focuses on analyzing "Chi + O" from a cultural point of view, and regards this collocation as an idiom for teaching, the teaching plan proposed on this basis is debatable. Li Liye (2017) explained the reasons for choosing "Chi" and "He" verbs as the research objects, and also classified the verbs while conducting etymological analysis respectively.

5. From the perspective of metaphor and metonymy

Xie Xiaoming (2002) took "Chi" and "He" as a case study from the perspectives of dialect, Putonghua and classical Chinese. It mainly discusses the influence of metaphor and metonymy on the change of verb meaning from the perspective of cognition. Jia Yanzi and Wu Fuxiang (2017) conducted lexicalization and categorization research on the concepts of "Chi" and "He" in Chinese, and explained the motivation from the perspective of metaphor and metonymy. The phenomenon of "Chi" and "He" followed by unconventional objects is regarded as the semantic extension of "Chi" and "He".

===Research Significance and Corpus Sources===

"Chi" is the most basic way of human behavior, and it is a high frequency verb in modern Chinese. Therefore, it is typical to choose the situation of "Chi + O" as the research object. Based on the research results, this paper hopes to pave the way for the overall research by examining the situation of "Chi + O", and bring some new inspirations to the research in this direction. At the same time, in the process of research, the necessary research and discussion are carried out on the theoretical issues involved, and efforts are made to obtain theoretical gains. The final conclusions can make the research of modern Chinese characters develop in a deeper and updated direction.
This paper uses the Media Language Corpus of Communication University of China. Through the statistics of the Media Language Corpus of the Communication University of China, 25,429 corpora were obtained, and 13,096 corpora that met the requirements were obtained after screening.

===The syllable distribution of "Chi" with object in modern Chinese===

1.Syllables
Voice is ubiquitous, and people are inseparable from voice in the process of daily oral communication. Voice is the material shell of language symbols, a product formed by the development of human society, and a convention. Speech includes several units of different sizes such as phonemes, syllables, etc. Among them, the unit of speech that is most easily perceived by the human ear is the syllable. Syllable is the most natural structural unit in speech, to be precise, syllable is the smallest unit that can be freely combined segment structure unit [1]. In Chinese, a syllable often corresponds to a Chinese character. According to the number of syllables, words can be divided into single-syllable words, two-syllable words, three-syllable words and so on. The following will count and analyze the syllable distribution of the object after "Chi" according to the corpus data.

2.Statistics
Enter the word "Chi" in the corpus and we will find 25429 records. Among them, there are 13,096 records with the object of "Chi". After summarizing, it is found that the syllables with the object after "Chi" are more diverse, such as the one-syllable object "difficulty", "suffering", "melon", etc.; "breakfast", etc.; objects with three syllables such as "ice cream", etc.; and even objects with four or more syllables, as shown in the following table:

Syllable Type Total Percentage
Monosyllable 7128 54.43%
Two-syllable 4736 36.16%
Three-syllable 1006 7.68%
Four-syllable 144 1.24%
Four or more syllables 58 0.49%<math>Insert formula here</math>

3.Conclusion
There are various types of objects after "Chi", including monosyllabic, two-syllable, three-syllable, four-syllable and even five-syllable and so on. Among them, the frequency with single syllable is the highest, accounting for more than 54% of the total. Specifically, The more commonly used collocations include "Chi Ku"(endure hardship), "Chi Gua"(eat melon) etc., most of which are abstract nouns that are subject objects and express results. The two-syllable object ranks second, accounting for 36% of the total. The more commonly used collocations include "Chi Da Can"(eat a substantial meal), "Chi Huo Guo"(eat a hot pot), "Chi Di Bao"(receive a subsistence allowance), etc. , which covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, with three syllables such as "Chi Banlangen"(take a medicine), "Chi Qiaokeli"(eat chocolate). In addition, there are objects with four syllables and above, such as "Chi Da Yu Da Rou"(eat a substantial meat); five syllables such as "Chi Fan Shi Zhi Fang Suan"(eat trans fatty acids) and so on. According to this rule, the syllables of the object after "Chi" can be expanded infinitely according to its name, such as "Chi Qiaokeli Bingjilin"(eat chocolate ice cream) with a six-syllable object.

===The word meaning distribution of "Chi" with object in modern Chinese===

1.Word meaning

"Word meaning" can be divided into two categories, one is conceptual meaning, the other is color meaning, which is divided from the perspective of content. Conceptual meaning reflects the content of objective things, which is objective and cannot be changed according to people's subjective guesses; on the contrary, color meaning is more subjective, such as emotional meaning [2]. From a conceptual point of view, word sense types include food, place, tool, and so on. In the following, from the perspective of conceptual meaning, statistics and analysis of the object after "Chi" will be carried out.

2.Statistics

According to the corpus data statistics, the word sense types of the object after "Chi" are mainly concentrated into five categories, namely tools, food, places, abstract nouns and common sayings. Here is a special description of the category of abstract nouns, which mainly includes four types: one is typical abstract nouns such as "power" and "bitter"; the second is adjective words such as "fragrance" and "spicy"; the third is Words with symbolic meanings such as "soft rice", "free rice"; fourth, some phenomena and activities, such as "subsistence allowances" and so on. The above is the author's classification criteria, and the specific distribution is shown in the following table:

Word Meaning type Total Percentage
Tool 440 3.37%
Food 10736 81.99%
Place 24 0.19%
Abstract noun 1680 12.84%
Colloquialism 210 1.61%<math>Insert formula here</math>

3.Conclusion

There are many types of word meanings with objects after "Chi", especially with the development of the times, the scope of which has been expanded. By summarizing and summarizing, according to the different meanings of words, its objects can be divided into the above categories. According to the chart, it can be seen that the object of food is the most frequently used, accounting for more than 80% of the total. The second is the use of abstract nouns, accounting for more than 12% of the total. Specifically, it includes four types: one is typical abstract nouns as objects, such as "difficulty", "hardship", etc.; the other is some adjective objects, including"eat spicy"; The third is some symbolic words, such as "Chi Ruan Fan"(live relying on one’s wife); the fourth is some social activities or phenomena as objects, including "Chi Di Bao"(live by receiving a subsistence allowance), "Chi Fang Zu"(make life by rent). The third is the object of tools, which accounts for only 3.37%, including "Chi Zhuo"(people eat around a table). From here we The evolution of language can already be seen. The least proportion of the total is the location noun, which is less than 1%, but it has obvious characteristics of the times, such as "Chi Can Guan"(eat at restaurant) and so on. There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, such as "Chi Ding Xin Wan"(feel relieved), etc. The frequency of use is not high in comparison, only accounting for the total number of 1.61 percent.

===The semantic structure of "Chi" with object in modern Chinese===

1.Semantic structure

According to Xing Fuyi, the meaning of language is semantics. People will have a certain understanding of external objective things, and semantics is the result of expressing this understanding formed in the mind in the form of language. From this, we can deduce that the semantic structure refers to the semantic relationship between the language units hidden in the structure [3]. Starting from the semantic relationship of verb-object, objects can be divided into receiver objects, result objects, source objects, instrumental objects, source objects, location objects and so on. The following will stand in this perspective, classify and summarize the objects after "Chi".

2.Statistics

As mentioned above, from the perspective of deep semantic structure, the objects after “Chi” in the corpus can be divided into many types, such as subject objects, location objects, result objects, source objects, reason objects, and tool objects. Among them, there are four major categories of objects in terms of statistics, including objects of reception, objects of location, objects of results and objects of tools. The specific distribution of these four categories of objects is shown in the following table:

Object type Total Percentage
Recipient object 10792 82.41%
Object of place 212 1.62%
Result object 1472 11.24%
Instrumental object 836 4.73%<math>Insert formula here</math>

(3)Conclusion

According to the statistical data, it can be found that the frequency of use of the subject object after "Chi" is the highest, accounting for more than 80% of the total. The classification situation is consistent. The second is the result object, that is, some words that express the result, and some also have the part of speech of adjectives, such as "Chi Jin"(be surprised or shocked), "Chi Ku"(suffer) and so on. The proportion of place object and tool object is relatively low, at 1.62% and 4.73% respectively. Some typical collocations include "Chi Shi Tang"(eating in the cafeteria). To sum up, from the perspective of the phonetic distribution of objects after "Chi", monosyllabic words are the most frequently used, followed by two-syllable objects, and objects with three or more syllables are relatively low; From the perspective of lexical type, food objects are the most frequently used, followed by abstract nouns, tool objects are the third, and place nouns are the least frequently used. From the deep semantic structure analysis, the use frequency of the subject object after "Chi" is the highest, the most typical of which is the food object, followed by the result object, and the proportion of the location object and the tool object is relatively low.

===Reasons===
Among the diachronic changes of "Chi" with objects, one of the most notable features is that the number of object types has increased, from the original subject object to other types such as tool object, location object and so on. The reasons include cultural influence, network development and changes in word meaning. From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" various expressions to express inner feelings and evaluation of objective things, which also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of online buzzwords has also penetrated into the “Chi+O", thus promoting the evolution of "Chi +O".

===Conclusion===

The culture of the Han nationality is rich and colorful, and "Chi + O" is one of the language structures widely used in society. On the basis of the existing research results, through the statistical corpus data, this paper makes an all-round and multi-angle sorting and analysis of the phenomenon of "Chi" with an object.

First of all, from the perspective of the phonetic distribution of the objects after "Chi", monosyllabic words are used most frequently, accounting for more than 54%; disyllabic objects are the second, accounting for 3%. Sixteenth, it covers more than monosyllabic objects, and involves the phenomenon of using tools as objects. The proportion of objects with three syllables and above is relatively low, and the total is less than 10% of the total. Most of these objects are proper nouns or common sayings, and according to this rule, the syllable of the object after "Chi" can be expanded infinitely according to its name.

Secondly, from the perspective of the lexical type of the object after "Chi", the object of food is the most frequently used, followed by the use of abstract nouns. The third is the object of tools, and the least is the noun of place. We can see from these two categories but have obvious characteristics of the times, such as "Chi Shi Tang"( eat at canteen) . There is also a category of "Chi" with an object, which has cultural characteristics and is different from the previous categories, so it is classified as a common saying, and the frequency of use is not high in comparison, accounting for only 1.61%. It can be seen that the word meaning of the object after "Chi" is diverse, and it has exceeded the type of object that the original meaning of "Chi" can bring, reflecting the flexibility of language.

Finally, from the deep semantic structure analysis, the use frequency of the subject object after “Chi” is the highest, and the most typical one is the food object. The second is the result object, the proportion of place object and tool object is relatively low.
By summarizing the above conclusions, and comparing the characteristics of objects with objects after "Chi" in different periods, we have drawn a significant conclusion that the number of types of objects after "Chi" has increased. The analysis shows that the reasons include cultural influence, network development and word meaning changes.

From the point of view of the development of word meaning, under the circumstance of the dual effects of internal and external factors, the expansion of word meaning is a necessary stage of language development; from the point of view of cultural influence, the Han people attach great importance to the problem of eating, so they prefer to use "Chi" It also promotes the diversified development of the "Chi + O" structure; from the perspective of network development, the development of network buzzwords has also penetrated into the "Chi + O" structure, thus promoting the evolution of "Chi +O".

===References===
[1]Shi Feng石锋, Liu Zhangcai刘掌才.汉语作为第二语言的语音教学问题[Problems in Phonetics Teaching of Chinese as a Second Language][J].天津师范大学学报(社会科学版),2021(02):1-9.

[2]Wang Xinqing王新清.从文化和认知视角看汉语“吃”的隐喻[The Chinese metaphor of "eat" from the perspective of culture and cognition][J].湖南广播电视大学学报，2014(02):22-25.

[3]Cao Xianghua曹向华.论汉语动宾类惯用语语义认知机制与类型[On the Semantic Cognitive Mechanism and Types of Chinese Verb-Object Idioms][J].河北科技大学学报(社会科学版),2020,(01):77-83.

===Terms ans Expressions===
Chi+O 吃+宾语 phonetic distribution 音节分布 semantic types 词语义类型 deep semantic structure 深层语义结构 recipient object 受事宾语 metaphor 隐喻

metonymy 转喻 Media Language Corpus of Communication University of China中国传媒大学媒体语言语料库 conceptual meaning 概念义 color meaning 色彩义

===Questions===
Where does the word "Chi" rank in the top 8000 words that are used most frequently?

How many types can word meaning be divided into and what are they?

What’s the main reasons why the number of object types after “Chi” increased?

===Answers===
It ranks 77th.

Two types. They are conceptual meaning and color meaning.

They are cultural influence, network development and changes in word meaning.

==英语口译张静芝 Zhang Jingzhi 202170081630==

==英语口译张旻丰 Zhang Minfeng 202170081631==

==日语笔译曹梦然 Cao Mengran 202170081632==

==日语笔译胡梦琪 Hu Mengqi 202170081633==

<center>'''Huangmei opera'''</center>

<center>Hu Mengqi</center>
===Introduction===
Huangmei opera, formerly known as Huangmei tune, tea - picking opera, originated from Huangmei, Hubei province, and developed in Anqing, Anhui Province.
Huangmei Opera, together with Beijing Opera, Yue Opera, Pingju Opera and Henan Opera, is known as the "Five Major China Operas." It is also one of the main local operas in Anhui Province. There are also professional or amateur performing groups of Huangmei Opera in Hubei, Jiangxi, Fujian, Zhejiang, Jiangsu, Hong Kong and Taiwan, which are widely welcomed.
Huangmei opera is a kind of opera which is formed and developed gradually by folk song, Yangge, Tea Song, pick-tea lantern dance and flower - Drum tune, which precedes the countryside and then enters the city. It has absorbed the factors of Han opera, Chu Opera, Gaoqiang opera, tea - picking opera, Peking Opera and many other operas, and gradually formed its own artistic characteristics.
Huangmei Opera's singing is simple and smooth, with bright and quick lyric, good at expressing emotions. The performance is simple and meticulous, famous for its authenticity and vivacity. A song Fairy Couple makes Huangmei opera popular in the north and south of the river, and has a high reputation overseas.

===Development===
The development history of Huangmei opera was roughly divided into three stages:
The first stage was from the end of Qianlong in Qing Dynasty to around the Revolution of 1911. The tunes produced and spread to the three provinces of Anhui, Hubei and Jiangxi were influenced by the local opera performances and combined with some folk arts, gradually forming some small operas. Further development led to the complete story of the operas. From the Reign of Emperor Kangxi and Emperor Qianlong of the Qing Dynasty to the reign of Emperor Guangxu, the traditional repertoire was very rich, and artists could perform more than 200 plays. Among them, many were based on Huang Mei's real people and real events, such as Dacidian and Cross the Jieling and so on; Some were the People's dissatisfaction with class oppression, the disparity between the rich and the poor, and their yearning for a free and beautiful life at that time. Such as Buckwheat story, Fairy Couple and so on; Some also showed the life segments of rural workers, such as Spinning cotton yarn, Selling bucket basket and so on.
The second stage was from the Revolution of 1911 to 1949. At this stage, Huangmei Opera gradually became professional and moved from the rural stage to the urban stage. After Huangmei opera entered the city, it was co-organized with Peking Opera, and was influenced by Yue opera, Yang Opera, Huai Opera and Pingju Opera from the North in Shanghai, which changed greatly in both the content and form of the performance. In addition to the arrangement and transplantation of a number of new plays, the music has also carried out a preliminary reform of the traditional singing, and the content was more understandable.
The third stage is from 1949 to now. After the founding of the People's Republic of China, Huangmei opera has been rapidly restored and developed. Anhui Province Huangmei opera troupe was established in Hefei in 1953. Thirteen counties in Anqing area have also set up professional troupes. In 1954, Huangmei opera Fairy Couple participated in the East China Opera observation and performance conference and was successful. The play was also made into a film twice, causing a sensation at home and abroad. A number of newly created and adapted outstanding plays such as Emperor's Female Son-in-Law and Hillock of Sand have been staged one after another. In Hong Kong and Macao, there was a prosperous scene of Huangmei opera sung in Mandarin and Cantonese. Decades after the liberation of huangmei opera has created a large number of outstanding actors, in addition to have outstanding contributions to huangmei opera singing art Yan Fengying, Wang Shaofang older generation of artists, such as young and middle - aged actors such as Ma Lan, Han Zaifen also won the audience's attention and love.

===Features===
'''Tune''':Huangmei Opera's singing style belongs to the plate - Type variation, which has three major tunes: Coloratura, Choi Tune and Main Tune. Coloratura is mainly used in small operas, the melody is simple, beautiful and cheerful, with a strong atmosphere of life and folk song minor color; Choi tune‘s melody is cheerful, has been widely used in the Coloratura small operas. The main tune is commonly used in the traditional original opera of Huangmei opera, which is divided into flat words, fire attack, two lines and three lines, among which flat words is the most important singing tune in the original opera, with serious, solemn, beautiful and generous melody. Huangmei opera is known for its lively lyricism, simple, fresh exquisite and moving singing, with rich expressive force, and easy to understand, easy to popularize, loved by the masses around. In the musical accompaniment, the early Huangmei opera by three people to play the drum, cymbals, small gongs, big gongs and other percussion instruments, at the same time to participate in the vocal accompaniment, known as "three strokes and seven singing." After the founding of the People's Republic of China, Huangmei opera formally established the accompaniment system with Kao-hu as the main instrument.

'''Types of Roles''':After the performance of the whole opera, the types of the roles gradually developed into the lead, the female lead, the painted face, the old lead and clown. Although there is a division of types in the profession, few people specialize in one profession. After the 19th year of the Republic of China, Huangmei opera troupe often performed with Hui and Beijing Opera troupe. Due to the need of performing plays, there appeared some new roles, but they were not fixed. At that time, the Huangmei troupe was mostly semi - Professional, with only 12 people in general. Due to the small number of people in the troupe, when performing the whole opera, it was often an actor who has to play several roles. Therefore, in Huangmei opera, although the roles in the opera are standardized, the actors do not have strict branches.

'''Dress and makeup''':The costumes of Huangmei opera are the continuation of the traditional costumes of the Han nationality, but most of them were in the Tang, song and Ming dynasties. Compared with Beijing Opera costume, it is less colorful, gorgeous and coquettish, more elegant and beautiful, natural and meaningful, forming a romantic period of its own. Huangmei opera makeup heavy eyebrows. Different from Beijing Opera's thick ink description of the eye outline, gorgeous face, Huangmei opera costumes pay attention to Halo dye, pay attention to the charm, similar to the ancient lady's light makeup, true and simple. For example, the young lead’s eyes rises, eyebrow peak slightly gathered, elegant and beautiful; the female lead eyes with feelings, looking forward to between, natural a stretch of billows romance in them.

===Current situation of the development ===
Huangmei Opera has gone through a lot of difficulties from its origin to its development. It is not easy to be loved and recognized by the public and successfully listed in the first batch of national intangible cultural Heritage list approved by The State Council on May 20, 2006. However, Huangmei Opera is also facing severe difficulties and crises both in the inheritance and development at home or the transmission and export abroad.

'''Domestic problems of Huangmei Opera''':First, there is a shortage of students majoring in opera in art colleges： "Opera industry should be able to withstand loneliness. In today's society, people are becoming more and more impetuous, and fewer and fewer people are willing to learn opera. At the same time, the depressed opera market has led to low wages and made many people reluctant to study opera." Although the local government has invested a lot, Huangmei Opera colleges and universities still face practical problems such as fewer students and employment difficulties for graduates. When considering future employment prospects, many Huangmei Opera lovers will choose majors with wider employment channels, resulting in a serious shortage of students majoring in Huangmei Opera.
Second, the construction of professional courses needs to be strengthened: Professional colleges are limited by resources and funds, as well as performance venues, personnel integration, follow-up costs, return on investment and other restrictive factors, and it is difficult to build professional practice and training platforms for students by their own strength, which affects the construction of relevant majors. Opera performance is a very practical art, and there are few opportunities for students majoring in Huangmei Opera to participate in large-scale performances. Only some excellent students can get the practice opportunity to perform on stage, which affects the educational effect of Huangmei Opera to a certain extent. Some art students unilaterally think that performing skills and vocational skills are the first, and cultural courses are only secondary courses, or even redundant. They focus on professional skills and performance training, and do not pay enough attention to the learning of cultural courses.
The third is the professional teachers to grow: Because of the financial support, their scale and supporting policies and reasons, related colleges and universities currently facing the teacher education level is not high, through teachers, inadequate protection of the professional guidance, age, levels of structural imbalances, Huangmei Opera teacher talent construction in local colleges need to be strengthened. Due to regional economic conditions, material benefits, academic research platforms and other objective reasons, it is difficult for local undergraduate universities to introduce high-level professionals.

'''Abroad problems of Huangmei Opera (Take English-speaking countries as an example)''':First, the difficulties in the translation of Huangmei Opera scripts mainly focus on the rhythm of lyrics, sentence style and translation of padding syllables. In the process of script translation of Huangmei Opera, if the above language features of script lyrics cannot be translated flexibly, the beautiful singing style and profound cultural connotations of Huangmei Opera will be difficult to convey to foreign audiences.
The second is the controversy over the use of Huangmei Opera translation. The academic circle has not reached a consensus on whether the translation of Huangmei Opera should be used as lyrics or subtitles. Different purposes directly affect the strategies adopted in translating scripts into English. If it is directly used in English singing, in addition to factors such as the rhythm of the lyrics, it is necessary to consider the equivalence of the pinyin of the script lyrics and the syllables of the English lyrics, so as to match the rhythm of the accompaniment, which undoubtedly greatly increases the difficulty of English translation. If it is only used for subtitle, the problem of syllable equivalence is not considered, but how to present subtitle in actual performance is a big problem. Simultaneous interpretation is bound to affect the audience's hearing effect, and rolling English subtitles on the stage will interfere with the audience's line of sight. These problems can’t be properly solved, which is also an important reason why Huangmei Opera can’t open the market in foreign countries.
The third is the acceptance of Huangmei Opera by foreign audiences. Compared with the language-centered forms of western operas, Huangmei Opera relies more on singing, costumes, dancing and music. This huge difference in the form of expression is bound to affect the cultural acceptance of Huangmei Opera. If we blindly cater to the cultural acceptance mentality of the Western audience and change the performance form of Huangmei Opera, it will lose its charm. How to improve the foreign audiences‘ acceptance of Huangmei Opera while retaining its unique charm as far as possible is a long-term proposition to be faced in English translation of Huangmei Opera.

===Solutions and Summary===
There are many things we can do to address these development challenges.

'''Solutions to domestic problems''': Increase support for Huangmei Opera education: Relevant departments should continue to increase input in manpower, finance, material and other aspects of Huangmei Opera art education, strive to break the limitations of performance venues and practice, and build a more scientific new mode of artistic talent training. Anqing, where Huangmei Opera is popular, has a good cultural foundation and humanistic concept of Huangmei Opera. Art colleges and universities should make full use of their cultural resources, establish cooperative relations with other schools at all levels, implement policies such as exemption of examinations for majors and tuition subsidies, and ensure high-quality students to enter the inheritance field of Huangmei Opera. Colleges and universities should set up art appreciation courses of Huangmei Opera, show cultural characteristics of Huangmei Opera, effectively inherit local opera culture, and train students' artistic sentiment and artistic style of discovering, appreciating and loving beauty.
Innovating the teaching form of Huangmei Opera: The basic artistic accomplishment of opera performers is a compulsory course of Huangmei Opera and other opera education, and it is also the most basic and important link of traditional opera teaching practice. In the art teaching of Huangmei Opera, theory teaching should be combined with the creation and arrangement of opera fragments to improve the basic skills and professional skills of actors. Innovating classroom teaching content, enhancing students' perception of artistic beauty and appreciation of opera culture, and comprehensively improving the performance skills of opera major students; Professional teachers should lead students out of the classroom, visit the daily rehearsals and professional performances of the troupe, enter the park and other places, and join the Huangmei Opera ticket club, feel the strong atmosphere of the folk Huangmei Opera, so as to enhance the appeal of opera culture; Using multimedia and other modern technological means; Set up online course selection system, create wisdom classroom, combine with opera theory teaching research results, improve the practical effect of course teaching.
Integrating opera culture gene into campus culture construction: Colleges and universities should give play to the important role of student organizations and associations in the inheritance of traditional opera, encourage opera societies to actively carry out opera culture activities, promote and inherit opera culture. Professional colleges and universities can build characteristic campuses full of cultural elements of Huangmei Opera and create a rich atmosphere of opera culture by building buildings with elements of Huangmei Opera, designing cultural signs of Huangmei Opera in the campus landscape, promoting Huangmei Opera art with propaganda boards and electronic screens, etc. "At the same time, using appropriate media to spread the practice of inheriting Huangmei Opera, an intangible cultural heritage, will greatly enhance the effectiveness of inheritance. The use of media can make the spread of cultural characteristics become more prominent, cultural identity is easier.

'''Solutions to foreign problems''': The translation of the cadence, sentence style and backing words of Huangmei Opera needs to be flexible. In the process of English translation, it is appropriate to adopt the domestication translation method, or alternative methods such as Rhyme, alliteration or assonance. The style of the sentence carries the beauty of the melody of Huangmei Opera. In the process of English translation, it is also appropriate to adopt the domestication translation, referring to the English poem foot. Such as iambic foot, trochaic foot, anapaestic foot, dactylic foot and meter (tetrameter and pentameter) to realize the change of the lyrics of Huangmei Opera. A large number of interlining words exist in the lyrics of Huangmei Opera. Although they have no real meaning, they reflect the psychological emotions of the characters and cannot be translated. In the process of English translation, transliteration, annotation and other means should be used as appropriate to retain the rhyming effect of the script lyrics of Huangmei Opera to the maximum.
Clarify the auxiliary position of Huangmei Opera translation in the process of external communication. The charm of Huangmei Opera lies in its singing and beautiful stage form. In order to successfully spread the culture of Huangmei Opera, the key lies in making foreign audiences intuitively feel the audio-visual charm of Huangmei Opera performance. The translation of Huangmei Opera can remove language barriers for foreign audiences to appreciate it better, but it cannot change the auxiliary role of Huangmei Opera translation in the external communication of Huangmei Opera culture. After leaving the stage, the culture of Huangmei Opera was translated into English as a general literary work, and the external dissemination of Huangmei Opera became rootless water. Therefore, the translation of Huangmei Opera should be used as subtitles rather than lyrics for performances. There are two situations when the translation of Huangmei Opera is used as subtitle. One is to record the Huangmei Opera repertoires into audio and video products or upload them to video websites. In this case, English or bilingual subtitles are required. Another kind is in view of the Huangmei Opera
Troupe live performances, the situation is more complex, because both in the stage provides electronic English subtitles or provide simultaneous interpretation for overseas audience, is bound to affect the audience's visual and sound effects, the most feasible way is before the performance, to provide the audience play introduction and translation of manual, not lost in the audience as much as possible in the plot, In order to enjoy the stage performances of Huangmei Opera Troupe.
Formulate a long-term plan for English translation and external communication of Huangmei Opera. In essence, the English translation of Huangmei Opera belongs to the act of "translation". Under the current national conditions of "cultural power" and "going out" of Chinese opera, there is an urgent demand to promote the traditional excellent culture of China. However, in the process of external communication of Huangmei Opera, the nature of blending from "marginal culture" to "central culture" determines that its cultural acceptance is not high in the early stage of communication. For nearly half a century, the "going out" project of Chinese opera, which has been adhering to the "faithful" translation, has achieved little effect in the overseas market, which also indicates that the translation and external dissemination of Huangmei Opera will be a long and tortuous process.

'''summary''': In general, as an important cultural heritage, huangmei Opera has the obligation to make efforts for its survival and development, whether it is the government, the society, the troupe itself or the general public.

===References===
[1]Li Li李莉.安徽黄梅戏场域的历史变迁与审美特质[Historical changes and aesthetic characteristics of Anhui Huangmei Opera field ] [J].安庆师范大学学报(社会科学版),2022,41(02):28-31.

[2]Ding Aihua丁爱华,Zhu Jun朱军.黄梅戏英译：现状、问题与对策[Present Situation, Problems and Countermeasures of Huangmei Opera ] [J].北京印刷学院学报,2021,29(S2):70-72.

[3]Chen Changwen陈昌文,Sheng Xia盛霞.新世纪以来黄梅戏发展缺憾与策略思考[The shortcomings and strategies of Huangmei Opera development since the new century ] [J].安徽理工大学学报(社会科学版),2021,23(05):42-46.

[4]Wei Hong魏泓.生态系统观下黄梅戏英译研究[A study on the English translation of Huangmei Opera from an ecosystem perspective ] [J].重庆第二师范学院学报,2021,34(01):42-46.

[5]Sheng Xia盛霞.安徽民歌对传统黄梅戏的影响[The influence of Anhui folk songs on traditional Huangmei Opera] [J].安庆师范大学学报(社会科学版),2020,39(04):102-106.

===Terms and expressions===
Huangmei opera 黄梅戏
pick-tea lantern dance 采茶灯（舞）
flower - Drum tune 花鼓调
Fairy Couple 《天仙配》
three roles opera 三小戏
three strokes and seven singing 三打七唱
Dacidian 《大辞店》
Cross the Jieling 《过界岭》
Buckwheat story 《荞麦记》
Spinning cotton yarn 《纺棉纱》
Selling bucket basket 《卖斗箩》
Emperor's Female Son-in-Law 《女驸马》
Hillock of Sand 《砂子岗》
Yan Fengying 严凤英
Wang Shaofang 王少舫
Ma Lan 马兰
Han Zaifen 韩再芬
plate - Type variation 板式变化体
Coloratura 花腔
Choi Tune 彩腔
Main Tune 主调
flat words 平词
fire attack 火攻
two lines 二行
three lines 三行
cymbals 钹
small gongs 小锣
big gongs 大锣
percussion instruments 打击乐器
vocal accompaniment 帮腔
kao-hu 高胡
the lead, the female lead, the painted face, the old lead and clown 生旦净末丑
the first batch of national intangible cultural Heritage list 第一批国家级非物质文化遗产名录
padding syllables 衬词
Rhyme 押韵
Alliteration 头韵
assonance 类韵
domestication translation 归化译法
foot 音步
iambic foot 抑扬格
trochaic foot 扬抑格
anapaestic foot 抑抑扬格
dactylic foot 扬抑抑格
meter (tetrameter and pentameter) 格律（四音步和五音步）
transliteration 音译法
notation 注释法

===Questions===
1. How many stages are Huangmei Opera divided into? What are the corresponding periods?
2. According to the field investigation, where is the origin of Huangmei Opera?
3. List two representative works and artists of Huangmei Opera respectively.

===Answers===
1. The development history of Huangmei opera was roughly divided into three stages: The first stage was from the end of Qianlong in Qing Dynasty to around the Revolution of 1911. The second stage was from the Revolution of 1911 to 1949. The third stage is from 1949 to now.
2. Anqing, An hui Province.
3. Fairy Couple, Emperor's Female Son-in-Law; Yan Fengying, Han Zaifen.

==日语笔译张白鹭 Zhang Bailu 202170081634==
<center>An Analysis of Chinese Translation of Modern Japanese Literature</center>

<center>Zhang Bailu</center>

===Abstract===
There are great similarities between China and Japan in the history of modern development. Before the 100-day Reform and before the Meiji Restoration, Both China and Japan went through periods of isolation. Then they opened their doors under fire from western powers. In order to meet the challenge of the West, the two countries reformed their systems and launched enlightenment movements in ideology. In this process, there has always been a great deal of continuous translation of Western books. Translation activities provide a strong impetus for the modernization of China and Japan, and translation culture is an important part of the modern culture of the two countries, which provides us with the necessity of research. This paper takes the translation of Natsume Soseki, Ryunosuke Akutagawa and Yasunari Kawabata as the research object, and summarizes the main ideology of modern China reflected in their translation.From the research process, we can find out how the selection of translation objects and texts is influenced by the mainstream ideology.
The translated texts mainly focus on the novels of the three writers, to understand the reasons for the changes in the content and attitude of translation studies in different periods in modern China, and to explain the reasons in detail in terms of ideology. Soseki Natsume and Ryunosuke Akutagawa were among those who changed their translation topics in modern Chinese translation studies of Japanese literature. This paper studies the translation and introduction of the two from the period before and after the May 4th Movement and the reform and opening up. Kawabata Yasunari is the first Japanese writer to win the Nobel Prize for Literature. The study of his translation and introduction is of great significance not only to translation studies, but also to the study and grasp of major Asian literary schools and ideologies.
===Key words===
Translation Activities;Japan;Ideology

===1 Introduction===
The introduction of Natsume Soseki (1867-1916) was first introduced by Zhou Zuoren. In his article "The Development of Japan Fiction in the Past Thirty Years," he argued that Natsume Soseki advocated "low wandering taste" and "abundant literature." "The History of the Literary Revolution":"The novel of nature, where the novel must touch the life; Shu-Shih said that what is not touched is also fiction, as well as literature. And why is it so urgent? We can enjoy life slowly and calmly. " However, the translation of Natsume Soseki's novels is Lu Xun's earliest. Published in 1923,"modern Japan stories" chose two short stories of Soseki Natsume, one is "hanging picture," the second is "Mr Clay cob." The two novels have a strong tendency of prose. Although these two works are not important works of Natsume Soseki, but Lu Xun's translation, in the translation of works of Soseki, is groundbreaking. Natsume Soseki's fame, and all of his creation of the most outstanding novel, is Zhou Zuoren mentioned "we are a cat"(a translation of "I am a cat"). It is doubtful whether the work was published in an official translation in the 1920s. In 1936, Zhou Zuoren wrote an article, entitled "," are reviewed in detail "I am a cat," and explains the difficult translation. The first anthology of Natsume Soseki's works translated and published in China is Natsume Soseki Collection selected by Zhang Kebiao. The book was published in 1932 by Shanghai Kaiming Bookstore. Adduction medium-length decimal "boys," short works "the Tower of London" and "the preface to the head of a dog than the tail of a Lion. Translation before ZhangKeBiao wrote "about Soseki Natsume" translation of the preface. This translation sequence introduces Natsume Soseki's life, thoughts and creation in detail. The introduction of these situations is mainly based on Natsume Soseki's early creation. The "Edo-citizen" character of Natsume Soseki is emphasized, and the creation ideas of "light and free taste,""margin" and "low wandering taste" are advocated.
Akutagawa Ryunosuke (1892 - 1927) was a representative figure of the New Intellectualism School, an important school in the history of modern Japan literature, and one of the several first-class writers in Modern Japanese Literature. In the ten years from the late 1920s to the 1930s, there were more than 20 China translations of Akutagawa Ryunosuke's novels (including a small amount of prose and essays), and seven translations were published, accounting for one fifth of Akutagawa's novels. It can be said that most of Akutagawa's good works have been translated and introduced. The earliest translation of Akutagawa Ryunosuke works is Lu Xun. In 1921, Lu Xun published the translation of "Nose," which is the first novel of Akutagawa translated in China and one of the most wonderful works of Akutagawa Ryunosuke. When LuXunYi out of his Dragon interface after two novels, until 1927, five or six years, no longer appear his Dragon interface works of translation. Akutagawa's suicide in 1927 had a great impact on the Japanese literary world, and the China literary world was also shaken, which became an opportunity for China to translate a large number of Akutagawa's works in the next few years.
Kawabata Yasunari (1899-1972) is a famous Japan writer, the winner of the Nobel Prize for Literature in 1968. Kawabata published as early as 1926 for the Izu dancer, began in 1935 published masterpiece "snow country." But before the 1980 s, Kawabata translation only Fan Quan in 1942 out of the "article"(Shanghai Fudan publishing house), it is a pity that the translation has been difficult to find, the total bibliography during the period of the Republic of China and so on also not description, translation of what title is unknown. In 1968, Kawabata won the Nobel Prize for Literature, fame at home and abroad in Japan. However, it was during the so-called "Great Proletarian Cultural Revolution" in China that it was impossible to respond properly to Kawabata Yasunari's award. Until the 1980s, Kawabata Yasunari's works were ignored by the literary translation circle in China. In the early 1980s, Kawabata Yasunari's translation became a hot topic in the translation of Japan literature in China. Old translator Han Shi girder and Ye Weiqu, Yue-Mei Tang first began to translate Kawabata's works. Later, new translators appeared for six consecutive years to study and translate Yasunari Kawabata's works such as Ancient Capital and Thousand Cranes, and they all had translations. By the 1990s, the "Japan literature craze" that had been in full swing in the 1980s had generally cooled down, but the translation and publication of Kawabata Yasunari's works remained in full swing.

===2 the Translation of Natsume Soseki===
In the history of Japan literary translation in China, Natsume Soseki's works have always been valued. After the reform and opening up, Natsume Soseki's translation and introduction were translated and published in large quantities. Previously translated works, such as "I am a cat,""brother,""grass pillow" and so on, have appeared six new translations.
Liu Zhenying's translation of I Am a Cat is an elaborate work and a representative work in his life's translation literature. In addition, Liu Zhenying wrote a preface of more than 10,000 words for the translation, which shows that his understanding of I am a Cat and Natsume Soseki has changed compared with before. He no longer treats I am a Cat from the perspective of "critical realism," but focuses on the unique features of the work, discussing and analyzing the humorous, funny and humorous aesthetic features of I am a Cat; He also stated that he did not agree with Hu Xue's view that I Am a Cat was "a self-criticism of petty bourgeois intellectuals" in his essay "Natsume Soseki's Life, Times and His Satires," and that such a view did not understand the true meaning of humor and satire through the mouth of the intellectuals in his works.
1930-1960 S Natsume Soseki's translation, focused on "I am a cat,""a""grass pillow" and other early works; In the 1980s-1990s, the focus of the topic selection began to shift to the middle and late period, and a series of important works of Natsume Soseki in the middle and late period were translated and published successively. The most important of his works are his two long trilogies. The "pre-trilogy" Sanshiro (1908), Since Then (1909) and The Door (1910); The "post-trilogy": After the Vernal Equinox (1912), Pedestrians (1912), and Heart (1914). Natsume Soseki's first trilogy, centered on love and family, describes the inner longing, loss and anguish of petty bourgeois intellectuals. The former trilogy has changed a lot in style compared with the lively and witty early works such as I Am a Cat and Brother. Brush strokes on the inner world of the characters, the story of the work and narrative also played down. The "post-trilogy" further focuses on psychological description, and in a sense they can be regarded as a kind of psychological novel. The third part of the "post-trilogy" is "Heart." When hefinds out that his friend k is also in love with her, he proposes to her first. k committed suicide soon. "Sir" and miss married life is happy, but when he learned that k because of the friendship and love of despair and suicide, he has a deep sense of guilt. He analyzed his own egoistic behavior and psychology, realize oneself and his uncle is a kind of person, others property shudder, eventually committed suicide due to unbearable pain. From the perspective of morality and conscience, the author makes a penetrating analysis and criticism of human's egoism nature in line with the moral Creed of "putting heaven to private affairs." In his later works, Heart is the highest level of art, and some scholars even regard it as the representative work of all his works.
Concentrated published wash stone works in the middle and late, is the Hunan People's Publishing House and Shanghai Translation Publishing House. In 1982, 1983, Hunan People's Publishing House published de-Wen Chen translation of "three or four lang""from then on" singles; In 1984, Hunan People's Publishing House published the first and second volumes of Chen Dewen's translation of Selected Novels of Natsume Soseki, among which the first volume received the trilogy of "Sanshiro,""From then on,""Door" and so on. Shanghai Translation Publishing House in 1983, 1984 and 1985, has published the Japanese literary translator Shu-Wen Wu (born in 1943) translation of "three or four lang""later" and "door"; In 1988, the Shanghai Translation Publishing House combined the three works into a single book entitled "Love Trilogy," which was published as one of the "Japan Literature Series" of the publishing house. This is a high quality translation. Wu Shuwen's translation, language color, age, beautiful and smooth. Particularly commendable is in front of the translation, the crown has three having substance in speech of the preface. A is Wu Shuwen himself wrote the "first-generation sequence"
, The second article is written by Liu Zhenying from look on coldly to rebel, the third article is written by Lv Yuanming the anguish of the pressure. The three articles analyze and expound the meaning and connotation of Soseki's works from different angles, which not only help readers understand Natsume Soseki's works, but also add a strong academic atmosphere to this translation.
Natsume Soseki in his later years, there are two important works, namely the autobiographical novel "the grass." The title "The Way" contains the meaning of "waste time." "Light and shade" is the last work of wash stone, the author failed to finish the book died. The book also appeared in two versions, one is the channel of literature and art publishing house in 1985 Lin Huaiqiu, Liu Jieren translation of "bright and dark"; One is the 1987 Shanghai Translation Publishing House in ray translation of "light and shade."
In this way, most of the works of Natsume Soseki's life (especially novels) have been translated into Chinese. Only the novel "corn poppy grass"(1907) and so on a few important works, no translation for various reasons. ("The Chinese language" is used in the translation of the Chinese language, which is very difficult to translate.) The general readers in China can basically understand the broad and profound "Shushi Literature" systematically by means of the translation.

===3 the Translation of Akutagawa Ryunosuke===
The earliest translation of Akutagawa Ryunosuke is Lu Xun's Nose. "Nose" is written by an ancient monk oversize long nose. Monk for his long a deformity of long nose and times by others laugh at, the heart is very painful, when he learned from China, finally put the nose short some time, but more explicit laughed at by others. Later, long nose back to the original state before treatment, the monk has the feeling of relief, thought: This time no one laugh at me again. This novel profoundly reveals the people designed to other people's misfortune for happy dark selfish psychology, reflects the people in the dilemma of the society. The full text is only more than four thousand words, written refined implicative, impeccable. Lu Xun at the same time in front of the translation attached titled "<nose> translator note" essay, I'm afraid that is China's first article introduces his Dragon interface. It is said that "The Japan are a very popular writer. Most of the themes used in his works are uneasiness after hope has been achieved, or feelings when uneasiness is being felt. " He added,"I am not satisfied with him about these two things. One is the multi-purpose old material, sometimes close to the translation of the story; Second, the atmosphere of the veteran is too strong, easy to make readers unhappy. " In the same year, Lu Xun and the "Rashomon" translation. Rashomon is a story about a servant who is fired by his master and has no other way to go, taking shelter under the gloomy and decadent Rashomon while considering whether to "starve to death or become a robber." She saw an old woman on the rostrum of Rashomon, in order to make a wig sold dead hair is pulled out. Servant think it is too ugly, come forward to stop. The old woman said,"If you don't do it, you will starve to death," which made him determined to become a robber. He kicked down the old woman, stripped the old woman's clothes, and roared off. This novel profoundly reveals the survival of the selfish instinct, people in the delicate decomposition between justice and crime. Although Lu Xun's attitude towards Akutagawa's "historical novels" is still appreciative, his "dissatisfaction" and criticism still exist. He believes that Akutagawa's novels are "too experienced," meaning that Akutagawa's novels are too philosophical and philosophical, giving people a profound and experienced sense of being a philosopher or transcending mortals. Lu Xun's novels is the purpose of enlightenment, is to transform China's backward national character, and not like his creation as a means to explore the true meaning of life, the pursuit of artistic life. For his type of abstract philosophy to explore, Lu Xun is clearly able to shrug off.
After LuXunYi out of his two novels, until 1927, five or six years didn't appear again his Dragon interface works of translation. After Akutagawa committed suicide, it is wonderful that from 1927 to the early 1940s, when he committed suicide, it was the climax period of China translation and introduction of Akutagawa Ryunosuke's works. In July 1928, Shang Yihe edited the translation of "his Dragon interface stories" published by Beijing Mandarin society. This is the first collection of Akutagawa Ryunosuke's works published in China in the 1920s and 1930s. Translator Shang Yihe had studied in Japan, after returning to China in 1925 constantly translated Japanese literature. "Akutagawa Ryunosuke Collection of Stories" is also Tang Yihe's first translation. The translation of the selected works and "novel monthly" in the "Akutagawa Ryunosuke album" selected items are not repeated, some novels-such as "spider silk"--is quite distinctive masterpieces. "Spider silk"(and "spider silk") in full only two thousand words, based on Buddhist stories. The novel still shows people's absolute self-interest instinct, but also a strong fatalism.
The translation of Akutagawa Ryunosuke continued to be valued after the reform and opening up. The first published is the old translator LouShiYi translation of the Akutagawa Dragon interface novel eleven, published by Hunan People's Publishing House in 1980. The book received translation of the title has "rashiomon""hell change""in the death of the people""old plain light sound honour" Akiyama figure "" the Mang Bush "gratitude""Fu's chastity "" sixth Princess "" play Samadhi,"a total of 11 short works. These novels were translated by Lou Shiyi during the special historical period from April to June 1976. Lou Shiyi translated Akutagawa Ryunosuke's works in a special period when the political environment was very dangerous. He was surprised that also can be published. Lou Shiyi's translation of Akutagawa's works under this circumstance became the first translation of Akutagawa Ryunosuke published after the reform and opening up. Most of the works, except Rashomon and Akiyama, were not translated during the climax of Akutagawa's translation in the 1930s, and were first translated by Lou Shiyi. Among them,"the jungle" and "hell" belong to all the works of Akutagawa Ryunosuke the most representative works. LouShiYi hundreds of novels in his, choose such works, is a aesthetic vision.
Akutagawa Ryunosuke is one of the Japan writers who have the most readers in China. Due to his strong philosophical works, writing techniques, superb novel skills, it is not easy for ordinary readers to deeply understand. But in the literary accomplishment higher readers, his works are very popular. In the 1980s-1990s, many articles about Akutagawa Ryunosuke were published in academic journals. Some textbooks and monographs on Japan literature history and Oriental literature history included monographs or special sections to describe Akutagawa. However, compared with the studies of Natsume Soseki, Kawabata Yasunari and Mishima Yukio, the study of Akutagawa Ryunosuke in China is a little cold and cheerless, and there is no special biography or research works.

===4 the Translation of Kawabata===
The translation of Kawabata Yasunari quickly became a hot spot in the translation of Japan literature in China in the early 1980s. 1985 was a bumper year for Kawabata Yasunari's translation. This year, a total of seven or eight Kawabata works translation, including Han Shi girder, Jin Fuyi, Shanghai Wenyi publishing house "ancient capital," Guo to shun, Shaanxi People's Publishing House "Thousand Cranes," Tang Yuemei translation, foreign literature Publishing house "dancer," Ye Weiqu translation, People's Literature Publishing House "Kawabata novels," etc.
As an active translator of Japan literature after the 1980s, Ye Weiqu made a positive contribution to the translation and dissemination of Kawabata Yasunari's literature in China. In the 1990s, he edited four series of Kawabata Yasunari's works.
Kawabata's works were translated and published continuously on a large scale and in a large density, which is unprecedented in the history of Japan literary translation in China in the 20th century. Kawabata life most of the works, have the Chinese translation. These translations promote the spread of Kawabata Yasunari among China readers and contribute to the prosperity of translated literature in China. At the same time, they also clearly show that the translation of Japan literature in China has entered the era of commercialization and marketization after the reform and opening up, especially after the 1990s. This in the translation of Kawabata works mainly as follows: Some books of the subject design of cross repetition, the same work many people translation, a variety of translation, the same kind of (article) translation is packaging, repeated published many times there are a lot of.
Kawabata Yasunari's persistent high fever in China is a cultural phenomenon worth studying. There are about three reasons:
First, the Nobel Prize for Literature and its winner's reverence and worship psychology, is quite popular in the readers and the literary world. The notion that a "Nobel Prize winner" is equal to a "world-class writer" is not fully substantiated in logic and fact, but is widespread in feeling and impression. As the second winner of the Nobel Prize in Literature in Asia, Kawabata Yasunari is more rare and valuable than many winners in Europe and America, which can arouse the recognition, attention and resonance of China readers at the level of "Oriental Literature."
Second, Kawabata Yasunari in contemporary Japan, is one of the biggest hot spots of literary studies, although different critics and researchers controversial, but on the whole is very high. There are a lot of articles, books and materials to study Kawabata Yasunari. This kind of situation cannot but affect the translation and introduction of Kawabata Yasunari in China.
Third, Kawabata's works, with strong Japanese national style, in the literature type, writing, meaning and so on various aspects has the specificity, is a great literary writing, literary research and literary criticism, rare text.
Due to the works of Sichuan side from the fine point of the pen, no Western literature classical literature and profound, so readers will not produce down to read the sublime feeling; And because of his work only write feeling and feeling, no absurd conception of Western modernism literature and philosophical speculation, and therefore does not feel deep to read. After reading it, only a little bit of "feeling" and emotional appeal are left. However, if you want to use logical, theoretical language to summarize and promote the "feeling" and emotional appeal, will feel very difficult. At this moment will realize that he did not read Kawabata. Kawabata Yasunari's works have a deep relationship with the traditional Japan literature and traditional aesthetic culture. His works are mostly through the description of love and sex between men and women, to show his Japan "human feelings," Japanese "feeling" and Japanese "beauty consciousness." In order to understand the Japanese "beauty" in Kawabata Yasunari from the perspective of Japan traditional culture and aesthetics, the China General readers must study and explain it by scholars and critics. And kawabata works mostly involved prostitute (e.g.,"snow country"), incest and incest consciousness (e.g.,"thousand cranes""mountain sound"), sexual perversion and sexual delusion (e.g.,"sleeping beauty""one arm"), such as the content of the hong DE, decadent, in sexual morality is strict in China to understand these things, is a culture of the diaphragm. How to look at these works, also insist on critics and researchers to guide the reader.
Kawabata Yasunari's translation and introduction also had a certain impact on the creation of Chinese writers. In contemporary Japan writers, Kawabata is probably only one of the most China writers attaches great importance to the people. Although Kawabata as an authentic Japan writer and difficult to imitate, but after all, he can give writers provide a possible reference. Even some writers because reading Kawabata and took to the road of writing.

===Conclusion===
No matter which Japan writer is studied, translated and introduced, the final achievement belongs to translated literature. "Translation" is different from "foreign literature," then, further said,"foreign literature history" is different from the "translation of literature history."
All kinds of books and textbooks published in China, such as the history of foreign literature (such as the history of United Kingdom literature and the history of Japan literature), the history of regional literature (such as the history of oriental literature and the history of European literature), or the history of literature in general (such as the history of world literature and the history of foreign literature), are all based on the historical facts of foreign literature and the works of writers and writers. They use China to tell, but it is about the original, rather than translation. When we use Chinese to describe "other culture" and "other literature," this is itself a generalized "translation" phenomenon. And we use Chinese writing of foreign literature but ignored the translator and translation of this link, in an attempt to go beyond the translation and directly face the original. And the vast majority of readers of literary history and foreign literature, they can't also don't have to read the original, what they read, is the translation of literature. This is our various "foreign literature" encountered contradictions and embarrassment. In addition, over the past century, China's translation works, has accumulated tens of thousands of kinds. Translations account for more than a third of all published literary books. For such a large amount of cultural and literary wealth, now the general "foreign literature" works but not also can not put them into the scope of research and discussion. However, it is difficult for ordinary works on the history of China Literature to fully and comprehensively display the rich contents of translated literature. This means that translated literature is an independent branch of literary studies, and the history of translated literature should be one of the three major fields of literary history studies, which are juxtaposed with the history of foreign literature and the history of China Literature. The history of foreign literature, the history of China Literature and the history of translation literature constitute a complete knowledge system of literary history.
The study of translated literature and its history in China is still weak. There are many reasons for this situation. There are political, cultural, and literary ideas. It is a common practice to regard "translated literature" as "foreign literature," which is the primary reason for restricting the study of translated literature and the history of translated literature.
Secondly, an important issue in translating literature is the choice of translation. Generally speaking, the history of translation literature should first be the history of famous works. As for non-famous works and non-famous translations, they can be regarded as a general "phenomenon" in the history of translation literature. Generally speaking, the historical status of the translation is determined by three conditions. First, the original is famous masterpieces, this is a prerequisite to determine the status of translation. Second, the translator is famous. A translator is regarded as a famous translator, first of all, because of his accurate and reliable grasp of the topic of translation, and secondly, the reliability of the quality of translation. Third, among the famous translation, the first translation and particularly important. First translation, means to fill the blank, and fill the blank itself has its historical significance. Of course, this is not to say that the translation is not important. However, in the sense of filling in the blank, the second translation cannot replace the first translation.
To study the phenomenon of "translation" of Japanese literature in China, i.e. the so-called translation activities of Japanese literature, is to understand the history of communication between the Chinese and Japanese nationalities with complicated relations since ancient times, and the differences between nationalities can also be revealed from different literary works and ideologies. To grasp the ways of understanding and accepting different cultures by predecessors, to promote communication between nationalities, and to provide a new vision for the future development of China and Japan.--[[User:Zhang Bailu|Zhang Bailu]] ([[User talk:Zhang Bailu|talk]]) 13:08, 22 June 2022 (UTC)

===References===
[1] 王向远.日本文学汉译史[M].北京:九州出版社,2021
[2] 陈德华. 《我是猫》两个中译本的翻译策略研究[D].广东外语外贸大学,2019.
[3] 闵嘉文. 语境视角下的川端康成作品的汉译研究[D].沈阳师范大学,2016.
[4] 李西平. 芥川龙之介作品在中国的翻译和名家翻译版本的整理与比较[D].西安外国语大学,2013.
[5] 南屏秀. 中国川端康成研究史—以比较文学角度为中心[D].西安外国语大学,2013.
[6] 张静. 二十世纪初期中国的日本文学翻译研究[D].沈阳师范大学,2013.
[7] 刘春英. 中国的芥川龙之介翻译史[J].日本学论坛,2003,(02):2-5.
[8] 高艺菲. 夏目漱石名篇《草枕》在中国的传播[J]. 北方传媒研究,2017,(02):71-75.
[9] 张卿. 夏目漱石小说在近代中国的译介研究[J]. 芒种,2017,(02):13-15.
[10] 李国磊. 论日本文学翻译中的文体性别——以《罗生门》三译本为例[J]. 山东农业工程学院学报,2016,33(11):128-132.

==朝鲜语笔译刘安莉 Liu Anli 202170081635==
<center>'''China's Network literature IP'''</center>

<center>Liu Anli</center>

===Introduction===

Network literature refers to the newly produced literary works, quasi - literary texts and network artworks containing some literary elements, which take the Internet as the exhibition platform and communication medium, and express themselves by means of hypertext connection and multimedia deduction.Among them, the network original works mainly.Network literature is produced with the popularization of the Internet.IP is the abbreviation of "Intellectual Property" in English, meaning "intellectual property" in Chinese.In today's people often say that "IP adaptation,""literature IP" in the "IP" has already exceeded the original meaning of the word. In recent years, the rise of a new word "network literature IP," the meaning of the summary is the network of popular literary works through adaptation, processing, and ultimately into a series of TV series, movies, online drama, stage drama and other derivative products. In short, the most talked about "network literature IP" form is the mutual conversion between literature and film and television. In recent years, The popularity of a large number of online literature IP drama adaptations has made the public pay special attention to online literature IP dramas. Due to the high topic degree, attention degree and large audience, commercial capital has also begun to pay attention to the adaptation market of "Network literature IP."

===Internet literature IP popularity===
By the end of December 2021, the total number of online literature users in China has reached 502 million, an increase of 41.45 million compared with the same period last year, accounting for 48.6% of the total number of Internet users, and the number of readers has reached the highest level in history. According to the Assessment Report on the Adaptation Potential of Network Literature IP Film and Television Drama in 2019-2020（《2019—2020年度网络文学IP影视剧改编潜力评估报告》） released in February 2021, the total output value of downstream cultural industry driven by online literature IP in the first two years accumulatively exceeds CNY 1 trillion. As an important way of industrialization of network literature, film and television drama is the most intuitive form of shaping China image and telling Chinese stories. "In 2021, network literature provides more high-quality and rich content and innovative and diversified forms for film and television drama creation, and gives birth to several head dramas and phenomenon-level hits, becoming the protagonist of film and television drama adaptation. "According to Douban's（豆瓣） Baidu（百度） index ranking of 2021 series, the TOP 20 list includes 12 works adapted from online novels, such as "My Heroic Husband （赘婿）,""SWORD SNOW STRIDE （雪中悍刀行）,""Shangyang Fu（上阳赋）,""You Are My Glory（你是我的荣耀）" and "RATTAN （司藤）," covering comedy, fantasy, history, metropolis and other subject areas. In the maoyan（猫眼） research institute to this year's drama market observation data, Net article IP change screenwriter in the hot list TOP 10 occupies 8 seats, Big production drama as high as 80% of the proportion reflects the net article in the content development potential. Adapted from the novel of the same name network drama "My Heroic Husband "（赘婿） Feature film effective broadcast up to 4.849 billion; Adapted from the novel of the same name, "Soul land"（斗罗大陆）has been broadcast more than 4.3 billion times by the end of the game, ranking No.1 in the bone flower popularity list for 27 consecutive days.
Network literature has not only made remarkable achievements in film and television adaptation, but also provided users with an "amplification effect" of IP content through all-round and all-link operations such as animation, audio, short drama, offline travel and derivatives. The linkage of different art forms has contributed to the breaking of the circle of multi-form output of network literature. Among the 114 new animation dramas for teenagers launched throughout the year, There are 72 IP adaptation works. According to the " 2020- 2021 China Online Audio Industry Research Report" of Ai Media Consulting（艾媒咨询的《2020—2021年中国在线音频行业研究报告》）, 86.2% of users prefer to listen to IP audio content when the audio column types are close to each other. Take the IP adaptation audio works of Yuewen Group（阅文集团） in 2021 as an example, not only the themes of the works are diversified, covering fantasy, suspense, romance, science fiction, immortal chivalrous, games, cities, history, light novels and other categories, but also the number of clicks in the whole year reached 12 billions.

===The Background of IP Adaptation of Network Literature===
There are three points: the development of network technology, the increase of audience demand and the drive of film and television interests.
First of all, the emergence and prosperity of the Internet, so that people's way of life has undergone tremendous changes, but also greatly promoted the development of network literature. The development of network technology has enriched the channels and ways for people to obtain information and entertainment. More and more literary creators choose to share their works and create by using the network platform. People pay more and more attention to network literature, and the creation of network literature is more and more open, free and vigorous. At the same time, the film, TV series and other industries keep up with the pace of the times, reform the production mode, for the network literature IP adaptation provides a good opportunity.
Secondly, the network literature works spread fast, spread wide range, convenient and interesting, deeply loved by the majority of network users. According to the popularity of network literature and network literature IP discussed above, we can feel the great demand for network literature works and IP adaptation works of network literature.
In addition, compared with the original script, the adaptation cost of network literature works is lower, with fans, in the selection of works, adaptation, topic effect and a series of processes, each link will bring huge attention, can bring considerable economic benefits to the works and film and television industry. The advantages of these interests also drive the development of network literature and network literature IP adaptation.

===Characteristics of IP Adaptation of Network Literature===
rich in subject matter types
The network literature develops rapidly, the creator base is big, the work type is rich, contains the ancient and modern, Chinese and foreign. The film and television works adapted from network literature include costume dramas, such as Empresses in the Palace（甄嬛传）, Ruyi's Royal Love in the Palace （如懿传）, Shangyang Fu（上阳赋）, etc., modern dramas such as You Are My Glory（你是我的荣耀）, The King's Avatar （全职高手）, RESET （开端）, etc., non-realistic themes such as Love and Redemption （琉璃）, Fights Break Sphere （斗破苍穹）, RATTAN（司藤）, etc. These works include various styles, which can meet the needs of audiences of all ages and different hobbies. In the development of film and television industry, the traditional original script and old-fashioned plot have been difficult to attract the audience's attention, while the bizarre and novel network learning provides a variety of choices, so a large number of different types of network literature works have been adapted into film and television works, or good response.
Stable audience
Now people's living standards generally improve, in the pursuit of material life, the spiritual world also has a certain pursuit. A good literary work is loved by readers because of its ups and downs of plot and distinct personality of characters, which meets people's spiritual needs. With the rapid development of Internet technology and the increasing popularity of mobile devices, more and more people are reading through mobile phones. Network novel because of small, convenient, cheap, can be anywhere at any time in the mobile phone to watch and other characteristics and widely liked by netizens. For example, novels such as Empresses in the Palace（甄嬛传）, The King's Avatar （全职高手）, The Journey of Flower（花千骨）, and Treading On Thin Ice（步步惊心） are all works of great concern on the Internet. The development of online literature has gradually flourished, and the reading volume of online novels has become higher and higher, resulting in a fixed fan base. To adapt to film and television, it is inevitable to find actors to play. These star actors also have a fixed fan base, which provides guarantee for the audience rating. Some well-known stars often have 70 - 80 million fans. A random Weibo post had hundreds of thousands of reposts, and the fan effect they generated was very large. The higher the attention, the higher the value.

===Problems in IP Adaptation of Network Literature===
Copyright disputes and plagiarism disputes

The IP film and television adaptation of network literature is the use of literary works by film and television producers, which may lead to disputes. Copyright involves the authorization, adaptation, sale and consumption of literary works. The consideration of copyright is an important reason for many film and television adaptations. In 2019,"Better Days "(少年的你）once appeared at the forefront of public opinion because of plagiarism, and in December 2020, Jing M.Guo's "The Yin-Yang Master: Dream Of Eternity "（郭敬明的《晴雅集》）plagiarism incident was boisterous, even caused more than 100 film and television people's boycott. Network literature review threshold is low, and the IP adaptation fever has made some people more profit-seeking psychology, in the process of creation or adaptation only ratings theory, only flow theory, thus falling into copyright disputes or plagiarism disputes. The copyright transaction is chaotic and the definition of copyright is vague, which will affect the word-of-mouth and dissemination of works, thus bringing resistance to the adaptation of network literature IP film and television.

Severe cuts, poor plot coherence

The profit channel of online literature is mainly its serial presentation and fan reward. In order to obtain greater economic benefits, the number of words in a work often reaches millions or even tens of millions. In terms of film and television drama policy, in 2019, the State Administration of Radio and Television stipulated: The shooting and production of TV dramas and online dramas shall not exceed 40 episodes, and the creation of short dramas within 30 episodes shall be encouraged. Under this policy, "NOVOLAND:EAGLE FLAG （九州缥缈录）,""They Are Flying（飞行少年）" and other TV series urgently changed the number of episodes, the film and television industry ushered in a big change. It is not advisable to delay the plot and inject water into the content, but the IP screenwriter of network literature will be separated from the original work, and serious deletion will also lead to problems such as incoherent plot and plot loopholes. How to balance the quality and integrity of the network literature IP film and television adaptation is a big problem. At present, the common practice of film and television investment institutions to choose network literature is click rate and ranking list, and the top 10 network literature in click rate is almost a novel, narrative rhythm is slow, involving many characters. To select the essence of the original work within the limited number of episodes is a big test for the ability of the screenwriter and director, which is also the main reason why it is difficult to realize the film and television adaptation of the network novel "Stellar Transformations（星辰变）."

blindly follow the trend, the emergence of mechanical reproduction of the era of works of art

Under the background of pan-entertainment era, the charm of literature withers, and the artistry appears vulnerable to the commercial challenge. Literature and film and television belong to the same category of art and should have literary and aesthetic value. The paid reading of network literature leads to excessive commercialization of the subject matter and content of online literature, blindly catering to the market, and light weight. The absence of literariness has laid hidden dangers for the sustainable development of IP film and television adaptation of network literature. Although network literature is an important way for mass entertainment, However, if the market still blindly follow the wind, excessive entertainment as the direction of literary creation and film and television adaptation, the IP film and television adaptation of network literature will stagnate after a short prosperity, and finally perish.

===IP adaptation strategy of network literature===
enhance copyright awareness

Since 2016, the state has promulgated a series of copyright protection schemes to prohibit infringement and plagiarism, and the quality of the people has also increased accordingly. Payment schemes have also reduced the occurrence of plagiarism and piracy. For some relatively mature network literature works, can carry on the appropriate adaptation, should be reasonable, accord with the fact logic, rather than blindly pursue the topic, the explosion point, create some completely illogical plot, lead to the film and television drama quality is low, the quantity is reduced, the type homogeneity.
It is a win-win process to adapt network literature into film and television works, which can not only promote the development of network literature, but also make the film and television industry flourish. While pursuing their own interests, the producers of film and television dramas should respect the law and the intellectual property rights of the original works, and realize mutual benefit and win-win results within the legal scope. We should not only resolutely crack down on infringement, but also enhance people's awareness of safeguarding their rights. Individuals should also strengthen their legal awareness in their lives, fight bravely in the face of infringement and learn to safeguard their rights. With the joint efforts of the state, society and individuals, the network literature industry will certainly have a more healthy and green development, and the film and television industry will also receive more attention.

for high-quality production

Although literature and film and television belong to two different artistic categories, exquisite content is the common magic weapon for both to win. Only by understanding the characteristics of content creation and narrative structure of both, and developing a set of interactive production mode through integration and reconstruction, can we lay a solid foundation for the successful combination of the two. One is the conversion of IP content from text to image. First of all, the film and television adaptation should be logical, and the adaptors should choose and reconstruct the literary works properly. Secondly, the plot of the picture should be reasonably exaggerated. Especially in the film and television adaptation of fantasy and ghost themes, we should appropriately enlarge the characteristics of characters, so as to make the original characters more plump and fit their identities. Thirdly, we should improve the professionalism of production, expand the audience scope on the basis of stabilizing the original fans, and meet the double expectations of literature and film and television audiences. The second is the reconstruction of space-time narrative in film and television adaptation. In time, film and television can be through the lens, elements, the picture mosaic so that people have emotional resonance. In space, the network novel to text symbols as the main carrier of construction environment background, and television writers can use sound and picture language so that the audience intuitive perception, but also can be a novel space for replacement, displacement.

Focus on value delivery

The Internet is a free creation, highly virtual space, so inevitably there will be some vulgar and violent content. TV producers adapted network literature is the most critical step in the choice of the content of the work and the theme of sublimation. Adapting network literature works into mainstream values of the film and television works, not only can successfully pass the review, more important is to rectify the excessive pursuit of online readers 'preferences, modular writing caused by commercial drawbacks, For example, in the process of adapting THE Longest Day In Chang An（长安十二时辰） into a film and television play, on the one hand, it recognizes the spirit of women's inspiration, focusing on the description of Tan Qi（檀棋）'s independence and rational love; On the other hand is the respect for traditional culture, the play's clothing, props, architecture, etiquette, customs and so on are the screenwriter read a large number of books, rigorous and sophisticated results. The play's strong sense of national responsibility and the spirit of family and country is also advocated by today's society to carry forward the mainstream values, greatly enhanced people's cultural consciousness and confidence. Network literature film adaptation in the dissemination process should also make full use of the dissemination platform. Network novel dissemination platform is the novel website, The communication platform of film and television drama is television and cinema. Under the background of media convergence, the adaptation of network literature IP can try new paths, such as inserting film and television pictures and videos into literary works; In the process of film and television play broadcast to provide original novel links; In the chatter, fast hand and other new media broadcast wonderful clips, call on the audience to participate in the creation of film and television drama, decide the trend of the plot by themselves, etc. In a word, the network literature IP film and television adaptation has become the new trend of the times, in order to make this new phenomenon have sustainable vitality, we must grasp the profound connotation of the theme, give play to the value guiding role of the film and television drama.

===Conclusion===
The popularity of film and television adaptation of network literature IP shows that the IP industry chain on the market is becoming more and more mature. With strong content advantage and huge market capacity, network literature has become an important engine of cultural industry. Network literature and film and television, animation, games, audio books, derivatives development and other fields of extensive linkage, the formation of the whole cultural industry chain, creating considerable economic benefits. In addition, the network literature plays an increasingly important role in the overseas dissemination of China culture. In recent years, there have been numerous overseas "fans" of China online literature, and the "sea fever" of Chinese online literature has become a global cultural phenomenon. In just a few years, the overseas dissemination mode of China online literature has been continuously upgraded, completing the evolution from content to mode, from region to world, from output to linkage, and taking solid and powerful steps in disseminating Chinese culture, displaying China's image and promoting mutual learning among civilizations. The film's main feature is "strong storytelling, strong character creation, and strong camera sense." "The hardcore of online fiction is telling a good story. Network literature stories should not only have waves, ups and downs, soul-stirring conflicts and open-minded bridges, but also have certain scarcity and strong identification. In addition, the shell of the story plot must be able to connect with the current social reality and the public psychology, and generate empathy with more audiences before it can become the head IP. "
With a good story and a good text, we still need to go through the two barriers of adaptation and production. To adapt the network literary works into film and television, we should fully respect the original works, and can't be quite different from the original works in terms of story plot and characterization. At the same time, we should conform to the development and changes of the times, add new popular elements to make the stories and characters more full. Network literature, film and television production should have a sense of quality and the spirit of the craftsman, presenting excellent script, well-made, excellent interpretation, the value of positive excellent works. In the shooting process, to the actor selection and clothing, makeup, props on the heart, but also pay attention to the network literature behind the values and reality fit. Network literature film and television production to coordinate the interests of all parties. In the network literature IP film and television drama adaptation tide, the emergence of a lot of market and public praise double recognition of high-quality works, but there are also plagiarism imitation, shoddy, follow the wind pile up and other phenomena. To this, on the one hand for piracy and infringement of the crackdown can not relax, to pass legislation and other measures, in the identification of infringement, punishment and compensation and other aspects of efforts; On the other hand, it is necessary for all parties in the IP industry chain to "cherish their own feathers," take the creation of high-quality content as the initial intention, coordinate the interests of creators, platforms, investors, producers and other parties, gradually improve the operation and supervision system, and create a healthy environment for the sustainable development of the industry chain.

===References===
Zhu Kaige朱凯歌,Xu Lu吕璐.论网络文学IP改编的现状与发展[On the Current Situation and Development of IP Adaptation of Network Literature][J].2020（10）:167-168.

Mao Tengfei毛腾飞.解读网络文学IP改编的成功之道[Analysis the Successful Way of IP Adaptation of Network Literature][J].新闻研究导刊，2016（10）:295.

Mu Xiangxiang母翔翔.IP改编电影发展现状及反思[The Development Status and Reflection of IP Adapted Films][J].电视指南，2018（13）:52.

Li Zijia李子佳.热播网络文学改编剧改编策略研究[Research on the Strategy of Adapting Popular Network Literature to Screenplay][J].四川戏剧，2020（6）:130-133

Jiang He江河.网络文学影视改编的发展及应对[The Development and Countermeasures of the Adaptation of Network Literature and Film][J].新闻传播，2020（20）:90-91

===Terms and expressions===
network literature网络文学

IP adaptation IP改编

copyright protection 版权保护

mainstream values 主流价值观

My Heroic Husband 赘婿

SWORD SNOW STRIDE 雪中悍刀行

Shangyang Fu 上阳赋

You Are My Glory 你是我的荣耀

RATTAN 司藤

Soul land 斗罗大陆

Yuewen Group 阅文集团

Empresses in the Palace 甄嬛传

Ruyi's Royal Love in the Palace 如懿传

The King's Avatar 全职高手

RESET 开端

Love and Redemption 琉璃

Fights Break Sphere 斗破苍穹

The Journey of Flower 花千骨

Treading On Thin Ice 步步惊心

Better Days 少年的你
The Yin-Yang Master: Dream Of Eternity 晴雅集

NOVOLAND:EAGLE FLAG 九州缥缈录

They Are Flying 飞行少年

Stellar Transformations 星辰变

THE Longest Day In Chang An 长安十二时辰

===Questions===
1.What is network literature?

2.Please summarize the background of the IP change in network literature.

3.What are the characteristics of IP adaptation of network literature？

===Answers===
1. Network literature refers to the newly produced literary works, quasi-literary texts and network artworks containing some literary elements, which take the Internet as the exhibition platform and communication medium, and express themselves by means of hypertext connection and multimedia deduction.

2. There are three points: the development of network technology, the increase of audience demand and the drive of film and television interests.

3. Rich in subject matter types ;Stable audience.

==朝鲜语笔译王思佳 Wang Sijia 202170081636==

===Introduction===
Nanyue longevity culture culture is a wonderful flower growing on the land of Nanyue. It is the epitome and representative of Chinese longevity culture, and also a beautiful scenery line famous at home and abroad. In the ancients 'view, Nanyue was not a mountain, but a god, which decided the life span of each dynasty, controlled the country's chaos, natural disasters and agricultural prosperity, that is to say, the rise and fall of the country depended on it. Nanyue is regarded as secular Shoushan. Everyone has a good desire to pursue happiness, health and longevity. In ancient , the important way form people to express their desire was to worship Nan Yue,the Longevity Mountain which was called "Jugaku" ,and it was the result of the convergence and integration of different pursuits and ideals of ancient people. The folk custom of Nanyue longevity is formed and developed in the specific natural and historical cultural environment, with distinct local characteristics. It takes "Jugaku" as the background, celebrates longevity, praying for longevity and congratulating life as the content, and adopts the forms of sacrifice, holding Dharma meeting, facing the mountain and holding birthday wine, etc., forming a unique and colorful folk custom. This folk custom has been passed down from ancient times to the present, with both inheritance and development and innovation. It is a gorgeous flower on the laurel of Nanyue longevity culture.
===The origin of Jugaku===
Nan Yue is also known as the "Jugaku," which is an ancient legend in the history of China. According to legend that before the warring states period, the society will spread a saying: The stars in the sky correspond to the things on earth one-to-one.The stars in the sky are divided into "twelve degrees," and the countries and states on the earth are also divided into "twelve fields." The changes of light and shade of the stars in the sky predict the changes of human things and the good and bad of people's destiny. The seven stars in the sky are shaped like a giant bird, called "Suzaku". One of which is named Zeng（轸）, corresponding to Chu（楚） and Jingzhou（荆州） on the ground. In the Han dynasty this statement is more concrete, the sky has a star of changsha that corresponds to the changsha county on the ground. In the Tang Dynasty, some people linked the change of the brightness of the Changsha star with the longevity of people and the prosperity of their descendants. The Changsha star was in charge of the longevity of the human world. If the star was bright, people's longevity would be long and their descendants would flourish. Because the Hengshan Mountain belonged to Changsha County in the Qin Dynasty and Changsha State in the Han Dynasty, and its main body was made of granite, which had a solid and long-lasting natural character, people called it "Jugaku." From then on, it became a holy mountain and its social status became higher and higher.
First of all, it is regarded as the custody god of the country. In the ancients , Nanyue was not a mountain, but a god, which decided the lifespan of each dynasty, controlled the country's chaos, natural disasters and agricultural prosperity, that is to say, the rise and fall of the country depended on it. Therefore, from the Tang Dynasty to the Qing Dynasty, the supreme rulers of the past dynasties were very awed by Nanyue Mountain and regarded it as the guardian god of the country. It is said that Emperor Huizong of the Northern Song Dynasty wrote the word "Jugaku" on the Yellow Emperor Rock of Jinjian Peak of Nanyue Mountain, indicating that Nanyue Mountain was the "Longevity Mountain" of the country. Emperor Kangxi（康熙） of the Qing Dynasty sent envoys to offer sacrifices to the Nanyue Temple and wrote inscriptions on the temple to explain its historical origins and merits. It is said that Emperor Yongzheng（雍正）, a shrewd and thrifty man, had forbidden the construction of temples at a large cost. When he heard that the Nanyue Temple was to be repaired, he regarded Shouyue as the god of protecting the country and approved the repair by the court. In addition, the people of all ages hoped for peace and social stability.
Second, it is regarded as a religious shrine.Of the five mountains of China, only the Southern Mountain was located in Jiangnan.The mountain qingfeng - xiangguang fracture tall and straight, beautiful scenery, quiet environment, two major religions in ancient China ------ Taoism and Buddhism, have come to these tasks and seek development.The mountain has "Qingyutan Fudi（青玉坛福地）“，”Guangtiantan Fudi（光天坛福地） and so on. So it is also known as the "Shoushan." Therefore, it is an ideal place for people to convert to Taoism, cultivate true and refine Tao in order to achieve immortality. Buddhism also calls Nanyue the birthplace of the two branches of Buddhism. Dharma is inherited all over the world. The two jungles , Nantai(南台) and Fuyan(福严) are known as the "source of the world's Dharma" and the "court of the world." Nanyue God is also a Buddhist God. There is a special hall dedicated to the worship of Fuyan and Longevity. In addition, Yanfeng Temple（雁峰寺）, the first peak of Nanyue, also has a native new Buddha - Buddha Amitayus. Therefore, Nanyue is a holy place of Buddhism and a paradise for worshipping Buddha.
Third, it is also regarded as secularist Shoushan. Everyone has a good desire to pursue happiness, health and longevity. The ancient people express the desire of the important way or form, is to make a pilgrimage to Nan Yue.People makes a pilgrimage to the Nanyue, often combined with filial piety, mostly praying for their parents. The Ten Wish Songs(十愿歌) passed down through the ages reflect this characteristic. Of course, there are also those who pray for their own longevity. For example, some emperors sent envoys to the mountain on their birthdays or when they were suffering from serious illness. People prayed for both longevity and blessing, but they put praying for longevity first, because there is no longevity, and there is no way to talk about happiness. Therefore, people used to call the Nanyue Mountain "Shoushan."
In short, the South Mountain is called "Jugaku," which is the result of the convergence and integration of different pursuits and ideals of ancient people. When this kind of social pursuit and ideal under the condition of also cannot be free to know and realize, can only be transformed into a beautiful legend, give people with spiritual comfort and satisfaction.
===The Mystery of Longevity of Nanyue People===
It is no doubt that Jugaku can bless people longevity, which is a kind of hope and good wishes of people, however, Jugaku's people is longevity, it is indisputable fact. According to statistics, the average life expectancy of the ancient people in our country is less than forty years old, seventy is one of the few old.And people who live in the mountain, enjoy life over the age of seventy, numerous similar cases. According to the "YueZhi (岳志)" 's record, jin dynasty Wei Huacun (魏华存) enjoy life of eighty-three years old, In the Liang dynasty Liao Chong (廖冲) lived more than one hundred years old; In the Tang Dynasty Sima Chengzhen lived more than 90 years old. And so on.People who are now living in the mountains, the elderly are more. According to 1999 statistics, Nanyue Mountain's Yuelin Township, has 2064 people, of which 70 - 79 - year-old 123 people, 80 - 89 - year-old 65 people, 90 - year-old three people, is really worthy of the name of the elderly area. So, Shouyue people the mystery of longevity where it?
First, the mountain plant coverage rate is high, the scenery pleasing to the eye, the air is fresh, the temperature is pleasant. Nanyue is known as the "Five Mountains of Unique Beauty." Its mountains are beautiful. Vegetation covers almost all the peaks, ridges and valleys. The mountains are green, as if they are a green ocean. It has beautiful scenery, luxuriant forests and bamboos everywhere, flying springs and dysprosium, and attractive natural and cultural landscapes. It is especially famous for its "four wonders" all over the world. Therefore, it is widely said that "when returning from Huangshan Mountain, you don't look at the mountains, and when returning from Nanyue Mountain, you don't look at the mountains." Its pleasant temperature, Sheng Department, the mountain hot Xiren, while the mountain breeze blowing, the day to wear long - sleeved clothes, at night to cover thin quilt. People live here, such as home fairyland, beautiful environment, fresh air, mood stretch, its life naturally higher.
Second, There are clear springs everywhere in Nanyue, the water quality is good, most of the food people eat from the mountains, not contaminated. Here mountain belt Collins, clear spring all over. According to the load, the mountain famous springs have ZhuoXi Spring(卓锡泉), tiger Spring(虎跑泉), White Turtle Spring(白龟泉), Wan Xian Spring(万仙泉), Guandao Spring(万仙泉), heart washing Spring(洗心泉), crystal Spring(碧泉), Ziqi Spring(紫气泉), lazy residual Spring(懒残泉), general Spring(将军泉), lion Spring(狮子泉), Suo Luo Spring(娑罗泉), Sun Spring(太阳泉), Jade sand Spring(玉砂泉), etc. Jade sand Spring is located on the top of the mountain, where the water flows through a large rock (known as the "broken rock source(断石源)"). Sun spring in ZhuRongFeng(祝融峰), is located in the unique top, water should be insufficient, however, this spring Mimi flow day and night, through one thousand never dried up, daily water for thousands of people to drink. These springs are pure, sweet and refreshing. Long - term drinking can make people live longer. Therefore, people call the mountain stream formed by the confluence of many springs on the mountain "Shoujian." In addition, the food, vegetables, fruits and tea eaten by people living on the mountain are generally produced from the mountain and have not been polluted. Edible wild fruits and plants are good natural foods and are beneficial to human health. It is recorded that Chen Chongzheng, a famous celebrity in Nanyue Mountain of Northern Song Dynasty, only drinks clear spring water or eats melon spring every day. He is over 80 years old and "walks like flying" on the mountain. The reason why he is so healthy is that he has good drinking water and food.
Third, nanyue specialty, some have strong body fitness, add in the effect of life. As the saying goes, a party of soil and water to generate a unique property. Nanyue specialty variety, wide range of uses, some are rare medicinal herbs, some are food and fruit with special efficacy.Lingzhi (Ganoderma lucidum), also known as "red ganoderma" by Nanyue people because of its reddish brown cover, has the function of replenishing vital essence, strengthening bones and muscles, and is mainly used for treating diseases such as fatigue, palpitation and insomnia.Nanyue ganoderma lucidum, top grade, is the world as the god of life.Polygonatum sibiricum is sweet and mild in nature. It is beneficial to the middle warmer, calming the five internal organs, benefiting the spleen and bones, benefiting the heart and lung, dredging the bones and muscles, and eliminating rheumatism. Kiwi fruit, commonly called "rattan pear," is a wild fruit in Nanyue Mountain. Its skin is brown, and its flesh is light green. It has high nutritional value. Its medicinal effect is mainly used to quench thirst, relieve fever, help digestion, cure diarrhea, and lower urinary tract infection. In addition, the mountain also produces medicinal materials such as angelica dahurica, radix bupleuri, poria cocos, rhizoma arisaematis, baiyao, schisandra chinensis, fructus momordicae, angelica sinensis, and caulis sinomenii, as well as cloud tea, bamboo rice, fragrant rice, Arhat taro and other products. Long - term people living in the mountains, it is easier to pick these herbs, but also easy to eat these products with special efficacy; In addition, the mountain hard production and living conditions, caused the people strong physique, it's for nanyue life high and create the conditions.
===Nanyue Longevity Folklore===
The folk custom of longevity in Nanyue is formed and developed under the specific natural and historical cultural environment, with distinct local characteristics. It takes "Jugaku" as the background, celebration , prayer and celebration as the content, and adopts the forms of sacrifice, holding Dharma meeting, facing the mountain and holding birthday wine, forming a unique and colorful folk custom. This kind of folk custom has been passed down from ancient times to the present. It is not only inherited, but also developed and innovated.
Worship Nanyue. Nanyue is generally held in October of the lunar calendar every year. It is said that this time is the birthday of Nanyue Saint Emperor (also known as Nanyue God), and the sacrificial ceremony is very grand.Specification has always been very high, to be held by the court authorized and afford or designated host.Ceremonies procedures, offerings, quantity and display, the priest knelt down etiquette, etc., the court has expressly provided.Offering sacrifices to the mountains is not only for the celebration of the longevity of the Nanyue Saint Emperor, but also for the country and the people.Cooperate with sacrifice, generally organized a grand folk activities, religious activities and cultural and sports activities, such as religious law will be held, the public organization dragon dance team and play a lion.In accordance with the drama, folk stories to carry out cross - dressing parade, the ancient town of four streets and Kuixing Temple Pavilion stage performances, martial arts performances, etc., the audience for a long time up to tens of thousands of people. Merchants took the opportunity to publish the market, trading is very active. October 6 to 10, 2000, Hengyang City, Hengshan held here in the Chinese Longevity Festival and temple fair. Most of the traditional folk activities retained, but also added the Chinese Longevity Tripod inauguration ceremony, public sacrifice Nanyue Shengdi Fa Hui, high - altitude tightrope walking challenge,"the world Nanyue, The fireworks evening party and other large - scale activities set four Guinness World Records, with more than 300,000 domestic and overseas tourists. The economic and trade negotiations and the signing of the contract for the utilization of foreign capital amounted to 120 million US dollars. It was a colorful and eye - catching occasion.
Pilgrimage to Nanyue.It is also known as the "South Mountain Incense," which means that people pray for longevity, disaster elimination and blessing. Every year from the middle of July to the end of September, commonly known as the "South Mountain Fragrance Period," pilgrims from all over the world come to worship. Pilgrims in rural areas, they are in droves, less than a dozen people, more than hundreds of people, head red towel, chest hang sachets, mouth sing the yue song. Some still uniform clothing, neat queue, action to listen to password, just like trained troops.There are many forms of pilgrimage.Have to burn incense, incense in hand, with sweet bursa, knee with cotton or cloth, each line into a few steps (generally divided into three steps, five steps, seven steps, nine steps), then knelt down and worship.The old from the door, has been to worship to ZhuRongFeng.And hungry incense burning, on the way back and forth pilgrimages can't eat, can only drink water.They usually wore green clothes and straw sandals. In their rucksacks, they carried a small ladle to scoop up spring water for drinking on the road. From the first to the fifteenth day of the eighth month of the lunar calendar, the peak period of pilgrimage is sometimes as many as 100,000. The streets, temples, hotels and shops are crowded everywhere. The market is extremely prosperous. On both sides of the street, in front of and behind the temple, there are rows of shops and stalls, all kinds of small and exquisite handicrafts and tourist souvenirs, local famous products, specialties and foreign commodities. In the past, pilgrims to Nanyue Mountain were all on foot, some of which had to travel hundreds of miles, and all the temples and temples along the way had to be burned and worshiped. Even if they traveled day and night, it would take half a month to go back and forth. Now, most of them take modern means of transportation, some even rent special cars, usually three to five days is enough. Since the 1990s, the number of burning incense and starving incense has gradually decreased, and pilgrims have taken into account the increase in sightseeing besides pilgrimage.
Worship Shou Buddha.Prevailing in the first peak back to the wild goose peak wild goose peak temple. Legend has it that the life of the Buddha lay family name is zhou, Jin Zhen, chenzhou in tang dynasty, was born in the lunar February 8. 16 becoming a monk, ZongHui, enjoy life of one hundred and thirty-nine. Ming and Qing dynasties, and reincarnation for monks, in tin wild goose peak temple, to pass on one's experience, wild goose peak temple to build longevity Buddha hall as a memorial. Every year, on the eighth day of the second month of the lunar calendar, a grand Dharma meeting is held in the temple. Men and women from all over the world gather in Yanfeng Temple to celebrate the life of Buddha and pray for their families. In front of the temple, a stage is set up to sing opera, or a martial arts contest is set up to attract the audience. The merchants outside the temple have a market, and the market is crowded with people. It is commonly called "rush on February 8." In the 1940s, when the Japanese invaders invaded Hengyang, the temple on the peak was destroyed by Japanese artillery fire, and the custom of "praying to Buddha" ceased. In the 1980s, the Longevity Buddha Hall was rebuilt. On this day every year, although there is no city on the peak, there is an endless stream of pilgrims and tourists. Do Longevity wine.Hengyue people value everyone's birthday.Every tenth birthday is called "Dasheng(大生)", which is celebrated with birthday wine.People who turn 60 years old is called "sexagenarian," and from then on, every tenth birthday is called "Shoudan(寿诞)" and needs to be solemnly organized to celebrate birthday. Relatives and friends to go to congratulate, send birthday presents, generally like birthday plaque(寿匾), birthday couplet(寿联), birthday noodles(寿面), cloth, etc. On birthday plaque, screens and couplets, there are many auspicious folk words: "Happiness is as immense as the Eastern Sea, and longevity is as great as the Southern Mountain." In the poem,"Southern Mountain" originally refers to the mountain in the south. Later, some people think that "Southern Mountain" refers to the Southern Mountain, so it has become a common sight in the local area. In addition, relatives also need to send birthday peaches, that is, rice cakes are made into peach shapes, with red dots on them. When the couple is still alive, they wish "double longevity" and the gifts are increased. The host family should sign to thank the guests. In the evening of birth, noodles are usually served.
===Conclusion===
Nanyue Jugaku Culture involves a wide range of aspects, in the system and customs are also involved. In today's fast-paced life, we urgently need the Nanyue longevity culture to guide us. We need such thoughts to promote the harmonious development of human and society. Nanyue longevity culture is the foundation of Chinese health preservation. We should Promote and inherit such excellent culture.
===References===
[1]Wu Changyun 吴长云.(2001).南岳与寿文化[Nanyue and longevity culture ].湖南文史Hunan literature and history (02):72-73.
[2]Cao Yiyun 曹译匀.(2011)对南岳文化景观的解读[Interpretation of the cultural landscape of Nanyue].旅游纵览Travel Overview (12):96-97.
[3]Zhou Wei 周巍.(2002).寿岳说寿[Shouyue Shuo Yue].新闻天地News World (06):35-37.
[4]Li Chengxiu 李程秀.(2020)南岳寿文化的现代养生价值研究[Study on Modern Health Preservation Value of Jugaku Culture in Nanyue] .文化创新比较研究A Comparative Study of Cultural Innovation (07):43-44.
[5]Han Xia 韩霞.2017.中国寿文化与道教思想略论[China Judaku Culture and Taoist Thought].人文天下Humanistic world (05):38-41.
===Terms and expressions===
寿岳 Jugaku
朱雀 Suzaku
寿山 Shoushan
法嗣 Dharma
无量寿佛 Buddha Amitayus
寿佛 Shou Buddha
花甲之年的人 sexagenarian
===Questions===
When the “Worship Nanyue” event starts？
What is the secret of Nanyue people's longevity?
Which religions have come to Nanyue to seek refuge and development?
===Answers===
It is held in October of the lunar calendar.
Fresh air, pleasant climate, good water quality; health strong body; medicinal material that improve health and prolon life.
Taoism and Buddhism.

==朝朝鲜语笔译徐盖 Xu Gai 202170081638==
<center>'''Jiangxi Nuo'''</center>

<center>Xu Gai</center>
===Introduction===
Nuo culture, in which Nuo dance, also known as ghost play, is the oldest dance of entertaining gods in Han nationality, which worships gods, dances ghosts, drives away plagues and avoids diseases. "Nuo" is a social and cultural phenomenon with strong religious and artistic color, which has a long history and is widely popular in the Han nationality. It originated from the natural worship, totem worship and witchcraft consciousness of the ancestors of the Han nationality. The ancient ancestors lived and multiplied in conquering nature. Their desire for survival needed the help of religious ideas to surpass themselves, so they created the witch Nuo culture.Jiangxi Nuo, is an important part of Chinese Nuo. Nuo is a cultural phenomenon that spirits chase ghosts and pray for disaster. Jiangxi Nuo is a part of Chinese Nuo, which has the characteristics shared by Chinese Nuo. However, Jiangxi Nuo is a regional Nuo culture, and it has experienced thousands of years of accumulation and inheritance, forming a distinctive feature of unique search.

===The origin of Jiangxi Nuo===
Jiangxi Nuo, also known as Gan Nuo, is an important part of Chinese Nuo. It is well-known at home and abroad for its long history, primitive form, rich varieties and its own cultural system. It is called the "living fossil" for studying the development of Chinese and even human civilization. Jiangxi Nuo, rich and thick, began in the early Han Dynasty, and for more than 2,000 years, Nuo has never stopped. Nuo dance, which entertains people, was born out of the ancient Nuo ceremony, and it is more common in many rural areas, especially in Nanfeng and Shangli counties, which can be called the living fossil of Chinese Nuo culture. According to statistics, since the end of the Qing Dynasty, there are more than 150 Nuo classes in Nanfeng County, which not only retain the Nuo temples in the Ming Dynasty and the ancient Nuo ceremonies, but also spread more than 80 traditional programs and more than 2000 kinds of Nuo masks, with more than 2000 existing Nuo artists. Lixian County has been known as "a general in five miles, a god in ten miles" since ancient times. Now there are more than 20 ancient Nuo temples in Ming and Qing Dynasties, which inherit more than 50 percent of the classical Nuo dance. There are more than 400 kinds of ancient Nuo masks and more than 20 mask carvers.

===The distinctive features of Jiangxi Nuo===
Jiangxi Nuo preserved the primitive ancient Nuo ritual completely. The "Nuo Dance" in Shiyou Village, Nanfeng County is the remains of the extremely rare ancient Nuo ritual in China. In addition to its scale, it is eye-catching similar to the basic aspects of the palace Nuo in the Han Dynasty in Hanshu Yiwenzhi. Pengze county Laowuwan's "beating wild cats" is full of the meaning of ancient villagers' exorcism, and it is a kind of epidemic-fighting ceremony with religious significance, which is rare in today's Chinese exorcism culture.

Jiangxi Nuo has a traditional character and rich categories. After thousands of years of secularization and entertainment, a considerable part of Nuo in China has died out, and some of it has been transformed into a cultural form with Nuo culture. Jiangxi Nuo has always maintained the tradition of taking masks as the core of all activities. In Nuo activities, Nuo masks are not only the image code or artistic makeup, but also the soul of these activities. They still enjoy people's awe and admiration, even though they are engaged in Nuo dances and operas. The variety of Jiangxi Nuo is also rare in Chinese Nuo culture. In terms of its nature, it can be divided into Nuo sacrifice and Nuo art; From the aspect of expression, there are three types: open Nuo, closed Nuo, literary Nuo and martial Nuo. In terms of artistic mining, there are "Nuo Opera" and "Nuo Dance" which complement each other. It is because of this richness that Jiangxi Nuo can keep its life and vitality in the long course of social development. Jiangxi Nuo has formed its own cultural system and occupies a place in folk culture. In the course of its development lasting for thousands of years, Jiangxi Nuo has constantly adapted itself to the development of the times, absorbed nutrition from Buddhism, Confucianism and Taoism, and gradually formed a Jiangxi Nuo culture system which includes beliefs, specific sacrificial ceremonies, sacrificial sites, and Han folk customs and cultural activities influenced by Nuo. For example, Jiangxi Nuo has no divine spectrum, but it has a sacred Nuo temple. Nuo sacrifice is just a primitive religious ceremony without any precepts, but there are still laws and regulations that believers must abide by; Nuo Sacrifice has no philosophical thought necessary for any religion, but it draws ideas such as cause and effect, loyalty and righteousness from Buddhism and Taoism. Jiangxi Nuo is not a mature religion, and there are no scriptures, but there are still Liao prayers that have been formed and handed down from generation to generation. It is particularly noteworthy that after a long period of secularization and entertainment, Jiangxi Nuo has formed its own unique art, that is, Nuo dance, Nuo opera, and the carving and making of Nuo masks. Among them, mask making has surpassed the significance of religious sacrifice and become a striking Han folk handicraft, just as the European church choir has become a folk chorus art. Jiangxi Nuo has spread all over Jiangxi in history, and it is relatively concentrated in the half-moon zone from Wuyuan in the east to Pingxiang in the west, among which Nanfeng, Le 'an and Guangchang in Fuhe Valley are the most concentrated areas in Jiangxi Nuo. In addition, Xiushui, Wanzai and Pengze also have Jiangxi Nuo activities. The Nuo temples in Pingxiang and Nanfeng are dedicated in time, and they are not lonely.

===Nuo mask===
Chinese Nuo culture includes Nuo temples, Nuo masks, Nuo dances, Nuo operas, Nuo symbols, Nuo costumes, Nuo weapons and other complex whole, including anthropology, ethnology, folklore, religion, drama and many other aspects. Nuo mask is an important part of Nuo culture. It is used in Nuo ceremony, Nuo dance and Nuo opera. There are many kinds of Nuo masks in Jiangxi with different shapes, all of which are carved by willow and camphor wood, and then painted and painted, showing rough simplicity and magnificent Zhuang Dian. Pingxiang Xiang Dong Nuo Mask is an excellent folk traditional sculpture with a long history. East Hunan is under the jurisdiction of Pingxiang, the coal capital of the south of the Yangtze River, and is the west gate of Jiangxi. The surviving Nuo mask carving in xiangdong district originated from the Qing Dynasty, was passed down from Taizhang, Hunan Province, and has been handed down for three generations. It inherited the techniques of Nuo mask carving in the Song Dynasty, with mature technology, simple and delicate carved masks and complex craftsmanship, which is a rare cultural heritage in China's carving field.In 2006, Pingxiang Xiangdong Nuo Mask was listed as the first batch of national intangible cultural heritage list with the approval of the State Council.

===Nuo dance===
Nuo dance is a traditional dance in Jiangxi Province. Nuo dance is a kind of folk dance widely spread around the world, which has the functions of exorcising ghosts, fighting epidemics and offering sacrifices. It is the dance part of Nuo ceremony, and it is usually performed from the New Year's Day to the 16th day of the first month. Pingxiang Nuo dance footwork has the cultural style of Chu witch, the dancers' movements are bold and unrestrained, and their posture is full of shock; Enjoying Nuo dance is divided into three genres: "having fun", "playing the ancient drama" and "rolling Nuo God". It performs for nothing and is good at martial arts. Wuyuan Nuo dance is simple and vivid, and its performance forms can be divided into solo dance, duet dance, trio dance and group dance. Jiangxi Nuo dance integrates totem culture, Taoist culture, folk culture and other connotations.

===Conclusions===
There are still many introductions about Jiangxi Nuo. Jiangxi Nuo is like this. It comes from the people and returns to the people. In this process, firewood and fire were handed down from generation to generation, blooming in Ganpo and spreading all over the world. It is ancient, carrying the continuation and expectation of thousands of years of culture; It is also sacred and awesome.

===References===
[1]Xu Qun徐群 .论赣傩的文化特征及赣傩舞的表达 [On the Cultural Characteristics of Jiangxi Nuo and the Expression of Jiangxi Nuo Dance ] [[J ] .时代文学（下半月），2009 (2 ) :207 - 208.
[2]Liu Juan刘卷 .赣傩艺术视觉审美特征研究[Research on the Visual Aesthetic Characteristics of Jiangxi Nuo Art] [J ].湖南医科大学学报 :社会科学版，2009(5) :186 -187.
[3]Fu Hongling 付红玲，Wang Qi王琦 . 江西萍乡傩舞艺术特征初探[On the Artistic Features of Jiangxi Nuo Dance][J ].艺海， 2011(4) :90-91.

===Terms and expressions===
Nuo culture 傩文化 Gan Nuo 赣傩 Nuo Mask 傩面具 Nuo temples 傩庙

===Questions===
1.When did Jiangxi Nuo begin? How many years ago?
2.Why did ancestors create Nuo culture?What was their purpose?
3.When was Pingxiang Xiang Dong Nuo Mask listed in the first batch of national intangible cultural heritage list?

===Answer===
1.Jiangxi Nuo began more than 2,000 years ago in the early Han Dynasty.
2.Their desire for survival needed the help of religious ideas to surpass themselves, so they created the witch Nuo culture.
3.In 2006

==朝鲜语笔译徐文慧 Xu Wenhui 202170081639==
<center>'''The “scholar's four jewels”'''</center>

<center>Xu Wenhui</center>
===Introduction===
The"scholar's four jewels"are unique calligraphy and painting tools in China, namely writing brush, ink, paper and inkstone. Brush, ink, paper, inkstone commonly known as the "scholar's four jewels", its name originated from the Northern and Southern Dynasties, since the Song Dynasty, it refers to xuan brush (Xuancheng, Anhui), Hui ink (She County, Anhui), xuan paper (Jing County, Xuancheng, Anhui), she inkstone (She County, Anhui) and so on. As the essence of Traditional Chinese culture, the scholar's four jewels have been accumulated and deposited for thousands of years, and their cultural connotation has been recognized by people more and more, and their value has far exceeded its own function. For example, When CAI Yong wrote‘Bi Fu' in the Eastern Han Dynasty, he endowed the "integrity" of the brush and the "roundness" of the brush with imago features beyond the function of the brush.
Chinese calligraphy is a profound art with a long history. It has entered the door of the palace of art as early as the Qin and Han Dynasties, and has become an indispensable artistic treasure in Oriental history, and developed into a broad and profound knowledge. Calligraphy is not only an important part of Chinese culture, but also a symbol of the characteristic cultural spirit of the Chinese nation. "To do a good job, you must sharpen your tools." The unique artistic flavor of Chinese calligraphy is inseparable from the "scholar's four jewels" spread through the ages, and it is with brush, ink, paper and inkstone that the myriad forms of calligraphy can be depicted. Even a highly skilled calligrapher, sometimes encountered tools "do not go well", can only be overjoyed, frustrated. Today, brush, ink, paper and inkstone have been included in the national intangible cultural heritage list, jointly promoting the development of calligraphy art. (Zhao 2021:28)

===Origin and history===
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)

===Features===

===The charm of The “scholar's four jewels”===

===Conclusions===

===References===
赵悦.在文房四宝中感受书法的魅力,2021.09, 28

===Terms and expressions===

===Questions===

===Answer===

==外国语言文学 Akira Jantarat 202121080009==
<center>'''The emergence of new linguistic forms in Chinese (neologisms)'''</center>

<center>Akira Jantarat</center>
===Abstract===
===Key words===
Chinese, New linguistic, Neologisms

===Introduction===
Language is important to humans because in addition to being a tool for communication It is also a tool for learning and developing human thinking. It is also a tool for transmitting culture and occupation as well as enhancing the unity of people who speak the same language. Language is a symbolic system that functions as a tool of social communication, consisting of sound, vocabulary, and grammar. "Vocabulary is the most important component of language" (Chenyuan, 2000, p.209)

"Neologisms" are new words or phrases. It's a popular word that was created. or adapted for use in daily life but has not yet been officially recognized. Nevertheless, The more modern the vocabulary, the more people are interested. And "Neologisms" include not just new words, it also new constructional patterns, newly innovated in parts of speech (David Crystal, 1996, 73) Nowadays, technology plays a huge role in the daily life of people of all genders and ages. As a result, words or sentences are spoken in Simplified Chinese become a dynamic vocabulary. and are constantly evolving into new words. No matter what language, when old words are not enough to satisfy the need for expression After something new is born, society or person will have an impulse to make words quickly, to be used in the memorization process, or the process of summarizing the main characteristics of things. And when a new word is accepted and widely used in society, that word will become an old word.

Therefore, the objective of this study is to study the factors for the emergence of a new linguistic form in Chinese or “Neologisms in Chinese”.The study of phenomena created by human society It is very important to Chinese linguistic researchers and social researchers. And also a matter that should not be ignored, because we are about to enter a decade that has changed from the original.

===Literature Review===
Nowadays, the number of words that we use in our daily life is increasing. The research of new words is becoming more comprehensive and systematic as well. Researching new vocabulary by researchers has resulted in many new words being enriched and increasing awareness of the importance of language. At the same time, many linguistic researchers have taken into account and researched the factors and emergence of new words. This reflects the importance of research on the factors of lexical formation intensified. Here's a summary and an introduction to previous research.

'''Definition of a new word'''

Wang (1992) explains that although the current definition of the new term captures the characteristics of the new word from different angles, The nature of creating new words will consist of "Reconstruction, new borrowing, new meaning and new use" of new words.

Lu (1984) pointed out that Some new words and new meanings might be new. But some words are not very new. But it's just an omission from the general dictionary.

'''The birth of a new word in Chinese'''

Hongyin Tao's research titled Chinese language in a global context provided information that Language as a symbolic system is often determined by internal and external factors. Factors outside language such as social identity, culture, tradition, progress, creativity, technology, and conservation. and also said In the context of globalization, English is often seen as a hegemony language. English is growing in popularity to communicate over the Internet. This is one of the results that has enabled China to create a more modern economy, society, and culture and keep up with the evolution of the world.

===Methods and Theories===
===Background===
'''Definitions of Neologisms'''

A neologism is a relatively recent or isolated term, word, or phrase that may be in the process of entering common use, but that has not been fully accepted into mainstream language. (James M. 2006) Neologisms are often driven by changes in culture and technology. (McDonald, 2005) Neologisms are mostly spread through mass media exposure (Sayadi, 2011), such as Facebook, Twitter, WeChat, Television, etc. Generic brand name designations such as "可乐" for Coca-Cola or "五G" for 5G are spread through popular uses, which have been updated by the media.These terms also express the concept or a concept, that is used instead of explaining certain events or situations that are difficult to explain, to make it easier to understand, and show the culture, concepts, and values of present people.

===Impact===
Language and social structure are in a co-change state, which is a major change in society since the reform and opening of the country. Which makes new words grow, even more, no matter, that society and culture are constantly changing. Because human needs are endless, the change will be fast or slow depending on the factors involved. Whether it is the level of education of people in social communication and changes over time Language and society belong together. must always go together If society changes language, it changes. it is related This is due to the factors that cause change, such as discovery, conflict, competition, and social and cultural change. Can be summarized as follows.

'''language and society'''

The language change is not abrupt, but gradually, the change is caused by the presence in many aspects, one of which is the society in which the language Existing profound changes in social life are manifested in aspects such as politics, economy, culture, education, health care. Science and technology, new things are constantly emerging, new ideas and new ideas. It continues to encourage new vocabulary. (Han Xiaoyu,2011)

Liu Xiaohong (1998) and Liu Lanmin (2005) mention the motivation for word formation and factors affecting word formation which will be divided into 2 aspects. First, the "internal factors" of language, namely pronunciation, grammar, meaning, and word formation. And the second side is external factors of a language, such as the social and geographical environment including the purpose and motivation of word-formation.

Language is the most important human tool. The language used is one of the human conditions for building society. Comparing modern and ancient China, we can see that the vocabulary is richer and the forms of words and sentences are more diverse as well, the development of society will play a role as a historical witness of the language. Communication between different societies will promote language development as well. ()

'''cultural surge'''

society and culture It is inseparable. It is like a coin with two sides. Each society has a different culture and language. The cultural exchange of society occurs only when communication and transmission are communicated through the use of mediums, it is the language, and at the same time, both culture and language support and develop each other. Language reflects the nature of the nation, not only contains the history country's culture but also the way of life and the way people think. The influx of foreign cultures into China whether western culture or cultures from neighboring countries all affect the existing traditional culture. Of course, that affects the language as well. and giving rise to new languages in China Which will be divided into the following points:

-western culture-

China's great openness to the outside world began during the Yuan Dynasty. Openness brought the winds of Western science into China, and the westward journey of Genghis Khan and Kublai Khan has opened the door of western culture to China and has an effect on the present day. ()

And we cannot deny that Western culture is now a very popular culture in China or Asia, whether in sports, food, or even music. Therefore, the arrival of the West that used English for communication has resulted in some words in Chinese being developed in the form and writing style. However, when everyone realized and understood the meaning thus resulting in a common understanding, for example, New Chinese characters with homophones such as “克隆” pronounced kelong (Clone) 、 “台风” pronounced taifeng (typhoon) 、"榴莲" pronounced liulian (durian) 、"跑酷" pronounced paoku ( Parkour). () And the words that take from abbreviations and Pinyin characters written in characters and not Chinese characters, such as "五G手机"、"ATM"、"HSK" (Simplified of Hanyu shuiping kaoshi, which means Chinese language standard test), etc., and include to the words that are used in everyday life such as "哈哈" (haha) 、"AA制" (Algebraic Average)、 "巧克力"（Chocolate）、"比特币"（Bitcoin）, etc.

English mania in Chinese educational institutions, combined with the rapid development of technology, is the driving force of the modernization of the world. This has resulted in an increase in English rates in China. Can we decide what country this word comes from? Yes, it is challenging, Because the cultures have been mixed until it becomes common for us to use English or words that are adapted from English in everyday life.

-Eastern culture-(Korea)

The Korean wave emerged from a globalized world with borderless communication. Through K-pop cultural products such as music, TV series, movies, novels, cartoons, and animation. The South Korean government has supported the policy of promoting the industry in the entertainment sector. As a result, the Korean trend quickly gained popularity. Due to the freshness that is the choice of the world market It also makes people around the world more interested in the story of the Korean nationality. The success of this K-pop Contributed to the popularity of Korean, especially among young people. As a result, the Korean language is accepted and taught widely and rapidly in many countries.

In China, more young people watch Korean dramas. And use more of the Korean language in daily life such as（“오빠” read oppa, Chinese “欧巴”）mean brother 、（“습니다“ read seubnida, Chinese“思密达” ）mean I did, etc.

'''The Development and communication through technology'''

Since China's reform and opening up, the technology world has also developed. Currently, the forms of computer communication are more diverse. For example, Email SMS or 微信 Wechat、qq、微博 Weibo, which is the media most used by Chinese teenagers to communicate through a typed format on a computer or mobile phone.

According to Beijing Zhiyan Kexin Consulting's analysis of the size and usage rate of instant messaging users in China in 2021. Indicate that at present instant messaging has impacted people's lives and jobs. And that message's influence will be extended in the future. Now, instant messaging has become the most popular. Internet applications among Chinese netizens，on June 2021, the instant messaging usage rate in China was 97.3%.()

This means access to technology is a high proportion of the Chinese population. And the advancement of technology has spread to all people with mobile phones. This is not only now but also in the future and technology or social media affects the spread of new words that are added to everyday life. Several researchers have commented on this happening.“Media publishing and distribution play an important role in the cross-regional popularity of languages and words. And the advent of the Internet age has accelerated the spread of the new Internet term.”（Han Xiaoyun, 2011）

“The essence of the rapid growth of new words is the development of society and the advancement of time. Thousands of households are familiar with new words that are rapidly gaining popularity. and the modern media technology represented by the network is indispensable.”()

For example, the most common Chinese words "木有" muyou for "没有" meiyou means 'have not'， "神马" shenma for "什么" shenme means 'what', or "给力" geili. , the original meaning was 'give power', now usually ‘cool, awesome, exciting’. It also uses numbers or letters to communicate instead of words, such as "886" for "拜拜了" which mean ‘bye-bye‘， or even in mobile games that are popular trends in 2021 such as "YYDS" is the most popular word in 2021. The original meaning is "eternal god", which originated from the mouth of "Shan Niruo", the LOL anchor of League of Legends. one buzzword of the year. "()

There is also "Barbie Q" is “BBQ” Babecue, means ‘barbecue’. The top gaming master on Douyin was beaten to death by his opponent. After he spoke the “Barbie Q” word in the live broadcast, “Barbie Q” now has another unique meaning “apocalyptic”. Or even “GG” that is not the meaning of brother (“哥哥” gege) but is “Good Game”. When the losing side is over, "GG" congratulates the opponent using "GG", which means “Good Game”. However, as the word GG becomes more and more used in China, the winner has shifted from congratulation. There was a bit of mockery, so today's GG has another meaning like 'You are done', etc. This is an example of how the Internet affects the spread or evolution of new words. Live broadcast Affects the occurrence of increasing vocabulary in daily life. And this might be creative or it could be a language disaster.

'''National Language'''

Language development is greatly affected by economic development. And areas with economic development in addition to financial growth New things and new ideas are also increasing. Sometimes, there dont have enough languages that can meet the needs of users. Therefore it is necessary to borrow some existing words. in different regions as a shortcut to the formation of new words. For instance, Beijing, Guangdong, Shanghai, Hong Kong, and Taiwan, are considered political and cultural centers. including the economic city of the country, It's not surprising that new neologisms have emerged in these regions and have influenced other regions of China.()

===Conclusion===
===References===

==比较文学与跨文化研究 Mahzad 202021080004==
Chinese Mythology and its Impact on Chinese Cinema

Chinese mythology incorporates a wide range of folklore, history, and religious belief across numerous time periods and people, including the present day. Many of these myths are intricately bound to philosophy, religion, tradition, and society.
Also, it has been one of the richest sources for Chinese artists and writers to draw upon over the centuries.

Journey to the West is considered to be one of the most important books in Chinese history, and traditional artwork commonly features legendary figures, such as the Five Emperors or the Eight Immortals.

==英语语言文学 Mimi 2020GBJ002301==
Chinese modern literature

Chinese Classics Translation 2022 LIST OF FINAL EXAM PAPERS

2022-06-25T10:32:59Z

Xiong Jialing: /* 英语笔译熊嘉玲 Xiong Jialing 202170081602 CE */

[https://bou.de/u/wiki/Chinese_Language_and_Culture_2022|Back to course homepage]

This is the overview page of the topics. For the actual papers, please refer to: [[20220630_Culture]]

Every student needs to find a topic which is not yet in the textbook and has not been presented in class. Please check your topic for this. All topics are ok except from those which are marked red. If your topic is marked red, please find
a new topic and leave the red mark there, so that the teacher can check again.

==Tips for writing your final exam paper: How to indicate your references==
*You can use the existing book chapters here as an example.
*Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Do '''not''' write any references like in one of the sample chapters:

[1] dsalkfkdsa

[2] adsfadsfag

But only the following way:

(Liu Miqing 2010, 17) in the text

and then

'''References'''
*Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.

Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):
= = Topic = =
< c e n t e r > Student Name, Student no. < / c e n t e r >
= = = Abstract = = =
This chapter is on ....
= = = Key Words = = =
Egg, Hen
= = = 题目 = = =
= = = 摘要 = = =
= = = 关键词 = = =
= = = Introduction = = =
Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.
= = = The Egg = = =
Bla, bla, bla
= = = The Hen = = =
Bla, bla, bla
= = = Conclusion = = =
Bla, bla, bla
= = = References = = =
Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT

==Sample papers==
You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with "Sample paper".
* A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories
* An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications
* Comparative Study on Functional Equivalence Theory and Skopos Theroy
* Comparison of Derrida’s and Benjamin’s Translation View
* Impacts of Western Translation Theories on The Translator’s Guide to Chinglish
* On the Comparison between "Sublimation" an "Functonal Equivalence" Theories
* Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics
* The Translation of Culture-loaded Words in Chinese-English Communication
* Translators' Views on Translation Influence Their Translation Behavior

==Websites to write your final exam paper on==
The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).

==Here you can write your Final Exam Papers==

==英语笔译卞王倩 Bian Wangqian 202170081563 CE==

<center>'''Chinese Classics Translation from a Perspective of Translational Communication Studies'''</center>

<center>Bian Wangqian</center>

===Abstract===
A relatively massive Chinese classics translation can be back to the period during the late Ming dynasty and the early Qing dynasty, when excellent bilingual foreign missionaries in China introduced Chinese Classics abroad and brought them on a world stage, which can be seen as the individual translation activities that brought some Chinese Classics some popularity and fame among foreign countries, especially western ones. In the new era, China has made every effort to promote the “going-out” of Chinese culture with a focus on Chinese classics while strengthening its cultural soft power to build a modernized strong country, in which translational communication is no doubt playing an important role. Translational communication comes out of the application of communication theories to translation research and is an emerging subject that involves many specific fields for further research. And translational communication is a science of researching translational communication phenomena and their laws. A complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, the receiver of target language message, communication channels and translation effect, of which the initiator of communication and translator will be specifically illustrated here to deal with the issues of Chinese Classics Translation.

===Key words===
'''Chinese Classics Translation; Translational Communication; Initiator of Communication; Translator'''

===Introduction===
This paper includes five parts. The first part is the literature review, telling the relationship between translation and communication, the overview of translational communication studies and current studies from the perspective of translational communication. The second part is about methods and theories, that is, the introduction of translational communication and its six elements, especially the initiator of translational communication and translator. The third part is a detailed introduction of the initiator of translational communication, which has been divided into three types: the subject of the source language, the subject of the target language and the cooperation between the subject of the source language and the subject of the target language, and their application in real life and their aspiration for Chinese classics translation. The fourth part is the introduction of the translator and its subjectivity in different stages of translation in translational communication and their aspiration for Chinese classics translation. The last part is about the conclusion.

===Literature Review===
To meet the needs of rising translational communication practices, some theories and concepts of the science of communication have been introduced to apply to translation studies. As a result, translational communication studies are emerging. Lu Jun put forward that “the essence of translation is communication” (1997, 39). Xie Ke and Liao Xueru also defined: “in terms of the definition of translation and the nature of communication, communication is the essence of translation” (2016, 15). Tang Weihua franked: “Translation is communication” (2004, 48). And Zhang Shengxiang proposed that “translation and communication are symbionts” (2013, 117). All these have offered inspiration for furthering translational communication studies.

And the overview of translational communication studies is as follows: media, also communication channel or vehicle in translational communication, is the hot subject, and it includes new media, traditional media, mass media, social media and We media. This is in accordance with such an era of “media”. And then it’s translation strategies studies and communication effect. And cultural communication, as one of the types of translational communication, is closely related to a nation’s ideology and the purpose of building a positive international image. And Chinese classics translation and news translation are also playing a major role in foreign publicity. Translation publishing is also an important part, as it relates to the initiator of translational communication or the communication channels. In conclusion, translational communication studies cover not only the essential elements of translational communication but also the basic directions of translation, such as translation strategies and techniques, various text types and so on.

With the keywords “Chinese Classics translation from the perspective of translational communication studies” guided, according to data from CNKI, the most-involved theme is the studies of the strategies of Chinese Classics translation, which is exactly why this paper starts here, but from the perspective of translational communication studies. The rest majority covers external communication of such Chinese culture and classics as A Dream of Red Mansions and The Analects, translators and sinologists, such as English missionary James Legge, and publishing houses. So we can conclude that Chinese classics translation from the perspective of translational communication mainly deals with the object, translator and communication channel or vehicle, these three elements of translational communication. Besides, the papers involved are emerging like spring bamboo over the past five years, totaling five times that of ten years ago, just a single digit. This also proves the rapid development of translational communication studies as a new subject.

However, while “the subject or translator in translational communication” is searched as a subject, there is a few papers related unfolding or a few papers that directly relate to translational communication, but a lot about translation. So we can see that when translational communication is studied, translation from the perspective of communication is actually studied, which is indeed different from what we categorize as a translation but offers us a new direction. Just as Yin Feizhou, Yu Chengfa and Deng Yingling refer to in their co-authored book Ten Chapters of Translational Communication Studies: “The study of the interaction of the six elements of translational communication in translation communication studies can be found in the corresponding or correlated research patterns under translation studies” (2021: 17). That’s how the main body parts are organized here.

===Methods and Theories===
Let’s first get to communication before taking translational communication as the theoretical basis. In 1948, Harold Lasswell, an American communication scientist, put forward the 5W model of communication, that is, through what communication channel (In Which Channel), what communicating message (Says what) is communicated by the communication subject (the initiator of communication) to the communication target (To Whom), and what effect is achieved (With What Effect). But there is no clear definition of communication. In the 1970s, Wilbur Schramm, another American communication scientist reputed as “the father of communication studies”, gave an implicit definition: “Communication serves as a tool. That’s why our society exists.” Until now, there has been a simple definition of communication in the communication circle: the so-called “communication” is to convey the societal message or the operation of the societal message system (Guo Qingguang, 2011: 04). Or communication is the process of message flow (Hu Zhengrong，2017:19).

As for translation, according to Eugene. A. Nida, translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message. And Peter Newmark also gave his definition: “translation is rendering the meaning of a text into another language in the way the author intended the text”. And we can see that communication and translation both involve the exchange or transmission of the message.

From the perspective of language involved in communication, only a kind of language is used in the process of communication, which is called “intralingual communication”, also the general communication, and is the most seen in our daily life, such as the talk between two persons or groups who speak the same language. For another, such a process of communication deals with two or more kinds of language and can only be realized by means of translation or interpretation, which is exactly what we further study “interlingual communication”, and is also how we get translational communication.

So here is the difference between general communication and translational communication: translational communication carries the general characteristics of general communication, and also has a unique characteristic: language shift, which both constitute the essentials of translational communication. At the same time, translational communication studies and translation studies are different, more specifically, translation communication is the result of the development of translation studies towards a more refined and systematic direction. (Zhang Shengxiang, 2013：116). Differing from translation studies, see translation, as mentioned before, is an integral part of the process of translational communication, which is also regarded as an organic whole whose elements are interactive and interdependent.

We can conclude that translation is one of the forms of communication. And translational communication belongs to interlingual communication and can also be categorized as translation. It serves as the bridge for message communication among people. And based on Harold Lasswell’s 5W model of communication, the translator is introduced as one of the six elements of translational communication. As a result, a complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, receptor of target language message, vehicle\communicating channels and translation effect, and they engage in four links respectively, that is, initiation, translation, vehicle and reception, and message and translation effect are covering the whole process of translational communication.

In terms of six elements that contribute to a complete process of translational communication, six elements of translational communication jointly tell how translational communication is unfolding.

As the gatekeeper of translational communication, the subject of translational communication is also the initiator of the translational communication, who determines the communication message, the form of message presentation, translator, communication media and the vehicle, selects the wanted qualified translator and offers necessary material support to ensure the smooth operation of translational communication as well as partly affects the communication effect. This is the subjectivity of the initiator of translational communication. The initiator of translational communication can be an individual, a group, an organization, mass media or a country, which shows its diversity.

As an element that distinguishes translational communication from general communication, the translator is playing an important role in translational communication, that is, translators translate the source language message into the target language message and ensure the quality of the communication message. There will not be translational communication if there is no translator. In translational communication, a translator is a person, a machine, or a combination of both, who performs translation activities in the translational communication process (Yin Feizhou &Yu Chengfa, 2020：170-176). The translator affects the communication effect from two aspects: for one hand, the translator serves as the cooperation partner or stakeholder of the initiator of translational communication or even the initiator himself, along with the initiator or himself alone, exerts influence over the effect; for another, as the gatekeeper of message shift, translator determines the final effect of translational communication by selecting certain kinds of translation strategies or techniques and interacting with other elements of translational communication which deals with the quality of target language message. This is also an illustration of the subjectivity of translators in translational communication.

Source language message and target language message are both the object of translational communication, the object for the subject or initiator and translator of translational communication to recognize and perform and for the receptor to accept and understand. All activities of translational communication start from the perception, understanding and selection of the source language message and result in the target language message. There are three kinds of relationships between source language message and target language message: substitution, symbiosis and competition (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 112).

Communication channels refer to those media involved in translational communication, including newspaper offices, journals and magazines, book publishing houses, radio and television stations, film studios and networks and so on. In terms of message communication direction, these activities of translational communication can be classified into two types: internal translation communication and external translation communication. There are three main characteristics of communication channels: first, there is a translation link involved; second, communication media must be authorized; third, cross-region or -country cooperation will be made to better communicate.

The receptor of the target language message, the terminal of translational communication activities, accepts the heterogeneous culture from the source language, which means that receptor has to go through a cross-language understanding and cross-cultural reception. There are four characteristics of receptors in translational communication: absorb the heterogeneous culture, transform cognition, witness an impacted social culture and personal philosophy.

Like the effect of general communication, the effect of translational communication can be classified into two types: psychological, attitude and behavioral changes on the target receptor caused by the persuasive translational communication; the other is an intentional or unintentional, direct or indirect, implicit or explicit effect or influence on the general receptor and the society caused by all kinds of translational communication activities, especially those initiated by international radios and televisions, foreign language learning platforms and international message websites and We media.

===Section One The Initiator of Translational Communication===
As has been mentioned before, the initiator of translational communication is the gatekeeper of translational communication. It monitors other elements of translational communication and the whole process of communication, thus affecting the final effect of communication. According to the language environment, the subject or initiator of translational communication can be divided into the subject of the source language and the subject of the target language, and its control of the communication process can be in the form of control by the subject of the source language, control by the subject of the target language, and joint control by the source language subject and the target language subject. (Yin Feizhou & Li Ying, 2021: 76).

(1) The Subject of Source Language

The subject of source language refers to those individuals or organizations in the source language environment and their advantages in communicating their native or national culture lie in their deep understanding of and great appreciation for the message itself and the quality of Chinese classic works.

China International Literature Press and Foreign Language Press, the publishers of the Panda Books, are the subjects of the source language. As a member of the China International Publishing Group, Foreign Language Press has the responsibility of “introducing China in foreign languages and communicating with the world through books”. And its Panda Books includes a wide range of contemporary Chinese literary works, including masterpieces or collections of famous contemporary Chinese writers such as Wang Meng, Wang Zengqi, Liang Xiaosheng, Jia Pingwa, Feng Jicai, Tie Ning and Wang Anyi and so on, and their works reflect the true spiritual world and daily life of the Chinese people and resonate widely with their changing spiritual life and social environments. As a result, Panda Books has been a great success and has received widespread attention from the literary and Chinese communities in foreign countries such as the United Kingdom and the United States, thus becoming a publishing brand for translating and interpreting contemporary Chinese literature.

This is indeed an excellent example of Chinese classics translation and promotion abroad. Chinese classics such as the Taoist classics represented by Laozi or Tao Te Ching and the Confucian classics represented by the Analects, poems in the Tang, Song and Yuan dynasties, as well as the Ming and Qing novels represented by the Four Great Masterpieces of China have everlasting value and their significance goes beyond the contemporary era, and have gotten popularity in foreign countries during different periods. Therefore, their translation and promotion entail more attention and efforts from national publishers like Foreign Language Press so that Chinese classics can be brought back to life in the modern world.

Some famous Chinese and foreign experts and top-notch translators have worked with the FLP at one time or another, such as Israel Epstein, Sidney Shapiro, Gladys Yang, Denise Ly-Lebreton, and Tatsuko Yokokawa, Betty Chandler, Xiao Qian, Ye Junjian, and Yang Xianyi. Of them, A Dream of Red Mansions, co-translated by Yang Xianyi and his wife Gladys Yang and published by FLP, along with The Story of the Stone by Hawks, the two major English translations of A Dream of the Red Mansions, have been popular in the English-speaking world for nearly half a century, each with its own distinctive features, and have an authoritative status not only in the mainstream book market but also in the international sinology and redology circles. This also offers another solution to Chinese classics translation for China’s publishing houses: to absorb in excellent translation talents and masters and join hands to lay a solid foundation for Chinese classics’ communication with a foreign culture and foreign readers.

(2) The Subject of Target Language

The subject of target language refers to those individuals or organizations in the target language environment and their advantages of communicating with foreign or alien cultures lie in that they have an in-depth understanding of the target receptors and good control of the means of communication in the target language environment. For the subject of the target language, the content of translational communication is often determined by the cultural needs of the environment.

Mai Jia's ''Decoded'' is a typical example of a contemporary Chinese literary work that has “gone global” thanks to the subject of the target language. After the work won the Sixth National Book Award and was nominated for the Sixth Mao Dun Award, it was translated into English by a British sinologist Olivia Milburn and Christopher Payne, and co-published by Penguin Publishing Group in the UK and Elite Publishing Group in the US on the recommendation of the sinologist Julia Lovell. Due to their rich experience in marketing, the two publishing groups have made the English version of ''Decoded'' an enduring bestseller through various marketing channels, including the production of promotional videos, media coverage, book reviews, and global lecture tours by the author, and has been selected as the only contemporary Chinese literature work in the Penguin Classics.

As the target language subject--the publishing bodies act as the subject of translational communication, their access to the introduced works is mainly through translators and copyright agents, and the works recommended by these two groups are mostly classics from the source language country or region. Chinese classics are classical enough, plus enough exposure and strong publicity, all these make them enter the vision of the subjects of the target language and become their choice. Therefore, from the perspective of translational communication, the translation of Chinese classics depends not only on the discerning eyes of sinologists and subjects of the target language, but also on the classical atmosphere created by the Chinese government, the Chinese media and the Chinese people as the source language subjects. That’s the truth: Blooming flowers will always attract butterflies.

(3) the Subject of Source Language and the Subject of Target Language

Joint control by the source language subject and the target language subject means that two communication subjects in the source language environment and the target language environment are jointly responsible for a translational communication project. In the publishing industry, two publishing houses in the source language and the target language cooperate to complete the whole process of publishing and distribution, including the granting of translation rights, translation, publication, marketing and market feedback. The publication of the English translation of the famous science fiction ''The Three-Body Problem'', written by the Chinese writer Li Cixin, is a typical example of this model.

In 2012, China Educational Publication Import & Export Corporation and Science Fiction World signed a book copyright agreement with Liu Cixin, the author of ''Three Bodies'' for the translation rights of its English version, and chose Chinese-American science fiction writer Ken Liu as the translator of the first book. In 2014, the company licensed the English version of ''Three Bodies'' to Thor Press in the U.S. for worldwide publication, and in 2015, Thor Press granted back the rights to the company for the English version in Greater China, and thus it was released in mainland China, Hong Kong, Macau, and Taiwan. So we can see that the English version of ''Three Bodies'' was jointly published and distributed by Chinese and American publishers who fully captured the content of this masterpiece and made good use of the local distribution advantages of British and American publishers, and finally gained a great success.

So what can Chinese classics translation learn from it? There is no denying that the subject of the source language or Chinese is monitoring the whole process of translational communication. But it will never be a way out while holding excellent classic works in the bosom as it will be difficult for us to have the advantages that the subject of target language does: identify the target receptors, understand their cultural psychology and select the types of classics that will interest the target receptors as well as find the best form of communication. So cooperation will be a win-win choice, especially today when Sino-foreign exchange has been increasingly close.

===Section Two Translator in Translational Communication ===
Translator distinguishes translational communication from general communication, and they have the qualities of general translators and proficient ability to manage cross-cultural issues and, more importantly, the flexibility to interact with other elements to ensure the quality of translation and the communication effect, which are all examples of the subjectivity of translators. In the specific process of translational communication, the subjectivity of translations can be divided into two kinds: intra-translational subjectivity and extra-translational subjectivity (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 88). Extra-translational subjectivity refers to the translator's activeness and passivity in interacting with other elements of translational communication beyond language conversion, and it runs through the process of pre-translation negotiation and post-translation coordination. Intra-translational subjectivity refers to the translator's activeness and passivity in language conversion under the influence of other translational communication elements, and it runs through the process of translation.

(1) Pre-translation Negotiation

In translational communication of books, translators’ pre-translation negotiation subject is mainly the initiator of translational communication. This means that the translator needs to translate according to the expectations or instructions of the initiator, such as identifying the content of the translation, determining the purpose of translational communication, and proposing specific translation standards or strategies. The translator accepts the commission, agrees on the translation plan and signs a translation contract, and should of course translate according to the subject or initiator’s requirements, and the translation should try to meet his expectations, which reflects its passivity. For another, the translator can also make suggestions to the initiator, communicate and modify the translated text, standards or strategies based on his or her understanding of target readers and target society and culture, which in turn reflects the translator’s activeness.

Before the First China-Africa Economic and Trade Expo, the Secretariat of the Organizing Committee, as the main body of translational communication, commissioned a translation committee composed of experts including Jiang Hongxin and Yin Feizhou from Hunan Normal University to translate the official documents of the Expo. The translation committee initially advised that the Chinese expression “经贸合作” in the title of the book could be translated as “business cooperation”, but the secretariat, taking into account the opinions of the experts, considered that its translation should be “economic and trade cooperation”, and the translation of “经贸” should be “economy and trade”. In fact, the translation committee quoted the official English translation of “China-Europe business cooperation” from Li Keqiang’s keynote speech at the sixth session of the China-Europe Forum Hamburg Summit, stating that the term “economic and trade cooperation” is actually the equivalent of “business cooperation”, which does not need to be translated as the lengthy “economic and trade cooperation”. Despite that, the Secretariat emphasized that the translation of the book title should be consistent with the official English translation of the China-Africa Economic and Trade Expo, and insisted on the version of “economic and trade cooperation”. After understanding the intention of the organizing committee secretariat, the translators expressed their understanding and adopted this translation (Yin Feizhou, 2021: 88).

(2) While-translation Control

It’s what translators must do to timely communicate with the author of the source text or some experts while facing some difficulties or some professional problems in translating. The famous American sinologist Howard Goldblatt once said in an interview: The dialects in Jia Pingwa’s novels are so many that sometimes I fail to understand them while translating and have to communicate with him. Besides, I have translated eleven of Mo Yan’s novels, and we have had many discussions and even arguments about various details in them. Some of the artifacts and cultural backgrounds in Mo Yan's novels have posed considerable challenges for me. There is an artifact in (si shi yi pao) ''Pow!'' that I never understood, so I turned to him for help, and Mo Yan made a sketch and sent it to me by fax (Meng Xiangchun, 2014: 26). As a result, under the joint efforts of the translator and the author of the source text, Mo Yan’s works with Chinese characteristics has been a hit in the western and American markets and eventually Mo Yan won the Nobel Prize for Literature thanks to Howard Goldblatt’s translation.

The translator is the most competent and literate member in terms of interlingual communication during the entire translational communication activity (Yin Feizhou, Li Ying: 77). This means that translators should give full play to their roles and be more creative while being loyal to the source text and responsible for the author. As far as the role of translators is concerned, translators should be more creative in their translations to enhance the readability of Chinese classics. The famous translator of ''A Dream of Red Mansions'' Gladys Yang once said: “We (she and her husband Yang Xianyi) are not flexible enough. There is one translator whom we admire very much, David Hawks (another famous translator of ''The Story of The Stone''). He was much more creative than we were. We are too rigid and readers don’t like it because we are adopting literal translation wholly. In fact, we should be more creative. Translators should be more or less that way. However, we have been restricted by our past working environment for a long time, and thus more stuck to the source text” (Wang Zuoliang, 1989). As Zhuang Yichuan (2015: 76) has said, the more creative the translator is, the closer his translation will be to the original. And vice versa.

(3) Post-translation Coordination

After the translation is finished, the translated text has to be read and examined by the translator herself and others. Others include readers of the target language, who are responsible for pointing out those expressions that are not accurate, fluent and standard, and initiator of translational communication, who aims to find wherever it is inappropriate for publishing. For the former, as Howard Goldblatt translated Yang Jiang’s ''Six Chapters from My Life: Downunder'', Joseph Lau, a young teacher at the University of Wisconsin at the time, was invited as a reader and offered valuable suggestions for the treatment of background knowledge in the translation (Xu Shiyan, 2016: 90). For the latter, in his translations of Chinese classics, Howard Goldblatt has to abridge some of his translations at the request of editors and publishers, because literary translational communication cannot take place in a vacuum. (Liu Yunhong, 2019: 76) Readers’ acceptance is one of the factors that are necessarily taken into consideration.

In a word, at the stage when the foreign translation of Chinese literature was not yet in full swing, Howard Goldblatt gave full play to his initiative, actively communicated with editors, publishers and scholars, and jointly made suggestions for the translation, publication and promotion of the works, thus achieving the success of foreign translation of Chinese literature. This is exactly the kind of translator that Chinese classics translation asks for. In fact, Howard Goldblatt came into sight of Chinese and became the hot subject of the research of Chinese translation circles after Mo Yan’s winning the prize. That’s the reality: the translator is often invisible. But for Chinese classics translation, translators are increasingly visible. This inspires us in terms of two aspects. One is such translation masters as Howard Goldblatt who makes great contributions to Chinese literature and Chinese culture deserves Chinese attention and recognition when the Chinese government or the initiator of Chinese classics translation should be open and clever enough to cooperate with such talents to serve this event. Second, Chinese translators should never be excluded, although it is always a better choice for a target language translator to have this job. But the ability speaks aloud.

So what can Chinese classics translation learn from the translator with subjectivity and creativity from the perspective of translational communication? It must be a lot to learn from.

First, Chinese classics translation needs modern excellent translators as inheritors to inject them with new vitality. This needs translators’ activeness. For example, although the version of ''Roman of Three Kingdoms'' translated by the English sinologist C.H. Brewitt Taylor is no longer popular now because of the passage of time, it is still very influential in sinological circles. For example, the American sinologist Moss Roberts referred to his version when he re-translated this classic in 1983. The Australian sinologist Rafe de Crespigny became interested in Chinese history when he saw Taylor’s translation and later wrote at least five full-length monographs on the late Han and Three Kingdoms periods, and a 500-page biography of Cao Cao, which is perhaps the only biography of Cao Cao in the English-speaking world. This is exactly where the charming of excellent translation lies in: despite being difficult to translate due to its rich content and impressive cultural marks, real responsible translators should be rising to challenges, trying to challenge their predecessors and be creative to re-illustrate the Chinese classics while standing on the shoulders of those who came before us.

Second, the cultivation of translation talents for Chinese classics translation should be valued at a national level. In the past, the training of foreign language talents and translators focused on learning foreign literature, language and culture, and a certain degree of Chinese cultural aphasia has occurred. That is, Chinese translation talents may be familiar with English and American literature and its popular culture, but know little about ''the Four Books and Five Classics'' and the national culture. Here the problem comes: if they do not know their own cultural traditions and ideology, how can they take up the important task of translating and interpreting China? Therefore, in the current training of translation talents, it is urgent to make up for the shortage of local cultural nourishment and strengthen the education of local history, culture and intellectual concepts. Throughout the twentieth century, China was good at translating from foreign culture but poor at translating Chinese culture abroad, but there was a translation master in Chinese cultural promotion abroad, and it was Lin Yutang, one of the best-known Chinese writers of the twentieth century in the world. His ''Moment in Peking, My Country and My People, and The Importance of Living'' and so on all tells China and Chinese culture to the world. At this time when Chinese culture is being exported on a large scale, and when Chinese culture has to go out and is going to have benign communication with other cultures, Lin Yutang, who is undoubtedly a model of cultural communication, is worth studying and emulating both at present and in the future.

===Conclusion===
The significance of Chinese classics translation from the perspective of translational communication studies lies in the fact that it’s the right time for the strategies of Chinese cultural communication to upgrade while facing a lingering pandemic. At the same time, from translating the world to translating China, China itself has been increasingly stressing the foreign communication of our culture, so translational communication as a new subject will be a good approach to related studies. As has been illustrated above, the initiator of translational communication and translator, as two of the six elements of translational communication, are playing an important role in this process and this importance can be seen everywhere in book publication and promotion worldwide or by means of other media. In conclusion, translational communication studies indeed provide the theory and methodology for promoting Chinese classics abroad and “telling the Chinese story well”.

===References===
*Guo Qingguang郭庆光. (2011). ''传播学教程（第二版）''[Communication Studies Course (2nd Edition]. 北京：中国人民大学出版社Beijing: China Renmin University Press, Page 4.

*Hu Zhengrong.胡正荣.(2017).''传播学概论''[Introduction to Communication Studies]. 北京：高等教育出版社Beijing: Higher Education Press, Page 19.

*Liu Yunhong.刘云虹.(2019).''葛浩文翻译研究''[Studies on Howard Goldblatt’s Translations].南京大学出版社 Nanjing University Press, Page 76.

*Meng Xiangchun.孟祥春.(2014).葛浩文论译者——基于葛浩文讲座与访谈的批评性阐释[Howard Goldblatt on Translators--A Critical Interpretation Based on Howard Goldblatt’s Lectures and Interviews].中国翻译Chinese Translators Journal, (03): 26.

*Wang Zuoliang. 王佐良.(1989).''翻译：思考与试笔''[Thinking and Practice on Translation].北京：外语教学与研究出版社Beijing: Foreign Language Teaching and Research Press, Page 84.

*Yin Feizhou, Li Ying.尹飞舟、李颖. (2021).翻译传播主体控制效应解析———以当代中国文学作品英译出版为例[An Analysis of the Control Effect of Translational Communication Subjects---The Case of English Translation and Publication of Contemporary Chinese Literature]. 湖南师范大学社会科学学报 Journal of Social Science of Hunan Normal University, Page 76.

*Yin Feizhou, Yu Chengfa.尹飞舟、余承法. (2020).''翻译传播学论纲''[Outline of Translation Communication Studies]. 湘潭大学学报（哲学社会科学版），Journal of Xiangtan University(Philosophy and Social Science)2020(05)：170-176.

*Yin Feihzhou, Yu Chengfa and Deng Yingling.尹飞舟、余承法、邓颖玲. (2021).''翻译传播学十讲''[Ten Chapters of Translational Communication Studies]. 长沙：湖南师范大学出版社 Changsha: Hunan Normal University Press, Page 17 and 88.

*Zhang Shengxiang.张生祥.(2013).翻译传播学:理论建构与学科空间[Translation Communication: Theoretical Constructions and Disciplinary Space]. 湛江师范学院学报 Journal of Zhanjiang Normal College, (01):116.

*Zhuang Yichuan.庄绎传.(2015).''翻译漫谈''[On Translation].北京：商务印书馆Beijing: The Commercial Press, Page 76.

==英语笔译曹姣 Cao Jiao 202170081564 MW==

<center>'''The Dissemination of ''The Compendium of Materia Medica'' Abroad'''</center>

<center>曹姣CaoJiao</center>

===Abstract===

===Introduction===
The ''Compendium of Materia Medica'' is one of the pharmaceutical classics of China [elaborate].

Since the outbreak of coronavirus pandemic, traditional Chinese medicine has demonstrated its curative effect [evidence based medical study double blind randomized] in prevention and other respects by means of early intervention and 'full participation' [explain], and traditional Chinese medicine has thus re-[do you really mean it?]entered the international visibility [really?].

===Structure===
This paper takes the overseas dissemination of the ''Compendium of Materia Medica'' (Chinese characters) as an example: the first part is about the spread and development of its original text, the second part is about the overseas dissemination of its translation, the third part is about the current acceptance of the book, and the fourth part is about the summary and further analysis of the dissemination of this pharmaceutical classic. The research on the dissemination of Chinese medical classics abroad will better help the Chinese medical classics to go abroad and promote the internationalization of TCM.

===Key words===
'''''the Compendium of Materia Medica''; overseas dissemination; Chinese medical classics;'''

===Introduction===
'''1. On the original'''

The original classic ''Compendium of Materia Medica'' consists of 52 volumes, including 16 parts and 60 categories, which recorded 1892 kinds of herbs, 11096 prescriptions and 1110 attached drawings. Based on traditional Chinese medicine, this book integrated mass disciplines encompassing basic theories of traditional Chinese medicine, medicament, prescription, and clinical application which almost involve all the contents of traditional Chinese medicine, reflecting the comprehensiveness of herbal knowledge and marking the extraordinary significance to the development of traditional Chinese medicine.

'''2. On the author of the original'''

Li Shizhen (courtesy name: Li Dongbi, assumed name: Li Binhu; 1518-1593) was from Qizhou (present Qichun County, Hubei Province). He came from a family lineage of physicians. His grandfather, an itinerant healer usually walked the streets to give treatment to poor people, and his father was a famous physician in his hometown. He was brought up and nurtured by his family tradition and he expressed keen interest in medicine.(Min Li, Yongxuan Liang 2015, 215-216)

===Literature Review===

===Methods and Theories===

===The original edition and the other three popular editions===
'''1. Jinling Edition'''
Li Shizhen has represented a great interest in medicine since he was young. He read previous works extensively, and when he had got some perceptions he would make notes and in this way he accumulated a large amount of knowledge. Meanwhile, he did not stick to the saying of the ancient people and adhered to “seeing is believing”.
From the age of 35, that is, the thirty-first year of Jiajing of the Ming Dynasty, Li began to write the''Compendium of Materia Medica'', and until the age of 62, that is, the sixth year of Wanli of Ming Dynasty, it was completed without manuscript. During this 27 years, after arduous efforts, Compendium of Materia Medica was finally written successfully in 1578. Because this book encompassed the content of the anti-taoist belief of immortals, its publishing process necessitated painstaking efforts. Finally, with the help of Wang Shizhen, a literary giant of that period, it was about to be published. However, Li passed away just as the engraving of his work was complete and was about to be printed. In 1596, the epoch-making ''Compendium of Materia Medica'' was published in Nanjing, known as the Jinling Edition.

'''2. Jiangxi Edition'''

'''3. Hangzhou Edition'''

'''4. Hefei Edition'''

===Dissemination in different regions ===
'''1. In Japan'''

'''2. In Korea'''

'''3. In Europea'''

'''4. In America'''

===Reception in contemporary foreign market===

===Analysis and enlightment===

===Conclusion===

===References===
*Min Li, Yongxuan Liang(2015). Li Shizhen and The Grand Compendium of Materia Medica. Journal of Traditional Chinese Medical Sciences 2, 215-216
*
*
*

==英语笔译陈路瑶 Chen Luyao 202170081565 CE==

<center>A Study on the Popularity of Tie Ning's ''The Bathing Women'' Abroad</center>

<center>Chen Luyao</center>

===Abstract===
Tie Ning is an important writer in the history of modern Chinese literature. Her literary creation almost started in the period of reform and opening up. In 1983, her novel ''Ah, Xiangxue'' won the national excellent short story award, and Tie Ning quickly entered the center of contemporary literature. The overseas translation and introduction of Tie Ning's novels began in the mid and late 1980s. At first, the number of translations and introductions was small. Then, in the 21st century, relying on the background of China's rise, the scale and volume of overseas communication of Chinese contemporary literature have expanded rapidly. The number and attention of the overseas translation and introduction of Tie Ning's novels have also increased significantly, and the communication area has been expanding. However, the degree of acceptance has always been low, and the overseas research is relatively weak. Compared with its domestic influence Status is not commensurate. It is worth mentioning that Tie Ning's novel ''the Bathing Women'' has attracted more attention overseas, especially in the English world. Due to the differences in culture, politics and focus of attention between China and foreign countries, as well as the different understanding of his works abroad and at home, there are both positive praise and frank and sharp criticism of his works. The overseas translation and research of Tie Ning's novels provide reference and reflection for Chinese literature to go abroad and enter the world literature.

===Key Words===
Tie Ning; ''The Bathing Women''; World Literature

===Introduction===
This paper consists of five parts. The first part is a literature review, which introduces the dissemination of Tie Ning and her works in China and abroad, as well as the research status of experts at home and abroad on Tie Ning's works. The second part is the introduction of Tie Ning's life experience and ''the Bathing Women''. The third part analyzes in detail the popularity of Tie Ning's ''the Bathing Women'' abroad, taking the United States and Japan as examples. The fourth part discusses the reasons for the popularity of ''the Bathing Women'' abroad. The fifth part talks about the enlightenment brought by the popularity of Tie Ning's works abroad. The last part is the conclusion based on the above phenomenon analysis and enlightenment.

===Literature Review===
Tie Ning is a unique existence in the contemporary literary world. She is the third chairman of China Writers' Association after Mao Dun and Bajin. She integrates political identity, writer identity and female identity. With the continuous maturity of Tie Ning's works, the research on Tie Ning has also entered a period of in-depth excavation and comprehensive integration.

At present, the overall research results of Tie Ning can be roughly divided into the following two categories: the first category is research monographs. The table works are interpreted subtly. In 1990, Chen Yingshi's ''Tie Ning and Her Novel Art'' was the first monograph to study Tie Ning and her creation. In 2005, He Shaojun's ''Tie Ning Critical Biography'' is the first review book that comprehensively combs Tiening's literary path and growth track. In the same year, Shen Hongfang's ''Commonness and Individuality of Female Narration: A Comparative Study of Wang Anyi's and Tie Ning's Novel Creation'' compared the similarities and differences between Wang Anyi's and Tie Ning's creation from the four themes of love and marriage, social history, desire and its expression and narrative discourse individuality. Fan Chuanfeng's book ''where the Mermaid's Fishing Net Comes from: A Study of Tie Ning's Novels'' gives a subtle interpretation of many of Tie Ning's representative works. In 2007, Liang Huijuan, Wang Sufang and Li Suzhen co-wrote ''the Cool and Warm Colors - Research on Tie Ning's Creation'', which is a insightful and high-level research work, and makes a penetrating analysis of Tie Ning's creative ideas and creative methods. In 2009, ''the Research Materials on Tie Ning'' edited by Wu Yiqin included many research materials and comments on Tie Ning in the past 30 years, which is of great reference value. In the same year, Zhou Xuehua's ''Eternal Moment - A Narrative Study of Tie Ning's Novels'' is the first work on narratology in Tie Ning's research. It makes a multi-dimensional evaluation of Tie Ning's works from the perspectives of time and space, structure, perspective, language and so on. In 2012, Liu Li's ''Chinese Women in the Rose Door - Tie Ning and the Gender Identity of Contemporary Female Writers'' is the research result of Tie Ning's female writing, which investigates the female self-identity and the identity of female writers in the new era. In 2014, ''Tie Ning's Literary Almanac'', compiled by Zhang Guangming and Wang Dongmei, carefully combs Tie Ning's creative experience and activities, outlines the development track of Tie Ning's creation and makes simple comments. It is a material that can not be missed in the study of Tie Ning. In 2015, Wang Zhihua's ''Dance of Soul and the Beauty of Neutralization - On Tie Ning's Novels'' and in 2016, Xu Qingsheng's ''On the Art of Tie Ning's Novels'' gave artistic explanations to many of Tie Ning's important works.

The second category is research review papers. In 2005, Chu Hongmin's ''Review of Research on Tie Ning's Novels'', in 2009, Si Zhenzhen's ''Review of Research on Tie Ning's Works'', in 2010, Wang Lijun's ''Review of Research on Tie Ning's Novels'', and in 2017, Wang Jingjing's ''Review of Research on Tie Ning's Novels'' all summarized and analyzed the characteristics of Tie Ning's research stages, research subjects, research priorities and research deficiencies to varying degrees in the form of a review, which can restore the outline of Tie Ning's research over a period of time, Probably due to the limited space, most of them stay at the level of collation, and the research needs to be further expanded. There are also many phased research achievements. For example, in 2007, Tang Xin's ''Review of Tie Ning's Creative Research in the Past Ten Years'' summarized the ten years after Tie Ning's research entered the mature stage. In 2009, Wang Xiaoyu's ''Review of Tie Ning's Early Novels'' combed Tie Ning's early works. In 2015, He Shaojun's ''Falling in Love with Things That Human Hearts Can Feel Together -- On Tie Ning's Recent Literary Creation'', Wang Binbin's ''Understanding of the Depths of Human Nature'' in 2017, Shen Bin's ''Creation of Earthly Spirit -- Review of Tie Ning's Recent Novels'' and other papers commented on Tie Ning's creation since the new century, mainly the short story collection ''Flying Winemaker''.

Based on the research status of Tie Ning in the past 40 years, it can be seen that Tie Ning's research path has gone from the outside of literature to the inside of literature, and then to the integration of inside and outside. The research angle has changed from single to multiple, and the research method has changed from closed to open. Based on the background of the canonization of modern and contemporary Chinese literature and the historical materials of theoretical criticism in the contemporary literary world, it is time to comprehensively discuss Tie Ning, a typical representative contemporary writer.

===Methods and Theories===
Although Tie Ning's works are unique and thought-provoking, and many people have studied and analyzed them, with the advance of time, the popularity of Tie Ning's works is decreasing, and the opportunity of exposure is also decreasing. Although the previous research results on Tie Ning and her works are commendable, most of them are analyzed from the perspective of the whole, connecting Tie Ning's life experience with each work. Only a few of them start with a detailed analysis of one of her works, and make in-depth analysis and Reflection on the popularity of Tie Ning's works abroad. In the current context, it is more necessary to analyze the popularity of her works overseas, so as to learn from experience and help Chinese literature go abroad. This paper adopts the methods of literature analysis and cultural research. Literature analysis refers to the analysis of Tie Ning's specific text, taking time as the clue and text as the texture to sort out Tie Ning's creative process. The cultural research method is to explore how the external political, historical, cultural, commercial and other factors of literature interact with Tie Ning's creation and research beyond the internal laws of literature.

===Introduction===

1.Introduction of Tie Ning

Tie Ning was born in Beijing in 1957. Her father was a painter and her mother was a vocal music professor. When she grew up, she became a writer.

In 1975, Tie Ning, who graduated from high school, was influenced by the political trend of thought and the idea of accumulating creative materials in the countryside, but gave up the opportunity to stay in the city and chose to jump the queue in ZhangYue village, Boye County, Baoding. This rural life not only made Tie Ning accumulate a lot of writing materials, but also prompted her to create a series of novels reflecting rural life, such as the Night Passage. Although these works are not heavy, Tie Ning has attracted the attention of writers Ru Zhijuan and Sun Li, who have given her encouragement and support.

In 1979, Tie Ning was transferred to the editorial department of Huashan, a literary journal of Baoding Federation of literary and art circles as an editor. In 1982, Tie Ning published the short story Ah, Xiangxue. Sun Li praised this work and thought it was as pure as a poem. This work was reprinted in magazines such as Novel monthly, Selected Novels and Xinhua Digest. Subsequently, this work won the "National Excellent Short Story Award" in 1982 and won a wide reputation for Tie Ning.

In 1988, Tie Ning's first novel, ''the Rose Door''，was published by the writers' publishing house. This work marked the change of Tie Ning's creative style. The innocent Xiang Xue disappeared and was replaced by Si Qi Wen, who was full of "evil". After the publication of the Rose Door, it attracted wide attention. The following year, ''the Rose Door'' seminar was held in Beijing. Writers such as Wang Meng, Wang Zengqi and radar affirmed Tie Ning's work at the meeting. The female consciousness shown in the novel also attracted the attention of some participants. Writers such as Li Tuo thought that this work provided a feminist perspective, Some researchers also believe that this work cannot be classified as a female literary work.

In 2000, Tie Ning's novel ''the Bathing Women'' was published by Chunfeng Literature and Art Publishing House. Although the title and sexual description of Cezanne's famous works caused some criticism, Professor Wang Yichuan of Peking University pointedly pointed out that this work is "an elegant or serious literary work that greatly depends on the reader's reading patience and high understanding". In November2006, Tie Ning was elected chairman of the Chinese writers' Association and published the novel Stupid flower. This work no longer only focuses on women, but closely combines personal destiny with historical background, composing a love between family and country with a profound sense of history. During this period, the characters in Tie Ning's works became more three-dimensional, and the creative theme became more profound.

[[File:Tie Ning.jpg]]

With her excellent ability, she served as the chairman of Hebei writers' Association and the vice chairman of China Writers' Association. In 2006, she was elected chairman of the Chinese writers' Association. In 1975, he began to publish literary works. His main works include novels such as ''the Rose Door'',''the Bathing Women'', ''Stupid Flower'', and more than 100 short stories such as ''Ah, Xiangxue'', ''the Twelfth Night'', ''the Red Shirt without Buttons'', and ''How Far Is It Forever'', with a total of more than 4 million words. In 1996, she published five volumes of Tie Ning's works, and in 2007, the people's Literature Publishing House published nine volumes of Tie Ning's works. Her works have won six National Literature Awards including the "Lu Xun Literature Award"; In addition, novels and essays have won more than 30 awards for major academic journals in China. The film ''Ah,Xiangxue'' written by Tie Ning won the grand prize of the 41st Berlin International Film Festival, as well as the Golden Rooster Award and Hundred Flowers Award of Chinese films. Some of his works have been translated into English, Russian, German, French, Japanese, Korean, Spanish, Danish, Norwegian, Vietnamese and other languages.

Tie Ning's writing has been wandering between warmth and cruelty, tradition and Avantgarde. Although her writing has been greatly welcomed by mainstream culture and ideology at the beginning, she is always trying to escape the naming and classification of her creations from all sides in the literary world. The pursuit and reflection of true self constitutes an important theme of Tie Ning's creation; On the other hand, the warmth, love and consideration for the little people living at the bottom of the society are also carried out throughout the writer's creative process. Tie Ning's early works describe ordinary people and things in life, especially the characters' hearts, which reflect people's ideals and pursuit, contradictions and pain, and the language is soft and fresh. In 1986 and 1988, she successively published two novelettes, Haystacks and Cotton Stack,which reflected on the ancient history and culture and paid attention to the survival of women, marking that Tie Ning entered a new period of literary creation. In 1988, she also wrote his first novel, ''the Rose Door'', which changed Tie Ning's poetic realm of harmony and ideal in the past, and completely tore open the ugly and bloody side of life through the competition among generations of women.

2.Introduction of ''The Bathing Women

''The Bathing Women'' was originally the name of an oil painting. Tie Ning's novel named after it naturally has a unique moral. The protagonists of the novel are a group of contemporary women centered on Yin Xiaotiao. Their painful growth process under the bath of social and times is the main focus of the writer.''The Bathing Women'' reveals how hard and painful it is to grow up. The enemy of the self comes not only from the outside, but also from the inside. Women's own weaknesses and limitations have become the main object of reflection in this novel. Yin Xiaotiao, the main character in the novel, is a successful intellectual woman. The plot unfolds in her relationship with her two younger sisters, her parents, her lover, and her girlfriend tang Fei. ''The Bathing Women'' describes the heroine Yin Xiaotiao's arduous growth and emotional journey: because of her mother's red apricot coming out of the wall and her little sister's fall and death, she bears the spiritual burden of students and alienates her relationship with her mother; Younger sister Yin Xiaofan competes with her in everything. She is not so much a relative as an opponent; Yin Xiaotiao is a strong woman. She is very successful in her career, but she is proud and lonely in her heart. Fang Jing, the big star she was infatuated with, approached and found that she was a big layman who only wanted to possess but was unwilling to pay. Of course, he is really smart and talented. He caught up with the tide of the times and became a contemporary hero and public figure in the cultural context of the 1980s. Just like many "successful people" today, having a large number of women has become an important goal of his life. Yin Xiaotiao is just one of his many trophies.

=== An Analysis of the Overseas Popularity of ''the Bathing Women'''''===

Tie Ning is one of the most influential female writers in the contemporary literary world. Her works are famous for their distinctive female consciousness. In her numerous novels, she is always full of deep humanistic care for the living conditions and the ups and downs of the destiny of Chinese women. With poetic and perceptual strokes, she carefully describes the moral and emotional shocks and ripples that contemporary Chinese women encounter.The Bathing Women is one of her representative works. In 2000,the Bathing Women became an eye-catching sight in the literary book market in that year: as one of the famous brands, Cloth Tiger Series, it topped the list with a brilliant performance of 200000 copies at the spring ordering meeting of the national literary and art book group. It can be seen that the Chinese readers' expectation and love for this novel.

[[File:The Bathing Women.jpg]]

Tie Ning's works have always been loved by Chinese readers. Her works have also been widely spread in other languages in the world, and the English world is one of them. After the Bathing Women was published by the people's Literature Publishing House in 2006, it was not until 2012 that Scribner's published the English translation of ''the Bathing Women'', which was jointly translated by Zhang Hongling and Jason Sommer. On the back cover of the translation, the publishing house introduced Tie Ning and ''the Bathing Women'' as follows: in 2006, Tie Ning, 49, became the youngest president of the Chinese writers' Association. Her works have been translated into Russian, German, French, Japanese, Korean and other languages.

1.Analysis on the Popularity of Tie Ning's ''the Bathing Women'' in the United States

''The Bathing Women'' is Tie Ning's first novel translated into English. Therefore, it is of great practical significance and academic value to study the English translation and overseas popularity of Tie Ning's representative work the Bathing Women. By discussing the unique content of ''the Bathing Women'' and its acceptance in the English world after its publication, we can have a glimpse of the process and mirror image of Chinese contemporary female literature spreading abroad.

At present, the Chinese versions of Tie Ning's four novels, such as ''the Rose Door'', ''the City without Rain'', ''the Bathing Women'', ''Stupid flower'', and the short stories, such as ''Haystacks'', ''How Far Is It Forever'' are collected in American libraries. The following is the collection of Tie Ning's main works in the United States.

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It can be seen from the table that Tie Ning's Chinese works with the largest number of Libraries in the United States are ''Stupid Flower'' published by the people's Literature Publishing House in 2006, followed by ''the Bathing Women'' published by Chunfeng Literature and Art Publishing House in 2000, and ''the Chocolate Fingerprint'' published by the people's Literature Publishing House in 2006. American libraries usually select the books to be purchased by designating several core publishers in a certain field. Among the 26 works collected by more than 20 libraries, 11 are published by the people's Literature Press, In the ''Series of Contemporary Chinese Writers:Tie Ning'' published by the agency in 2006, several works, including ''Chocolate Fingerprints'', ''As Clear As Paper Cutting'', ''A Walking Dream'', ''the Bathing Women'', ''the City without Rain'', have been collected by American libraries, which shows the recognition of the people's Literature Publishing House and Tie Ning's works by the American library community.

In the 1980s, Tie Ning's works began to be translated into English. From the perspective of the form of expression, these English translated works can be divided into three types: one is the long novel single edition and the short and medium story album, that is, only the English translation of Tie Ning's works is included; The second is a collection of Tie Ning's works, that is, a collection of the works of many writers; The third is the English translation published in magazines. The only single edition of Tie Ning's works that have been translated and published in English is the novel ''the Bathing Women''. Tie Ning's works albums mainly include ''Haystacks'' and ''How Far Is It Forever''. Several libraries have collected ''the Bathing Women'', and few American libraries have collected the other two works.

Number English name Translator Press Series of books Year of publication Number of American collection Libraries

1 Haystacks Wang Mingjie,Mei Danli Chinese Literature Press Panda Books 1990 53

2 Haystacks Mei Danli Foreign Languages Press Panda Books 2005 22

3 How long is forever Qiu Maoru,Wu Yanting Reader's Digest / 2010 20

4 The Bathing women Zhang Hongjun,Jason Sommer Scribner / 2012 16

The first edition of the independent edition of ''the Bathing Women'' was published in 2012. In that year, Scribner and Thorndike Press published this work. Scribner press is subordinate to simon&schuster, Inc., which is one of the largest book publishing companies in the United States. Together with Random House, Inc., Penguin Group and Harper Collins publishers, Scribner press is known as the world's four major English publishing groups. This publishing company publishes a wide range of books, Scribner is a publishing house under Scribner that specializes in publishing literary works. It has published the works of Annie Proulx and other well-known writers, and has strong strength. The great bathing woman was copyrighted by Simon & Schuster and published by Scribner publishing house. It can be said that the publication of Tie Ning's works in the United States has stood at a high starting point from the very beginning.

2.An Analysis of the Popularity of Tie Ning's ''the Bathing Women'' in Japan

In foreign countries, Japan is one of the first countries to pay attention to Tie Ning, and the number of translations of Tie Ning's works ranks first. In december 2007, the Journal of Japan-China Contemporary Literature Research Association, No. 21, published A list of Japanese translations of Chinese literature in the new era, which counted all works of contemporary Chinese literature published in Japan from the end of the cultural revolution in 1976 to June 2007. A total of 2652 works by 486 contemporary Chinese writers were collected. Among them, the top five writers in the number of Japanese translations are Mo Yan (54), Can Xue (46), Wang Meng (41), Tie Ning (35) and Shi Tiesheng (25). From 1984 to 2010, Tie Ning has translated 48 works into Japanese.

Tie Ning was noticed when she appeared in the literary world. In 1982, Tie Ning's famous work ''Ah,Xiangxue'' was published in the fifth issue of youth literature. Sun Li spoke highly of this novel is a poem from beginning to end, which has been reprinted in Novel Monthly, Selected Novels and Xinhua Digest. In 1984, the work won the National Award for excellent short stories. In the same year, The magazine Chinese language published Ah,Xiangxue translated by Hiroko Matsui, which is the earliest Japanese translation of Tie Ning's works.

After the publication of the Japanese translation of ''the Bathing Women'', literary critic Song Shanyan published a book review, Insight into the Nuances of Modern China.His characterization of the novel is that it tells the story of a young girl growing up in a local city, feeling guilty when she was young, falling in love and becoming mature. He pointed out that the work did not fall into the stereotype of telling the story of a woman who was teased by fate. The women in the book are indomitable, not afraid of betraying others, but also desperately seize happiness. What impressed him was the scene of Yin Xiaotiao, Tang Fei and Meng Youyou secretly making delicious food during the cultural revolution. He pointed out that even in the dark ages, they also crave food and dress up. After sexual awakening, they look for love, compete with each other, envy and desire glory. However, after the cultural revolution ended and the world became rich, they became more and more dysfunctional.He said that after reading ''the Bathing Women'', the impression of the Chinese people will take on a new look, as if they were around. The author has insight into the most subtle aspects of contemporary China and superb writing ability.Song Shanyan's major has nothing to do with Chinese language and literature. Before he sawthe ''the Bathing Women'', China and Chinese people were foreign and strange to him. However, after reading ''the Bathing Women'', his impression of the Chinese people has taken on a new look and he can feel the most subtle scene of Chinese society. This is the embodiment of the unique role of excellent contemporary Chinese literary works such as the Bathing Women in conveying the true image of China and the Chinese people by telling good Chinese stories in the cultural exchange between China and Japan.

===An Analysis of the Reasons for the Overseas Popularity of ''the Bathing Women''===

As one of the Chinese literary works that have entered the world literature and won the favor of overseas readers, Tie Ning's ''the Bathing Women'' has been praised by many writers and writers, and also provides a reference for Chinese works to go to the world. In this context, the popularity of ''the Bathing Women'' abroad has also become a hot issue for discussion and analysis.

1.In Depth Analysis of Women

Historically, women have been ruled and ignored for a long time.Men are the main body and absolute, while women are the other. In ancient China, the concept of feudal ethics deeply constrained the development of women. The three cardinal guides and the five constant virtues as specified in the feudal ethical code made women take their husband as their priority at home, consciously attached to men, and eventually became male appendages without independent consciousness. The story of Adam and Eve in the western book of Genesis also has symbolic meaning of different status of men and women: according to the traditional saying, Eve was extracted from Adam's superfluous bones. The human world is male. Men define women not from women themselves, but from the inherent male perspective. Women are not regarded as an independent existence. Whether it is Yin Xiaotiao's fascination with each other in the early stage, or Zhang Wan's cosmetic surgery to find Yin Yixun happy, it is a kind of female unconsciousness and voluntarily becomes a vassal in the male discourse world. Tang Fei is even more ups and downs in the male world. She likes men, and she likes to let men like her. Captain wearing white shoes , dancer, master Qi, Xiao Cui and Yu Shengli are all self exiled among them. She was playing with men and being played with by selling her body, but finally she was alone in the hospital bed, unattended, which became a tragedy.

In addition, Tie Ning's thinking on women's survival is not limited to exposing the oppression of women by the patriarchal society. She pays more attention to the real female world and their conscious awakening, As she mentioned in the creation of the Rose Door: When dealing with female subjects, I have always tried to get rid of the eyes of pure women. I am eager to obtain a two-way perspective or a third sexual perspective, which will help me more accurately grasp the real living conditions of women. In China, not most women have a clear concept of themselves. It is not men who really enslave and suppress women's hearts, but women themselves. Out of this thinking, Tie Ning shows a deeper perspective to examine the fate of women, revealing that women hurt women in ''the Bathing Women'' and women's heavy consciousness of introspection. The female world has a dual nature, which is not simply good or evil or angels and evil women in the male discourse. They have the complexity of being born human. The women in the bathing women are more likely to hurt each other. Yin Xiaotiao asks Tang Fei to sell her body in exchange for her favorite job. Yin Xiaofan and Yin Xiaotiao, the sisters, are fighting each other because of the shadow left by Yin Xiaoquan's death. Yin Xiaofan always approaches and vies for Yin Xiaotiao's clothing accessories and even suitors. Tie Ning's questioning about family and friendship shows her deeper reflection on the path of women's self-growth.

2.Facing Male Chauvinism Bravely

In addition to analyzing women, Tie Ning also uses the concern of female writers to force and torture the patriarchal rule, striving to break the restrictions of male discourse on women and restore the true female image.

When analyzing Tie Ning's novels, many critics point out that her works have a strong sense of examining mother. This kind of mother trial consciousness is one of the ways Tie Ning breaks away from male discourse. Under the tradition of male discourse, mother is selfless dedication and a glorious image of following her husband and taking care of her children. However, Zhang Wu, the mother in ''the Bathing Women'', was the embodiment of desire. She cheated on Doctor Tang and stayed up all night on the night when Yin Xiaofan had a high fever, As Beauvoir said, maternal love has been distorted since the religion of motherhood preached that mothers are sacred. Because maternal dedication may be very pure, but in fact it is not. Motherhood often contains factors such as self intoxication, serving others, lazy daydreaming, sincerity, bad intentions, concentration or ridicule, which is a strange mixture. Tie Ning restored the image of mother to an objective person full of desires and self needs. To a certain extent, she rebelled against the definition of mother in the male tradition, separated the aura and sacred color imposed on the word mother by the male discourse, and rewritten the traditional maternal myth.

At the same time, in ''the Bathing Women'', Tie Ning also wrote a new image of men. Yin Yixun, the head of a family, is so hypocritical.The way Yin Yixun found to express his feelings made him a victim all his life. He vented what he wanted to vent, but it didn't seem cruel. He used his' unknown truth 'to maintain the normal operation of a decent family and his own dignity. So far, he has also mastered Zhang Wu's eternal guilt for him.. Yin Xiaotiao hates his father's inaction in cheating on his mother. The weak Yin Yixun doesn't think so. He uses his own trap to deceive Zhang Wu's uneasiness and his dignity as a husband.

3.Acknowledging the Evil of Human Nature

There are many expressions of sin in ancient Greek. Hamartia is often used to express the crime of crime, while parabasis is more used to express the violation of laws and regulations. Anomia is often translated into injustice in Chinese translation, which is opposite to righteousness. Therefore, the meaning of sin is not only external behavior, but also internal attitude. Under the constraints of laws and regulations, it is also under the control of soul conscience. Vertically, it shows that the relationship between its own value origin is broken, that is, crime; And the rupture of the relationship between people caused by this deviation is evil. The so-called guilt refers to an individual's deep-seated recognition of a crime. This sense of guilt is manifested in the synchronic aspect of guilt for people and things, and in the diachronic aspect of repentance for society, history and the whole mankind. Everyone is guilty, but not everyone knows, confesses and repents.Taking Yin Xiaotiao, Yin Xiaofan and other individuals as the center, the writing of the crime in the Bathing Women spreads from struggling individuals to the outside, not only analyzing the crime of innocence in personal desires; It discloses and interrogates the social crimes of the characters in the paradoxical survival dilemma; It also explores and reflects on the unspeakable crime of existence.

The evil discussed in ''the Bathing Women'' is not composed of evil characters. It is just some ordinary people who restrict each other in social relations. They are in an opposite position in the ordinary environment. Their position makes them knowingly commit crimes, and none of them is completely wrong. With Yin Xiaoquan as the center, these figures show the relationship between examination and being examined: when Yin Xiaoquan was alive, she and Zhang Yun became the focus of Tang Fei, Yin Xiaotiao and Yin Yixun's examination. Facing Zhang Wu's cheating behavior, Yin Xiaotiao is eager to intervene in the adult world as an adult in the absence of his father, so as to examine his mother and sister Yin Xiaoquan. When she heard that Dr. Tang was going to be a guest at home, she looked at her busy mother with a hazy adult consciousness. When Zhang was dressing up in front of the mirror and asking her how her hair was, she obviously smelled the smell of lampblack on Zhang's hair, but was not busy expressing her position. Instead, she asked Zhang is Dr. Tang a man or a woman. This cross-border vision is always accompanied by anxiety and uneasiness that are difficult to dispel. When Tang Fei confirmed that Yin Xiaoquan may be Dr. Tang's daughter, she acted as an ethical judge of her mother's infidelity. In her childhood when she should have enjoyed childlike innocence, she intervened in the adult world early with a precocious attitude, peeping into the adult world with bad deeds in the subtle clues. However, facts have proved that this way of crossing the border is not recognized. Her sensitivity and precocity make her a reviewer of her mother's words and deeds, which evolves into the separation between her and her family, and falls into the struggle of ethics and moral emotion prematurely. In the face of Yin Xiaoquan, who looks like Doctor Tang, Yin Yixun is unable to face the outside world and has no courage to accept Zhang Yun's infidelity. Tang Fei could not accept such a life like her own. Yin Xiaoquan was like an invisible torture instrument to her, which brought her more painful torture than the actual torture instruments. The death of Yin Xiaoquan not only did not weaken the scrutiny between Yin Xiaotiao and Yin Yixun, but also aggravated the gap between them. Yin Xiaotiao, Yin Xiaofan and Yin Yixun closed themselves to each other, tried to seek their own liberation from Yin Xiaoquan's death, and in turn tried to control each other. They "torture" each other, and everyone is always in the "eyes of others" and is supervised and examined. Yin Xiaofan tries to avoid the ugliness in his heart, whitewashes himself with his imagined positive image, and examines and supervises yiYn Xiaotiao from his own perspective. Yin Xiaotiao examines the hypocrisy of Yin Yixun. She feels sorry for Yin Yixun's experience, but resents Yin Yixun's disguised punishment of Zhang Yun. Yin Xiaotiao, Yin Xiaofan and others have formed a distorted family relationship. They can not get rid of the state of being influenced by the eyes of others, and lack a correct understanding of themselves. Therefore, the relationship between them can only be mutual pursuit and mutual exclusion. Everyone is looking at others, but they are also being looked at by others, and fall into a difficult survival dilemma.

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4.Exploring the Path of Redemption

The sense of guilt brought about by the death of Yin Xiaoquan is the cause of the character's spiritual struggle, and the necessary condition to eliminate the plight of survival is the realization and redemption of sin thus evolved the development track of confession - confession - atonement. The heavy sense of guilt in the works and the suffering created by the times show that the mutual derivation of crime and suffering has caused the plight of the characters. Writing about sin and suffering is not the ultimate goal. Guilt is the image state of being prayed to be saved and the spiritual image of Redemption. Ultimately, it is necessary to restore the meaning connection in the vertical and horizontal directions and rediscover the pure, real and eternal value meaning in one's own life. Therefore, the fundamental purpose of this work is to take the initiative to bear the sin, to confess the soul devoutly, to find an effective way to solve the survival dilemma and to explore the individual redemption. Many researchers are exploring the theme of Redemption in the Bathing Women, focusing on the two sisters of the Yin family, realizing the importance of self-examination of the soul in the redemption of the characters in the work, and finally affirming the completion of the redemption of the characters. However, no matter from what point of view, the people in the work are still suppressed by an unknown crime and cannot be really released, It has always been in the attempt and expectation of Redemption after all. As Liu Xiaofeng discussed, sin is not evil, and its opposite is not good. Therefore, seeking to cover up good deeds and good thoughts does not mean that sin has been redeemed.

''The Bathing Women'' focuses on the characters' choice of controlling and indulging in lust. In the exploration of redemption, it actively seeks ways to eliminate the plight of existence. The Redemption in the work tends to be comfortable with the original life, and is more reflected under the influence of the concept of redemption in the sense of Chinese traditional culture. Through the display of three different redemption in the works, we will further explore the deep motivation of the character's redemption, and then deeply explain the results of redemption and the possibility of dilemma resolution.

5.Focusing on the Influence of Family on Children's Growth

Western Bildungsroman is mainly to shape social people, so they often throw people into the social environment. This kind of novel also inherits some characteristics of picaresque and quest. Almost all the protagonists are on the road and on the journey, and have obtained enlightenment and growth in life. For Chinese people, family is very important and the first environment for teenagers' growth. Its role in teenagers' growth can not be ignored. Maslow believes that family plays a leading role in shaping personality. It is not only people's safe belonging, but also meets people's need for love. Chinese teenagers may not have the opportunity to travel far, but their family environment has a great impact on their personal temperament and personality types.

As the foundation of human morality, family contains the embryo and bud of the continuous development and evolution of human morality. The continuous evolution and change of family indicates the continuous enrichment and development of human morality. The traditional Chinese family stresses the order of the young and the old, which plays an important role in cultivating individual moral concepts. Therefore, most novels will describe the family in a harmonious and beautiful way to affirm the positive impact of the family on the growth of the protagonists. However, Tie Ning did the opposite. In ''the Rose Gate'' and ''the Bathing Women'',She focuses on the moral imbalance within the family, so that the growing protagonists face a relatively bad family environment before they set foot in the society.
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6.A Bold Depiction of Sex

Since the late 20th century, body writing has increasingly become an important means of female writing. This situation is obviously influenced by Elena Sisu's concept of using milk as ink to show the female body, a huge field beyond the control of male discourse in Medusa's laughter. In the era when male discourse dominates everything, only the female body can not be experienced by men, so it can become a field for women to escape male power. In their body descriptions, female writers not only fight back against the male's fictions about women, but also gain subjectivity by re exploring their own bodies. In the late twentieth century, there were two views on the description of the body in female writing: one was to describe the body, but subconsciously, they still thought that the body was an irrational factor and held an obvious attitude of exclusion; The other is infatuated with the display of the body and indulges the desire, resulting in the absence of the soul.

''The Bathing Women'' rarely realizes the blending of soul and flesh in the real sense. In Yin Xiaotiao's life, sex acts as a ladder for her to mature and release herself. Although her first night was dedicated to the hypocritical Fang Jing, she finally transcended this frustration in her life experience. And her feelings with Mike let her know that she loves Chen Zai. The long-term emotional accumulation and soul coordination with Chen Zai make her sex with Chen Zai come naturally without affectation. That's why we can sigh that everything is so harmonious and so good. At the same time, the perfect sexual experience with Chen Zai finally opened Yin Xiaotiao's heart knot. The guilt that Tang Fei and Yin Xiaoquan imposed on her has been dispelled, and Xiaotiao feels that "she seems to have no fear anymore. The simultaneous liberation of the soul and the body has created a harmonious relationship between them. This fusion of soul and flesh should also be the natural direction of body writing. Only when soul and body are present at the same time can the meaning of body writing be truly displayed.

===Enlightenment for Chinese Works to Go Global===

The spread and acceptance of Tie Ning's works abroad also urges us to think about how to make contemporary literary works spread more widely and further overseas from the perspectives of translation, publication and promotion. Next, I will talk about the Enlightenment of Tie Ning's ''the Bathing Women'' to Chinese works' going global from the internal and external factors.

1.Internal factors

The theme of the work concerns the female world. Chinese literature has entered the world through translation and introduction, which involves more than a simple bilingual transformation of words or literature. The choice of translated text, the construction of translation process, the communication path and communication mode after the production of the translation, and the acceptance and formation influence after entering the target language countries constitute the complete picture and research focus of Chinese literature translation. As far as text selection is concerned, generally speaking, the Western reading of contemporary Chinese literature is often driven by curiosity. The rapid development of China since the cultural revolution, the economic take-off, the changes of cities and even the differences in daily life have brought new cultural experiences to the West. Among them, the realistic literary works from the female perspective are full of direct writing of women's personal experience, showing a distinctive urban culture and the flavor of the times, coupled with the rendering of sexual and political elements, so it is particularly easy to arouse the interest of Western readers.

The book has a special background. ''The Bathing Women'' is set in the cultural revolution. In order to return to the countryside and stay in the city all the time, Zhang Wu had a relationship with Dr. Tang and got a false note. She cheated many times and later gave birth to Yin Xiaoquan. Zhang's daughters Yin Xiaotiao and Yin Xiaofan don't like the child. They see that she has an accident but they don't rescue her. Many years later, when several girls grew up, Yin Xiaotiao became entangled between Fang Jing and Chen Zai. Dr. Tang's niece Tang Fei sold her body again and again in exchange for what she wanted. Zhang Wu's inner pain did not disappear with the end of the cultural revolution. The love disputes between men and women are integrated with the special political background. ''The Bathing Women'' directly satisfies the American readers' desire to spy on the Chinese people under the background of the cultural revolution, so it has also been recognized by the publisher.

2.External factors

Adopt the mode of co-translation between Chinese and foreign translators. From Chinese literature to world literature, translation plays a vital role. Excellent translation can promote the canonization of a literary work in different languages and cultures. On the contrary, poor translation may make the excellent works that have been included in the classics pale in another language and culture or even be excluded from the classics.The English translation of bathing girl was completed by Zhang Hongling and Jensen Sommer. The cooperation between the two translators ensures that the translation is not only faithful and accurate, but also readable and literary.

===Conclusion===

Therefore, through the above analysis, we draw the following inspiration from the popularity of Tie Ning's works overseas.

First,pay attention to the translation of female writers' works. Chinese female writers are a neglected group in the English world. In terms of the English translation and dissemination of the author's personal works, the dissemination and acceptance in the United States of Tie Ning's ''the Bathing Women'' has shown the possibility of Chinese female writers being recognized in the United States. The commonality of human emotions is the basis for the overseas spread of literature, and the experience and perception of Chinese women have also been resonated in foreign countries. In addition to these similarities, the unique features and temperament of Chinese women have yet to be shown to the world. Therefore, the translation of female writers' works should not be ignored.

Second,improve translation quality. Translation is not only the transformation between Chinese and English, but also has the function of interpretation and communication. There are great differences in language, historical traditions and values between China and the United States. Excellent translation can bridge the gap between the original and overseas readers, while unqualified translation may bury an excellent original.

Third,adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. Adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. At present, the copyright agency system is widely implemented in the United States. Copyright agencies and copyright agents play an important role in book publishing, translation and promotion. However, there are not many copyright agencies in China, especially those with good relations with American Publishers. In addition, the copyright departments of many publishing institutions have been used to buying copyright rather than exporting copyright in the decades of spreading from the west to the East, and they are not very skilled in relevant businesses. Even the existing domestic copyright agents are mostly interested in this industry and receive little support behind it. All of the above reasons make the export channel of Chinese literary works copyright blocked. In this case, there is a great chance that the works can be successfully spread overseas. Therefore, it is necessary to adapt to the current situation of industry development, establish and improve relevant mechanisms, encourage industry development and cultivate corresponding talents.

Fourth,pay attention to the promotion of works and improve the popularity of writers abroad. Although many overseas readers have a preliminary understanding of the writer Tie Ning, what impression does Tie Ning leave on overseas readers besides her identity as a writer? I'm afraid not. Even Mo Yan, a more popular Chinese writer overseas, can hardly leave an impression on overseas readers other than writers. With the development of science and communication technology, there are more and more communication channels between authors and readers. The traditional way of participating in book fairs and holding exchange activities deserves our attention, and the mass media and new media cannot be ignored.

In a word, Chinese literature, as a special form of eastern culture, still has a long way to go before it can be recognized and accepted by the West and even the world. It needs the joint efforts of writers, translators and other multiple dimensions.

===References===

*Wang Jing 王静.(2019).铁凝作品在美国的传播与接受.[Dissemination and acceptance of Tie Ning's works in the United States]. Beijing Foreign Studies University 北京外国语大学.

*Wang Zhaojun 王昭君.(2005).逃离与追寻——铁凝寻找"自我"的历程[Escape and pursuit -- Tie Ning's process of seeking self]. Jiangxi Normal University 江西师范大学.

*Liu Jia 刘佳.(2020).直面·迂回·悬置--"多棱镜"式的铁凝小说主题研究[A study on the theme of Tie Ning's novels in the form of multi prism]. Harbin Normal University 哈尔滨师范大学.

*Yang Shu,Zhu Lilin 杨筱, 朱丽林.(2019). 对女性的深层审视——以《大浴女》为例探讨铁凝的人性关怀[Probe into Tie Ning's human care with the example of the Bathing Women]. Journal of Ningbo Institute of Education''宁波教育学院学报''.21(6):4.

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==英语笔译邓阳林 Deng Yanglin 202170081567 MW==
<center>'''A study on Xu Yuanchong's Translation of Song Poems'''</center>

<center>Deng Yanglin</center>

===Abstract===
As a huge diamond in the laurel wreath of ancient Chinese literature, song Ci is a brilliant pearl in the langyuan of ancient literature. All translators know that translation is not just a matter of simply converting source language into target language, and poetry with rhyme and pattern is naturally a great challenge in translation, which makes the majority of translation scholars shy away from poetry translation. Mr. Xu Yuanchong put forward the theory of "three Beauties" in his translation practice for many years, which has played a very enlightening and guiding role in the field of English song ci translation. From the perspective of xu Yuanchong's theory of "three beauties", this paper explores the specific application of "meaning beauty", "sound beauty" and "form beauty" in the translation of classical Song ci poems. It can be seen that the theory of "three beauties" is of great guiding significance to the translation of Classical Song ci poems. Translators should take "three beauties" as the standard in their poetry translation so as to lose the artistic charm of the original poetry and the beauty of Chinese poetry can be appreciated by the world.

===Key words===
Song Ci Poems；Xu Yuanchong; The theory of "three beauties"; Poems Translation

===Introduction===
The evolution of ci poetry began in the Liang Dynasty, formed in the Sui and Tang Dynasties, flourished in the Five Dynasties and ten States, and reached its peak in the Song and Song dynasties. Song Ci is a fragrant and gorgeous garden, full of elegant charm, for thousands of years for many readers love, is a bright pearl in the history of ancient Chinese literature. In terms of artistic charm and aesthetic value, song Ci can compete with Tang poetry and Yuan opera. In terms of faction theory, song Ci can be divided into graceful and bold. The euphemism mainly describes the love between children and women, and is carefully conceived. Its language style is mellow and pays attention to the harmony of rhyme, giving people a sense of tenderness and softness. Haofangpi describes the military situation of the state, the creation of a broad vision, imposing momentum, not in rhythm, giving a generous sense of solemn and stirring, representative figures such as Su Shi, Xin Qiji.
In terms of themes, song ci poems are different from those originally used for entertainment occasions, covering themes such as emotion, society, politics and chanting. They fully reveal the true features of social life in song Dynasty and bring readers endless aesthetic enjoyment.
Since its publication, Song Ci poems have been translated into English by many translators at home and abroad. One of the most famous is Xu Yuanchong, who is known as "the only person who translated poetry into English and France". In view of xu Yuanchong's achievements in the English translation of Song Ci poems, many scholars have studied his English translation of Song Ci poems. In view of the diversity of perspectives and conclusions, this paper reviews xu yuanchong's research on the English translation of Song Ci, points out the shortcomings of the current research, and then points out the future research directions, in order to shed some light on the current literary translation research.

===Literature Review===
Song Ci, as one of the double elements of Chinese classical literature, presents the highest level of Song Dynasty literature with its unique attitude and verve. Famous Chinese translators such as Lin Shu, Fu Lei and Zhu Shenghao, as well as foreign scholars such as Herbert Allen Giles, Ezra Pound and Arthur Waley, have all actively participated in the translation of Chinese and foreign literary works. Translation is a bridge between different languages. How to master the two languages well, make the best of the strengths and avoid the weaknesses in the process of translation, and make the translation reach a natural and emotional state, which requires a high level of competence for translators. Mr. Xu Yuanchong is known as "the only one who can translate Poetry into English and French". He has translated the Book of Songs, 300 Poems of Tang Dynasty and 300 Ci poems of Song Dynasty, etc., forming the method and theory of rhyming style poetry translation. He pursues not only perfect rhyme, but also perfect realm, transforming the beauty created in China into the beauty of the whole world.

===Methods and Theories===
This paper adopts the method of literature research.It mainly refers to the method of collecting, identifying and sorting out literature, and forming a scientific understanding of facts through literature research. Literature method is an old and vigorous scientific research method.
General process
The general process of literature method includes five basic steps, which are: putting forward a topic or hypothesis, research design, collecting literature, sorting out literature and conducting literature review. The proposed topic or hypothesis of literature method refers to the idea of analyzing and sorting or reclassifying relevant literature according to existing theories, facts and needs. The first step in research design is to establish research objectives. Research objectives are designed into specific, operable and repeatable literature research activities based on the subject or hypothesis in an operable definition, which can solve special problems and have certain significance.
The main advantages
(1) The literature method transcends the limitation of time and space, and can study a wide range of social situations through the investigation of ancient and modern Chinese and foreign literatures. This advantage is not possible with other survey methods.
(2) The literature method is mainly written survey. If the literature collected is real, it can obtain more accurate and reliable information than oral survey. Avoid all kinds of recording errors that may occur in oral investigation.
(3) Literature method is an indirect and non-interventional survey. It only investigates and studies various literatures without contacting the respondents or intervening in any reaction of the respondents. This avoids all kinds of reactive errors that may occur during the interaction between the surveyors and the respondents in the direct survey.
(4) Literature method is a very convenient, free and safe survey method. Literature investigation is less restricted by the outside world, so as long as the necessary literature is found, research can be carried out anytime and anywhere; Even if there is a mistake, it can be remedied through re-study, so its safety factor is high.
(5) Document method saves time, money and high efficiency. Literature survey is based on the achievements of predecessors and others, which is a shortcut to acquire knowledge. It does not require a large number of researchers or special equipment, and can obtain more information than other survey methods with less manpower, money and time. Therefore, it is an efficient survey method.

===Introduction of Xu Yuanchong and his English translation of Song Ci===

As reading poetry, we need to pay attention to the beauty of artistic conception, hazy beauty and the beauty of antithesis and rhyme. Chinese ancient poetry is characterized by simplicity, conciseness and leaping. It expresses as much emotion as possible in very limited poems. Its biggest characteristic can be summarized by a word "beauty" : artistic conception, language, rhyme and form. English poetry stresses rhythm, rhythm and melody, and the style is relatively free. Thus, the linguistic and cultural differences between Chinese and English make it particularly difficult to translate Song Ci into English.
Aesthetics is a subject with a wide range of application, and there is also the shadow of aesthetics in translation, so "beauty" is everywhere. The purpose of aesthetics in translation is to analyze the aesthetic features in translation so as to provide correct theoretical guidance for translation practice and translation discipline.
In the second half of the 20th century, Mr. Xu Yuanchong put forward his own translation theory on the basis of previous experience and summed up the key words of "the art of beautification is like a competition to create excellence". Practice is the only criterion to test truth, which also applies to translation. Translation theory comes from translation practice, and translation practice can test whether translation theory is correct, and translation theory plays a guiding role in translation practice. On the basis of his long-term translation practice and theoretical experience, Mr. Xu Yuanchong put forward the theory of "three beauties", namely, "meaning beauty", "sound beauty" and "form beauty". His translation aesthetic ideas have guided the translation of many classical poems and provided correct guidance. Up to now, he has published more than 150 famous translations. He is the only one in China who can translate classical poetry and English and French poetry. Because of him, we know the poetry classics of western countries; Because of him, western countries encountered the excellent traditional culture of the Chinese nation.
Similarity in meaning, sound and shape is the basis of "three beauties". Care about similar, similar sound and similar shape on the basis of "meaning beauty", "sound beauty", "form beauty". In Professor Xu Yuanchong's opinion, the pursuit of meaning seems to be to accurately translate the content of the original text, without mistranslating, omission or multiple translation. When there is a conflict between "sense-like" and "sense-like", we should pursue "sense-like" first and "sense-like" second, because "sense-like" is only the surface structure of text, while sense-like is the deep structure of text. Musical beauty refers to the rhythmic and rhyming, catchy to read and pleasant to listen to. In Professor Xu yuanchong's philosophy, rhyme and style must be reflected in poetry translation.
Since the content and form of the poem are closely related and inseparable, if the original poem uses rhymes but the translated poem does not, the artistic conception, image and atmosphere of the original poem cannot be reflected and conveyed in any way. As for form beauty, it mainly refers to the "length" and "symmetry" of poetry. It's best to be "look-alike," or if look-alike isn't perfect, at least "roughly neat."
In xu Yuanchong's translation theory, he also holds that the three beauties are not in parallel, but in order of importance and importance. Among the three beauties, meaning beauty is the most important, followed by sound beauty, and finally form beauty. We should try our best to achieve all three beauties under the premise of translating the original text beautifully. If the three can not appear at the same time, then we can first of all do not ask for similar shape, also can not ask for similar sound, but we must do our best to convey the meaning of the original text and the beauty of sound. The principles of the relationship between the three beauties complement each other and restrict each other. They are also progressive and interlinked. Only by closely combining them can we achieve better translation artistic effect.

===The Application of "Three Aesthetics" in the English Translation of Song Ci poems===

Roman Jacobson, a prominent American linguist and literary theorist in the 20th century, said: "Poetry, by definition, is untranslatable." This shows that the difficulty of poetry translation is ineffable and invisible to the translator. But it doesn't follow from one of his conclusions that poetry is untranslatable. There are still differences of opinion between translators and experts in the field about the translatability of poetry. Due to many factors, most people hold a view that the translatability of complex words in Classical Chinese is an impossible task. If we want to discuss this problem, we must give a clear explanation to several propositions in Mr. Xu Yuanchong's theory. According to him, translation is an attempt to reproduce in the target language what someone has said or written in another language. There should be a great deal of similarity in meaning, form and sound to the text used to represent it. The similarity lies in the common interpretation and implication between them. In practical translation practice, the faithful transmission of implied meaning from the original text to the target text is different in content, but their concept and meaning are almost the same. Therefore, we can say that poetry is translatable, and the traditional poetry with many reduplication is also translatable under certain circumstances.

===Meaning beauty of eliciting mental pleasure: skillfully translating the poetic core and reproducing the artistic conception===

The meaning of Song Ci poem lies in its concise words and phrases to shape or graceful empty, or even bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.

===Sound beauty -- pleasing: the charm is clever, and the words are skillfully used===
The meaning of song ci lies in its concise words and phrases to shape or graceful empty, or bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.
=== Sound beauty -- pleasing: the charm is clever, and the words are skillfully used ===
"Sound beauty" refers to the rhythm and rhyme pattern of the translated poem. Mr. Xu Yuanchong pays attention to meter, rhyme and sentence number in his translation of ancient Chinese poems. The musicality of song ci is more unique, and pays more attention to the harmony of words, so the rhyme of Song ci is more harmonious and perfect, and the beauty of words and music is both. English poetry is generally pay attention to the rhyming, especially at the end of each sentence, it's a bit like Chinese level and oblique tones, but not so rules, because of the English words and characters of syllables, most of the English word of two or more than two syllables, and the Chinese character is a syllable, so of course is Chinese more neatly, but English poetry has its unique in rhythm and rhyme beauty.
Due to the different phonology of Chinese and English poems, it is difficult to copy or reproduce the rhythm of the source language in translation. Therefore, translators need to translate the text into a way that readers can understand in order to help readers realize their aesthetic appreciation and perception of the translated sound [4]. Take Professor Xu Yuanchong's translation of Li Qingzhao's "Sound Slow · Searching and Searching" as an example: as the first seven pairs of reduplicated words in the history of Chinese literature, they have attracted wide attention from translators, and all of them have their own unique views. These lines of the original word, the poet in the "seeking" "seeking" center of god uncertain, as if lost manner; The loneliness of wandering alone in "cold" and "clear"; "Desolate" "miserable" "Qi" in the state of mind is vividly depicted. Through the study of Xu Yuanchong's translation of "Sound slow", we find that "Search, clear, desolate" belongs to the flat sound; "Find, cold, miserable, qi" is oblique tone; "Mimi" is also a dental sound, flat tone oblique tone teeth appear alternately, so that the line of cadence, resounding sound. From "look" to "know" and then to "feel", Mr. Xu Yuanchong uses three sensory verbs to bring readers into it and feel them. He compensates for the repetition of the original word in the form of double rhymes to achieve a very natural and smooth equivalent effect. Translation with the original word "miss" in the word "find", "cheer" and "qi" in the original word, even in front of consonants and vowels close also same, visible of language poetry translation the translator second-guessing, choose close to mandarin pronunciation of the English vocabulary to implement the "sound", convey sound beauty, an ability to make a sound effect.
In the "cold and warm... On the processing of this sentence, Professor Xu's translation once again shows the ultimate beauty of sound. The 4 short sentences in the original word are translated into 9 short sentences, and all use rhyme, which is catchy to read. "Late wind urgent" was translated into "swift" to describe the haste of the night wind. The short/I/in the translation is pronounced like the final of "urgent", which is not only clever but also accurate. In the translation of "time" and "knowledge", Professor Xu uses "alas" and "pass", where the rhyme is perfectly similar to the original word. Showers rhymes with flowers. Everything has its place. While the words "faded" in the original poem were both faded and had similar meanings, Mr. Xu's translation used "Faded" and "Fallen," which not only have similar meanings in English but also alliterative with/F /, suggesting professor Xu's pursuit of vocal beauty has gone into overdrive. "Now" in the translation rhymes with "how" in the next sentence, and "pace" with "plane's" in the next sentence, which also adds rhyme to the translation. In the translation, "drizzles" and "Grizzles" correspond to the reduplication of "dribs and DRBS" and combine the sound with the sound of "I :/" to show the rhythm of endless rain. Finally, the words "grief" and "belief" rhyme together with "IEf", further reflecting the beauty of sound and the author's lonely and melancholy mood in the original word.

===Conclusion===
For thousands of years, the charm of Chinese classical poetry has attracted many scholars and translators to further explore it. With the increasingly close international exchanges, cultural exchanges are also very important. Ancient Chinese poetry brings us beauty and enrichis our emotions. Its beauty is deeply refreshing and refreshing. The beauty of meaning, sound and form of the theory can correctly guide the translator to translate the original image, rhyme and form of Chinese classical poetry. Mr. Xu Yuanchong's "three beauty theory" promoted the spread of excellent Chinese classical poetry and made western readers appreciate the charm of Chinese language and culture. As translation scholars, we should be aligning with professor xu yuan-zhong, study its excelsior translation meticulous attitude and practical spirit, improve their ability of translation practice, enrich their translation theory knowledge, with good knowledge of translation theory to guide translation practice, constantly accumulate experience from the translation practice, can achieve ideal state finally.

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==英语笔译何丽娜 He Lina 202170081569 CE==

<center>'''A Study on the dilemma of the Chinese Cultural Classics'''</center>

<center>He Lina</center>

===Abstract===
With the continuous progress of the times, cultural soft power becomes more and more important as a standard to measure the comprehensive strength of a country. As one of the important sources of China's cultural soft power, Chinese cultural classics is an important link to enhance the country's cultural soft power. This paper will mainly introduce soft power and cultural soft power, and analyze the current dilemmas of Chinese cultural classics and their causes, and try to find solutions.

===Key words===
Chinese cultural classics;cultural soft power;dilemma

===Introduction===
Many cultural classics and books handed down in Chinese history are the crystallization of the wisdom of Chinese ancestors and represent their ideological and spiritual achievements. These books have always been an important part for Chinese people to learn. Even in the ancient imperial examination period, Confucian classics were used by rulers in various dynasties as content of the examination to select talents, which shows the importance of classical books in Chinese history. With the development of times, China is gradually going out of the country and gradually being impacted by world literature. Because people have more freedom to read, and modern and contemporary literature is more readable, unlike many cultural classics written in classical Chinese, which are more difficult to understand, more people prefer to read foreign classics or works written by modern and contemporary Chinese authors in vernacular Chinese or Mandarin. Reading the classics seems to be a problem for more and more people. Today, With the rapid development of China's economy, China has begun to show its strength in the world stage, and has become more and more aware of the importance of cultural soft power, and cultural classics as an important part of Chinese culture has been further valued. However, it should be faced that reading classic books in China is still not the mainstream, and abroad, Chinese classic books have not been accepted as expected. So far, Chinese cultural classics seem to be in a dilemma. From the perspective of cultural soft power, this paper will briefly discuss the current difficulties of Chinese classics, analyze the causes of these difficulties and try to find some countermeasures.

===Theories and Literature Review===
Soft Power

Soft power is actually a political term used to measure the overall strength of a country. In 1990, Joseph·S·Nye, a professor at Harvard University, put forward and expounded the concept of "soft power" in an article titled "Soft Power" published in Foreign Policy magazine. In this article, he comprehensively and systematically analyzed and expounded the concept of national power, status and development trend of The United States as a global power, and further pointed out that a country's strength consists of "soft power" and "hard power". Joseph Nye argues that "soft power" is as important as "hard power". "Hard power" includes basic resources, military power, economic power and scientific and technological power. The essence of "soft power" is "Soft power is an ability to affect what other countries want." He describes soft power as follows: "This power tends to raise from such resources as cultural and ideological attractions as well as rules and institutions of international regimes."（cf:Joseph Nye, 1990:167)

Cultural Soft Power

Since the concept of "soft power" was introduced into China, many domestic experts and scholars have expressed their views on it.
Wang Huning regards culture itself as a kind of soft power through expressions such as "culture as soft power". (cf:Wang Huning,1993:91-96) Influenced by Joseph Nye, some scholars believe that culture is one of the important sources of soft power. Xu Wanxiao and Xu Fangxiong believe that cultural soft power should be derived from cultural resources, which can be divided into tangible cultural products such as movies, cultural heritage, food and intangible cultural concepts such as ideas, values and systems. (Xu Wanxiao, Xu Fangxiong, 2021) Wei Enzheng and his partners pointed out that cultural soft power refers to the internal cohesion, mobilization, spiritual power and external penetration, attraction and persuasion of a country's traditional culture, values, ideology and other cultural factors. (Wei Enzheng, Zhang Jin, 2009) From the Angle of the power form, Hong Xiaonan divided the soft power into five parts: powerful cohesion and centripetal force of the national culture to stimulate a country; national cultural attraction making other countries follow; cultural innovation to promote the development of a nation; national culture integration which organizes the cultural elements into the maximum organic effectiveness; the cultural radiation to correctly express intention of national culture to the world. (Hong Xiaonan, Qiu Jinying, Lin Dan, 2013)
Redefining and summarizing the domestic scholars' views on soft power, Cai Libin and Wang Chenlin summed up China's "cultural soft power" : the definition of "cultural soft power" refers to a country or a nation's traditional culture, values, ideology, cultural resources or cultural factors such as internal cohesion and mobilization force, spirit power and external attraction and persuasion, influence and so on.(Cai Libin, Wang Chenlin,2020)

===Methods===
From the definition of cultural soft power, this paper qualitatively analyzes the internal and external difficulties encountered by Chinese cultural classics and Further discusses the reasons behind. Finally the paper tries to find some corresponding solutions from the author's own perspective.

===Chinese Cultural Classics and cultural soft power===
In English, the word "classics" originally referred to the literature of ancient Greece and Rome. As we all know, the civilization of this period is the fountainhead of western civilization. Accordingly, for China, Chinese cultural classics are collections of literature that can represent Chinese civilization. Dianji/典籍(Chinese Classics) literally means "classic books" in Chinese, and there is a similar concept in Chinese dictionary ''Han Dian''《汉典》, which refers to important documents such as ancient codes and books, and refers to ancient books in general. In the modern sense, cultural classics refer to those timeless works that are exemplary, authoritative and dominant in the field of culture. They are perfect works that, after years of washing and historical screening, have always been at the top of a certain field or industry. (Liu Jinxiang,2022) For example, the four Great Classical Novels of China (''Water Margin''《水浒传》, ''Romance of The Three Kingdoms''《三国演义》, ''Dream of the Red Chamber''《红楼梦》and ''Journey to the West''《西游记》), as well as ''the Analects of Confucius'' 《论语》and ''Mencius''《孟子》. These classics are not only a summary of the author's personal wisdom and life experience, but also reflect the characteristics of an era and the inner spirit of a nation. They embody the national spirit and culture of a country. The culture and spirit of a nation is the most direct source of cultural soft power, and even it is a kind of cultural soft power itself.

===The Plight of Cultural Classics in China===
A country with strong cultural soft power must also have a high level of national cohesion, which can effectively protect and preserve the cultural achievements of its predecessors, as well as generate heartfelt feelings of awe and care for all the cultural achievements of past people. That is to say, cultural inheritance is of great significance. Reading classics is the first step in passing on culture. But in modern and contemporary China, people's enthusiasm for reading classics has always been low. Although the Chinese government has always included the study of classics in the curriculum of primary and secondary schools, these are mostly fragmented learning, and students' learning of classics is not comprehensive. Take college students for example. Although Chinese language is a compulsory subject for students, reading classics is not the main content of students' learning. According to a survey report on classic reading of college students, only 14.40% of them often read classic works, 84.10% read them occasionally, and 1.50% never read classics. (cf:Zhang Junxiong, 2022:87-89) It can be seen that as a group receiving higher education, college students still lack enthusiasm for reading classics. On this assumption, the number of people in China who insist on reading will only be smaller. Without reading classics, we cannot understand classics, nor can we understand the spiritual connotation behind classics, nor can we carry forward traditional Chinese culture.
In addition, I logged on dangdang(当当网), a popular Chinese book sales website, and looked up the top 10 best-selling books in recent years. Only a few literary classics were on the list. In terms of the 2021 list, the number one book on the list is ''Counselling For Toads:A Psychological Adventure'' (a classic Introduction to Psychology in The UK), followed by ''Historical Records for Young Readers''《少年读史记》(a history book for children), and the third was ''Educated'', an autobiographical book about her family and education by US author Tara Westover. The rest of the top 20 included classics from the West, mystery novels from Japan and works by contemporary and contemporary Chinese authors. But traditional literary classics are nowhere to be seen. The second most popular book, Historical Records for Young Readers o, shows that some Chinese parents are consciously cultivating the habit of reading ancient literature in their students, but in general, the sales of cultural classics still account for a small proportion in the Chinese market as a whole.
Such a situation is fatal to a country in urgent need of developing cultural soft power. If a country wants to develop its culture, it should first be based on its own country. If fewer and fewer Chinese read the classics, how can a country convince other nations that its own people do not value its own cultural heritage?

===The Plight of Chinese Classic Books in the West===
Acceptance of a certain culture will often cause psychological and emotional yearning, rational identification. Anything that comes from this culture has a certain influence. Obviously, the more widely a country's culture is spread, the greater its potential soft power is likely to be.But obviously Chinese cultural classics are far less influential in the international community than western literary works.
According to current research, ancient Chinese cultural books were translated into European languages for the first time in 1592. Juan Cobo (1546-1592), a Spanish missionary, translated ''Ming Xin Bao Jian'' 《明心宝鉴》, a textbook for learning compiled by Fan Liben（范立本）, a Chinese scholar in the late Yuan and early Ming Dynasties, into Spanish for the first time. In modern China, we have been committed to introducing Chinese culture to the world. On October 15, 2014, General Secretary Xi Jinping（习近平） of China stressed at the Forum on Literature and Art Work held in Beijing that artists should tell China's stories well, spread China's voice well, and fully present China's image so that people around the world can better understand China through appreciating China's excellent literature. Supported by China's "going out" strategy, some Chinese classics have been successfully translated abroad, but these are rare cases. At the same time, there are several obvious problems in the translation and dissemination of classic books. Taking the Chinese-English version of The Great China Library as an example, literature accounts for 50% of the 110 classic books, followed by philosophy 19.1%, technology 13.6%, history 9.1% and military 8.2%. Second, the main composition of the translation is not reasonable. Besides,It shows that all the translations with wide influence outside the region are mainly written by western missionaries or Sinologists, and there are few works widely spread outside the region by domestic and local translators, especially in the modern and contemporary times, the translations with great influence outside the region are scarce. Some Domestic scholars conducted a survey on the sales of Chinese classics in 2019 on Amazon, the largest book sales website in the western world. The amazon website does not show sales volume, but only review stars. The higher the star rating, the more popular the product. Among Chinese cultural classics on sale, ''the Art of War''《孙子兵法》, a classic Chinese military work written by Sun Wu（孙武）, a General of the State of Wu（吴国） who was originally from Le 'an(乐安), Qi（齐国） during the Spring and Autumn Period（春秋时期）, has the highest star rating of 7,763, while the second most popular book has only 740 stars. In addition, ''the Art of War'', the bestselling Chinese classic translation, ranks 532 among all books on Amazon. (c.f:Gu Chunjiang, 2020) This shows that, on the whole, the spread of Chinese cultural classics in the Western world is still in a small range, and the acceptance of Chinese classics in the western world is still at a low level.

Another problem with the dissemination of Chinese cultural classics is that many of the translations that are out there are not Chinese translations, but works of foreign translators. Similarly, according to the statistics of Amazon website, taking The Art of War as also an example, almost 90% of the translations on Amazon website are those of overseas Sinologists, while those of domestic translators only account for less than 2%. (c.f:Gu Chunjiang, 2020)Overseas Sinologists who understand the language style and culture of the target language country preference, will make western readers accept the Chinese classics, but they always not the first users of Chinese language. In the process of translation, in order to make the western readers adapt to the original culture, they will be more likely to lose the characteristics and flavor of the original works.The connotation of Chinese culture in the classics received by western readers will also deviate, which is detrimental to the external dissemination of Chinese cultural classics. That means that western people always understand Chinese classics and Chinese culture with their own wisdom, so such cultural communication is invalid in a sense, and the influence of Chinese culture can never reach the height of western culture.

===The Possible Reasons===
1. It is difficult to read cultural classics.

There is a big reason why young people in contemporary China do not want to read cultural classics. These classics are written in classical Chinese, which is difficult to understand and requires a certain level of knowledge and education. During the period of the Republic of China, some advanced intellectuals, in order to break the passive situation of the old China, introduced advanced foreign ideas and cultures, and got rid of feudal and superstitious ideas, launched the New Culture Movement, advocating vernacular Chinese and opposing classical Chinese, with the purpose of introducing new culture and ideas. Since then, vernacular Chinese, also known as putonghua, now widely used in China, has gradually become the mainstream language of The Chinese people, and ancient Chinese is no longer taught in schools. The whole Chinese society has entered a new era. However, at the same time, ancient prose was no longer popular in Chinese society and became a language mastered by a few professionals, which greatly increased the difficulty for people to read classic ancient books. Although modern Chinese evolved from ancient Chinese, modern Chinese has developed into a system of its own after nearly 100 years of development, which is very different from classical Chinese. Without professional and systematic learning, it is difficult for ordinary people to fully understand classical Chinese. Because of the difficulty of reading these classics, it takes more energy to read them, which makes many people stop reading them. On the other hand, with the development of the times, Chinese modern and contemporary literature has emerged a lot of works, known as the new classics, these works are also very excellent works, at the same time, the vernacular or modern Chinese writing, more easy to understand, that is, become the reading choice of many people. In addition, due to the development of the Internet world, there are many online novels and popular works. Compared with the classics, these works do not need to spend time thinking, and they are also pleasant and popular with many people.

2. Cultural innovation capacity still needs to be developed

Cultural innovation refers to the creative vitality of culture, which belongs to the independent innovation, absorption and re-innovation of culture. National cultural innovation is the ability to reprocess the cultural elements and materials absorbed and influence the market. (Cai Libin, Wang Chenlin,2020) Cultural classics are difficult to understand, but we can use innovative means and innovative communication forms to convey the original connotation of classic books, so as to attract people to read classic books again. But from the point of the current Chinese market, the adaptations of Chinese cultural classics give priority television works, and in the past two years there have been some cultural TV programs, such as "China in classic books" (in the form of a play to deduce classics story), "the Chinese poetry conference" (it takes "enjoy Chinese poetry, cultural genes, taste the beauty of life "as the basic principle, through the competition and appreciation of the knowledge of poetry, sharing the beauty of poetry, feeling the interest of poetry, absorbing nutrition from the wisdom and feelings of the ancients and cultivating the soul, etc.)Although these programs have aroused some domestic online discussions, they still can not get widespread attention. In addition, in the film art with international influence, Chinese cultural classics are few and far between. In 2019, ''Ne Zha''(哪吒之魔童降世), adapted from the classic Chinese mythological novel ''The Legend of Gods''《封神榜》, set a record in The history of Chinese animated films, grossing more than 5 billion yuan. Nezha has become a hot topic for a while, and the Classic novel The Legend of Gods has also come into people's sight again. The following year, however, ''Jiang Ziya''《姜子牙》, a film also adapted from the mythological novel , earned only 1.6 billion yuan at the box office and received far less critical and influential reviews. From this we can see that there are still great deficiencies in China's cultural and creative ability, which cannot become a long-term driving force to promote the inheritance and development of Chinese classics and even Chinese culture.

3. The challenge of Western ideology

What cannot be denied is that western ideology has always occupied the dominant position in the world. Western powers spread their values and beliefs to other countries through their powerful media advantages, and to a large extent reshape their values, behavior, social system and identity, and ultimately achieve the purpose of protecting themselves. Especially with the rapid development of the Internet, it provides a new platform for the western society to carry out cultural communication. With the advantages of economy, technology and extensive application of English, western powers spread their own cultural values and behavior patterns to the outside world, which to a large extent affected the influence of local culture. The cultural mainstream of western powers seriously threatens the dominant position of Chinese culture in the hearts of the people and is a severe challenge to the development of China's cultural soft power. (Ning Deye, Shang Jiu, 2010) At present, many young people in China are obviously "Westernized" in terms of lifestyle and values. For example, iPhone is very popular among Chinese young people, western traditional festivals such as Christmas are very popular among Chinese young people, and they pursue foreign luxury brands. All of these are manifestations of the young generation's detachment from Chinese culture, and also obstacles to the development of China's cultural soft power. In addition, Joseph Nye, after the end of the Cold War, "lost no time" in putting forward the theory of soft power, pointing out and emphasizing the importance of soft power in the era of peace and information, which in essence sounded the horn for the Western society to enter the cultural field, leading to greater investment in cultural expansion of the Western society. It is difficult for China to develop cultural soft power and maintain the subjectivity and independence of national culture. (Ning Deye, Shang Jiu, 2010)
As China is also in the international community, it will inevitably be influenced by western mainstream culture, and more people are willing to read western classics. This can also be seen from the best-selling books on the aforementioned domestic book sales website in China. Eight of the top 20 best-selling books, or almost half, are foreign classics. The author consulted the summary of high-scoring books in 2021 on a popular book rating app in China, and found that seven of the top ten books with the highest rating were foreign works, while the top three were not Chinese works. This is enough to illustrate the influence of western mainstream culture in China. (douban.com)China's cultural soft power is not strong enough to equal the realm of the western world. If popular culture is still western one, Chinese cultural classics will face greater difficulties. In addition, it is not very optimistic that the translation of Chinese cultural classics can be recognized by foreign cultures. Quite a number of Chinese and Foreign translations are facing the fate of "export to domestic sales". These translations are not taken out for exchange with foreign countries, but become the translator's self-appreciation or for the study and reference of the Chinese people.

4.Hard power support is relatively weak

When participating in international competition and international affairs, those with strong hard power are more likely to win the dominant power and the right to speak, to control the development direction and trajectory of events and current situations, and to reflect and enhance their national cultural soft power. In addition, cultural communication is a basic link in the development of cultural soft power. Under the conditions of modern information communication, the support of hard power derived from technology is a necessary condition for cultural communication. In short, the development of national cultural soft power must rely on the support of hard power. In recent years, China's economy has developed rapidly and its hard power has been greatly improved, but there is still a big gap between China and western developed countries. When participating in international affairs and competition, the supporting force of hard power is still relatively weak, and it is difficult to win the dominant power and the right to speak, which restricts the development and improvement of China's cultural soft power. The relatively weak supporting force of hard power is a fundamental challenge facing the development of China's cultural soft power, which should arouse high vigilance.
This is also reflected in China's talent training and overseas publishing industry.
China's current employment of translation professionals is far from adequate. There are more people who take translation as a part-time job or hobby. In recent years, more and more people are engaged in translation, but how many people are really devoted to the translation of Chinese classics? Although we have made great achievements, the realization of the true value of Chinese classic culture has been reduced due to the limitations of translators' skills, publication organization, quality and promotion.
On the other hand, good translations also need good overseas channels and proper marketing to attract overseas markets. However, at present, few Chinese enterprises have overseas publishing channels, and even if they do, the scope is not wide enough, which increases the difficulties for the translation and dissemination of Chinese cultural classics.

===Countermeasures===
1. Develop a reading habit

Since it is difficult to read classic books, schools should set up corresponding courses and treat the study of classic books as a part of daily learning, not just the content of exams. In this process, we should guide students to develop good reading habits and cultivate students to understand, read and learn classics from childhood. Appropriately increase the proportion of Chinese classic books in students' book list, and at the same time, and open some related activities centering on the reading of classic books, such as reading clubs, knowledge contests, speech contests and composition contests, which can not only enrich students' learning life but also increase their interest and motivation in learning cultural classic books. And gradually they can absorb the nutrients of Chinese culture from the learning process of classic books, form China's own values, and enhance cultural confidence.

2. Increase investment in cultural and creative undertakings

The state should further strengthen investment in cultural innovation and encourage practitioners to create more and more excellent works to spread cultural classics and the spiritual culture contained therein. In addition, the country should train innovative talents and further strengthen the cultural innovation ability of the whole country. With a new way to deduce the story of the classic books, we can bring out rich connotation and vitality of Chinese cultural classic books.

3. Learn the advantages of Western culture

Western culture can cause great influence in the world because of its own quality culture. At the same time of western culture shock, we should also learn the advantages of western culture, and absorb and transform, so as to form our own advantages. For example, we can learn from the development model or successful cases of western culture to promote Chinese cultural classics to the world.

4. Improve "hard power"

Only by further developing the economy and perfecting the social system can we provide professional security for translators and attract more translation talents. We should strengthen foreign exchanges, help Chinese publishing enterprises to go out, improve publishing channels and marketing strategies, so as to expand the foreign market of Chinese cultural classics, further spread Chinese culture, and enhance the influence of Chinese

===Conclusion===
Chinese cultural classics are the essence of Chinese traditional culture and are closely related to cultural soft power. After this paper the author found that the inheritance and transmission of Chinese culture classics still exist many problems, we must attach great importance to it, and take corresponding measures to solve these problems to help our cultural books to go into people's study life,to concentrate the power of culture, thus further to go into the world and influence the world. Only in this way can China improve its cultural soft power, enhance its competitiveness and gain recognition in the world.

===References===
*Nye, J. S. (1990).''Soft Power''.''Foreign Policy'',80,153–171pp.

*Cai Libin, Wang Chenlin 蔡礼彬,王晨琳.(2020).''世界遗产与中国文化软实力''[A World Heritage Site and Chinese Cultural Soft Power].''中国文物科学研究''Chinese Cultural Relics Scientific Research (01), 17-23.

*Gu Chunjiang 顾春江.(2020).''中国典籍英译本海外传播研究''[A Study on the Overseas Communication of the English Translation of Chinese Classics].''文教资料''Cultural and educational materials (31), 7-10.

*Hong Xiaonan, Qiu Jinying, Lin Dan 洪晓楠,邱金英,林丹.(2013).''国家文化软实力的构成要素与提升战略''[The Constituent Elements and Promotion Strategy of National Cultural Soft Power].''江海学刊''Jianghai Journal,202-207.

*Liu Jinxiang 刘金祥.(2022).''文化经典的主要特征和当下价值''[The Main Characteristics and Current Values of Cultural Classics].''书屋''Library (02),13-15.

*Shi Zuhui施祖辉.(2000).''国外综合国力论研究''[A Study on Foreign Comprehensive National Strength].''外国经济与管理''Foreign Economy and Management (01), 13-19.

*Xu Wanxiao, Xu Fangxiong徐宛笑,徐方雄(2021).''文化软实力的概念、实质及构成要素探究''[Explore the Concept, Essence and Constituent Elements of Cultural Soft Power].''文化创新比较研究''Comparative Research on Cultural Innovation (10), 8-11.

*Wang Huning王沪宁(1993).''作为国家实力的文化:软权力''[Culture as a National Power: soft power].''复旦学报(社会科学版)''Fudan Journal (Social Science edition) (03), 91-96 + 75.

*Wei Enzheng, Zhang Jin魏恩政,张锦(2009).''关于文化软实力的几点认识和思考''.[Some Understandings and Thoughts on Cultural Soft Power].''理论学刊'' Theoretical Journal (03),13-17.

*Zhang Junxiong张军雄.(2022).''大学生经典文献阅读情况调''[Investigation on the reading situation of classical literature by college students].''合作经济与科技''Cooperative Economy and Science and Technology (11), 87-89.

*图书畅销榜-2021年畅销书排行榜Book bestseller-2021-Dangdang (dangdang.com)http://bang.dangdang.com/books/bestsellers/

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==英语笔译胡良明 Hu Liangming 202170081570 MW==

<center>'''A study on Lin Yutang’s translation of Six Records of a Floating Life'''</center>

<center>Hu Liangming</center>

===Abstract===
Translation is a special art. When translating, the translator needs to express the original content in another different language. In this process, the translator not only needs to translate the original content, but also needs to preserve the mood, imagery, rhythm and writing style of the original text. Therefore, translation is not only a transformation between two different languages, but also an exchange between different cultures represented by the two languages. As a special type of translation, literary translation involves famous Chinese and Western literary works, so it is necessary to pay more attention to the connotation of words and sentences while translating. In literary translation, the translator should strive to express the artistic conception of the original work, so that readers can read the literary connotation from the translated work as if reading the original text, and can feel the beauty of the language. The Three Beauties Principle, which consists of beauty in sound, beauty in sense and beauty in form, is the translation standard put forward by the famous translator Xu Yuanchong. The Three Beauties Principle is regarded as the translation standard of Chinese classical poetry. Under this standard, the translator must express accurately the beauty in the poem. Since the styles of poetry and prose are very similar, this article aims to explore the effective methods of English translation of Classical Chinese by studying the translation aesthetics in Lin Yutang's English translation of Six Records of a Floating Life.

===Key words===
Three Beauties Principle, English translation of Classical Chinese, Six Records of a Floating Life.

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译黄琼 Huang Qiong 202170081571 CE==
<center>'''The Translation and Spread of Yu Hua's Works in Europe'''</center>

<center>黄琼 Huang Qiong</center>

===Abstract===
Yu Hua, a famous contemporary author in China, wrote a lot of novels such as ''To Live''《活着》, ''Cries in the Drizzle''《在细雨中呼喊》, and ''Chronicle of a Blood Merchant''《许三观卖血记》. He is one of the pioneers of Chinese avant-garde literature in the new period. As a contemporary Chinese writer, this paper will explore the translation and dissemination of Yu Hua’s works（''Brothers'' as an example） in Europe with an emphasis on France and Germany. This case is to provide some experience for the dissemination of Chinese contemporary literature, so as to expand the influence of Chinese literature.

===Key words===
Yu Hua, ''Brothers'', Chinese contemporary literature, translation.

===Introduction of Yu Hua and His works===
Yu Hua is a famous writer in contemporary China. When describing his novels, Chinese readers often use words like "misery" and "sadness", saying that he left the pain to the readers. In recent days, he has given a number of interviews, including detailed interviews with several Up （Up is short for "upload", a content sharer on the video website Bilibili which is a well-known video bullet screen website in China and is very popular among young people.）on Bilibili's knowledge section, in which Yu presents a humorous image to readers. Previously, ''To Live'' was adapted by the famous Chinese director Zhang Yimou, starring Ge You and Gong Li. In 1994, the film won the Grand Jury Prize and the Best Actor Award at the 47th Cannes International Film Festival, and the novel ''To Live'' also became very famous in China. In his interviews, he is humorous. He is nothing like his novels that has a sense of sadness. Many of his funny stories are circulating on the Chinese Internet. For example, when he worked as a dentist for several years, he saw the people in the county cultural center do nothing but roam the street every day. He thought this job was very good, so he wrote a novel and published it, and then entered the cultural center to work. Humor seems to be the latest impression of Yu Hua.

Yu Hua's novels have been bestsellers. ''To Live'' （《活着》）has been popular for nearly 20 years since its publication. From 1992 to 2020, the sales volume exceeded 20 million, creating a new record in the contemporary Chinese literary field. Yu Hua's new book, ''Wen Cheng''(《文城》), has already printed 1 million copies in just three months（Li Chunyu 2021, 143）Openbook is a professional commercial organization providing consulting, research, and survey services for the book industry, and also the founder of the continuous tracking and monitoring system for the retail data of the Chinese book market. According to the China Book Retail Market Report 2021 released by the institute, Yu Hua’s new book ''Wen Cheng'' ranked 10th on the 2021 fiction list and first on the new fiction list, apparently thanks to Yu Hua’s status among Chinese writers. ''To Live'' was the seventh best-selling book. In 2020, ''To Live'' was the fourth best-selling fiction series, and in 2019, ''To Live'' was the no. 1 fiction series, which also topped the overall list for a second year. ''To Live'' topped the list for 11 consecutive months from March 2018 to January 2019, and also topped the list for nine months in 2019. Among the sales reports in recent years, only Lu Yao’s ''Ordinary World'' in the serious literature category ranked fourth on the fiction list in 2019. On top of that, ''To Live'' has been published for more than 20 years and has been on the bestseller list every year, which is not easy.

Yu Hua has many readers. According to Douban, a Goodreads-like website, ''To Live'' has received more than 690,000 comments, with a score of 9.4 points. ''Brothers'' has more than 50,000 reviews. ''A Dream of Red Mansions''(《红楼梦》), one of China’s four most famous novels, received only 370,000 comments, while the ''Three-Body Problem'' (《三体》), a popular science fiction novel, received 400,000 comments. Compared with other contemporary writers' books of China, ''Frog'' (《蛙》)by Mo Yan, China's first Nobel Laureate in literature, received only 20,000 comments, while ''Life and Death are Wearing Me Out'' (《生死疲劳》)received only 18,000. Lu Yao’s novel ''Ordinary World'' has received more than 60,000 comments. All the above data show that Yu Hua is a very famous writer in contemporary China, and his appeal to readers is also very strong.

Yu Hua is also famous abroad. Wu Yiqin, president of Writer publishing House(作家出版社), commented that Yu Hua was the first contemporary Chinese writer who really "went out" in the sense of literary noumenon. In a sense, he corrected the bias that the Western world was usually keen on "reading China" rather than "reading literature" when facing Chinese literary works. He has received many foreign awards, including the James Joyce Award, and France's Prix Courrier International. In 1998, ''To Live'' won the highest prize in Italian literature — The Grinzane Cavour. The earliest foreign language translation of Yu Hua's novel is the 1992 German translation ''To Live''. However, it is more suitable to regard 1994 as the first year of the full spread of Yu Hua's novels, because in this year, his representative work ''To Live'' was translated into many languages and published separately, and his works were widely translated and introduced to other countries successively. For example, ''To Live'' was published by Hachette Publishing Company in France, published by De Geus in the Netherlands; Livani in Greece also published ''To Live'' (Liu Jiangkai 2014, 134).

Yu Hua is a prolific writer. Shortly after his debut as a fiction writer in 1983, his first breakthrough came in 1987, when he released the short story ''On the Road at Age Eighteen''（《十八岁出门远行》）. In 1990, his first novel, ''Cries in the Drizzle'' （《在细雨中呼喊》）, was published. In 1992, ''To Live'' was published. In 1995, the full-length novel ''Chronicle of a Blood Merchant'' （《许三观卖血记》）was completed. From 2005 to 2006, two parts of ''Brothers'' （《兄弟》）were published successively. In 2013, the full-length novel ''The Seventh Day'' （《第七天》）was published. Yu Hua has written five novels, six collections of stories, and three collections of essays. His novels have been translated into English, Spanish, Portuguese, French, German, Russian, Italian, Dutch, Czech, Polish, Romanian, Swedish, Hungarian, Korean, Mongolian Malayalam, and Danish.

===Literature Review===
1. Domestic Literature Review of the Translation Research of Yu Hua’s Works in Europe

As a famous contemporary writer in China, Yu Hua has been studied very extensively in the Chinese academic circles and achieved very fruitful results. Using “Yu Hua” as the keyword to search articles in the Chinese National Knowledge Infrastructure （CNKI 中国知网）, a total of 6679 articles were found. Using “Yu Hua overseas dissemination” as the keyword to search, 287 articles were found. Using “Yu Hua translation” as the keyword to search, 112 articles were found. Mo Yan, China’s first Nobel Prize winner in literature, is about 2-4 times more popular than Yu Hua.

Liu Jiangkai’s article The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance（当代文学诧异“风景”的美学统一:余华的海外接受） systematically introduces the translation situation of Yu Hua’s works in various countries, arranges the literature review of Yu Hua at home and abroad, and discusses the differences between the domestic and foreign comments on ''Brothers''. Hang Ling, Xu Jun’s article Different Interpretations and Acceptance of Yu Hua’s ''Brothers'' in The Context of French Culture（《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介）. The translation and reception of the Brothers in France are analyzed. Another article by Hang Ling, Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media（《法兰西语境下对余华的阐释——从汉学界到主流媒体. 小说评论》）, analyzes the views of mainstream media and academic circles in France on Yu Hua. Sun Guoliang and Li Bin’s article Overview of Research on the Translation and Translation of Modern and Contemporary Chinese Literature in Germany（《中国现当代文学在德国的译介研究概述》）, made quantitative statistics and qualitative analysis on the translation of contemporary Chinese literature in Germany by referring to some data and the journal materials collected by the authors during their visiting study. His other article on Germany, A Study of Yu Hu’s Translation and Acceptance in Germany, focuses on Yu Hua（《余华在德国的译介与接受研究》）. Chen Daliang and Xu Duo’s article The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media（《英国主流媒体对当代中国文学的评价与接受》） is based on the first-hand reports on contemporary Chinese writers and works by British mainstream media, and tried to answer several questions from four aspects: basic situation, evaluation emphasis, problems, and reflections. As for the situation in Spain, the Netherlands, Italy, Norway, and other European countries, most researchers only regard Yu Hua as a part of contemporary Chinese writers and do not have a deep study of Yu Hua’s works.

2. Foreign Literature Review

There are many foreign scholars who are interested in Yu Hua and did much research about him. Chen Jian Guo’s Violence: The Politics and the Aesthetic: Toward a Reading of Yu Hua in the American Journal of Chinese Studies explores that our life is surrounded by a world capable of what Dostoyevsky called the “variety of sensations” for vicious violence. Deirdre Sabina Knight publishes the article Capitalist and Enlightenment values in 1990s Chinese fiction: The case of Yu Hua’s Blood Seller. Through interpreting the social, economic, and moral foundations of selfhood and autonomy in Yu Hua’s novel, the author thinks that analysis of the uses of self-ownership diminishes its attractiveness as a primary value in favor of values less complicit with capitalist principles. Wedell-Wedellsborg, Anne’s Multiple Temporalities in the Literary Identity Space of Post-Socialist China: A Discussion of Yu Hua’s Novel Brothers and its Reception. The acceptance of Brothers in various countries was discussed. Overseas scholars Yang Xiaobin also wrote many papers on Yu Hua. The above are overseas scholars who focus on Yu Hua, and their research ideas can be roughly divided into works, themes, and comparative studies. It involves Yu Hua’s long, medium and short works.

===The Translation and Spread of Yu Hua’s Works in Europe===

On the whole, the influence of Chinese contemporary literature in world literature is low. Compared with the fellow Asian countries like Japan, there are huge differences. For example, Japanese writer Haruki Murakami's English translation of ''Norwegian wood'' (《挪威的森林》) on the Amazon has more than 6500 comments. By comparison, China's first Nobel Prize winner, Mo Yan's ''Frog'' (《蛙》) just has more than one hundred comments. The Nobel Prize in Literature only promoted Mo Yan's overseas acceptance and did little to change the overall situation of contemporary Chinese literature. The whole overseas dissemination of Chinese contemporary literature is in a marginal position. However, although the overall situation of Chinese literature is not optimistic, there are a few contemporary Chinese writers, such as Yu Hua, Wei Hui, and so on, whose influence is expanding abroad. Due to a large number of Yu Hua's works and limited space, this paper focuses on the analysis of the translation and reception of Brothers in Germany and France. For ''Brothers'' alone, there are many languages and a large number of translations. ''Brothers'' was short-listed for the Man Asian Literary Prize, and a winner of France's Prix Courrier International. It is an epic and wildly unhinged black comedy of modern Chinese society running amok. With sly and biting humor, combined with an insightful and compassionate eye for the lives of ordinary people, Yu Hua reappears the history, showing his criticism of the power in the 1960s and 1970s, and his concern about the lack of spiritual life in the people in the early stage of Reform and Opening-up and some human concern.

1. France

France is the country that publishes the largest number of contemporary Chinese literature, surpassing the number of English translations. Compared with other countries, France has a broad market prospect. As a major country of Sinology, France has always paid close attention to the development of Chinese contemporary literature and actively translated Chinese contemporary literature. The French version of ''Brothers'' was published in 2008, whose translators are Angel Pino and Isabelle Rabut by the famous publishing house Actes Sud. Isabelle Rabut translated many of his books. She is a professor in the Department of Chinese literature at the National Institute of Oriental Languages and Cultures in France, specializing in the study of modern and contemporary Chinese literature. She is also one of the most active translators of modern and contemporary Chinese literature in France, as well as a member of Actes Sud's "Chinese Literature" section as chief editor. After ''Brothers'' was published, she made the first contact to acquire the rights, and with her husband, Sinologist Angel Pino spent a year translating the novel. ''Brothers'' is Yu Hua's seventh book published in France. It set off a wave of enthusiasm in France, and some important media, such as Le Monde, Liberation, and so on, devoted rare space to promoting a foreign writer and a foreign novel to the French-speaking world and generated 50-60 comments.[ For detailed information in 王侃,蔡丽娟,朱志红.《兄弟》在法语世界——法语书评翻译小辑.] Many newspapers praised the novel for its complete portrayal of complex contemporary China, but that was not the case at home, where it received mixed reviews. Most of the criticism in China was that this novel was too vulgar. For example, the novel begins with li Guangtou(李光头), the main character, peeking at a woman's arse while going to the toilet. It is also worth discussing why there is such a wide gap between domestic and foreign opinions in the book.

Sales of Yu Hua's books in France did not start well. According to Eva Chanet, far East literature editor of Actes Sud, sales of Yu Hua's works were limited in the early days, with only 500 to 900 copies sold. (Eva Chanet mentioned this figure in a lecture given in January 2011 at the International Centre for Literary Translators in Arles, southern France.) But they did not give up on Yu Hua and looked at the long-term benefits, so Yu Hua gradually built his reputation in France. In 2008, with the publication of the French translation of ''Brothers'', Yu Hua began to receive intensive attention from the French mainstream media. Up to now, it has sold more than 50,000 copies, far surpassing Yu Hua’s previous works. The hardback edition of ''Brothers'' has more than 700 pages and has been printed more than a dozen times. The previous bestselling book in France, ''Chronicle of a Blood Merchant'' sold only a few thousand copies(Ji & Zhou 2015, 39 ). There are some comments on Amazon. "An exceptional book.(Un livre exceptionnel.)" "It works well. The 700 pages form a "beautiful" history of the history of contemporary China.( ça marche bien, les 700 pages défilent et forment une “belle” histoire de l'histoire de la chine contemporaine. )." The ratings are mostly four to five stars. Modern and contemporary Chinese literature works have a place in France, but it is far from rising to mainstream literature. Even in the translation literature, British and American literature still attracts more attention. Therefore, Chinese contemporary literature still has a lot to go.

2. Germany

According to statistics from Bochum University, about 900 works of Chinese literature were translated into German between 1827 and 1995. Most of them were published in the 1920s and 1980s, with 40 translated into German in 1987 alone (Ulrich Kautz 2005, 8). In 2012, the publishing house Fischer Taschenbuch released the German version of ''Brothers''. The translator is Ulrich Kautz, winner of the "Special Contribution Award of Chinese Books" and a famous German translator. He has translated Yu Hua's ''To Live'', ''Chronicle of a Blood Merchant''(《许三观卖血记》), ''Brothers'', ''China in Ten Words''（《十个词汇里的中国》）, ''The Seventh Day''（《第七天》）, and ''Cries in the Drizzle''（《在细雨中呼喊》）, all of which are of high quality. In addition, five of Yu Hua's short stories have been translated into German by Hefte fur Ostasiatische Literatur and other famous German sinologists.

According to Yu Hua himself, in his own book ''To Live'' is the most popular novel in the United States, Spain, and Italy, while ''Brothers'' is the most popular novel in France and Germany. ''Brothers'' sold more than 27,000 copies between 2009 and 2015. Yu Hua's ''China in Ten Words'' sold about 7,000 copies. On Goodreads, there are German comments. "Brilliant book. A different world, and it's very well written." (Geniales Buch. Eine andere Welt und so toll geschrieben. ) On Amazon, the rating is 4.4. "The development of this fictitious city is followed in this novel over a period of several decades, which opens up interesting insights into the development of Chinese society for us."(Die Entwicklung dieser fiktiven Stadt wird in diesem Roman über einen Zeitraum von mehreren Jahrzehnten verfolgt, was durchaus interessante Einblicke auch für uns in die Entwicklung der chinesischen Gesellschaft eröffnet.)

2009 is a milestone year for the translation and dissemination of Chinese literature in German. For the first time, China participated in the Frankfurt Book Fair as the guest of honor, the largest and most influential in the world. Tie Ning, Su Tong, A Lai, and other famous Chinese writers visited the Frankfurt Book Fair and had in-depth exchanges with the world publishing industry. It is hoped that China will participate more in these book fairs in the future, strengthen national cooperation and exchanges, and spread Chinese classic literature.

3. Other Countries

The following table shows some of the translations of ''Brothers'' in European countries(except England). From the table ''Brothers'' have a lot of translation versions. Spain, Italy, Norway, Denmark, and so on have translated the book. There is no special study of Yu Hua's articles in other European countries except in Britain, Germany, and France. In 2017, the Italian press Feltrinelli Editore published the Italian version. The translator is Silvia Pozzi. However, Mo Yan, Yu Hua, and Su Tong, among the most well-known Chinese writers, have sold less than 10,000 copies in Italy. Spain's Seix Barral publishing house mainly promotes Yu Hua's works and released ''Brothers'' in 2009.

The dissemination of Yu Hua's works mainly follows two basic laws. One is the well-developed economy and culture. For example, the countries in Europe have relatively developed economic levels and cultural traditions, and rich spiritual life of their people. The other is the historical and cultural connection, which is highlighted by the spread of Asian countries such as Japan, South Korea, and Vietnam, which have a close cultural origin with China and form a common cultural circle (Liu Jiangkai 2014, 135).

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===The Opinions about the Dissemination of Chinese Contemporary Literature ===
Some suggestions are summarized from Yu Hua’s overseas dissemination to help Chinese contemporary literature to the world.

1. Excellent Translator and Publisher

Generally speaking, many well-known Chinese writers have a regular translator in each different language. Finding a suitable and stable translator is very important for the overseas dissemination of writers. So much the better if the translator is influential, for example, Howard Goldblatt to Mo Yan, Ken Liu to the ''Three-body Problem''. As for Yu Hua, Ulrich Kautz became the official translator of the German version of Yu Hua's works. Wolf Baus speaks highly of the quality of the translation: "His fidelity to the drama of the original, his ability to control the tone with the confidence of an ordinary citizen, and his amazing hues, make the book irresistible thanks to the translator's intelligence, simplicity, and openness."(Wolf Baus 2000, 164) Newspapers in the French-speaking world also praised Angel Pino and Isabelle Rabut. "The image of the novel is fully reflected in the French translation. Thanks to the erudition of these two translators, they can accurately and easily restore the original novel in the real Chinese context."（Le temps 2008）They have a solid foundation in the Chinese language and good literary quality. Meanwhile, they have a relatively comprehensive and in-depth understanding of Yu Hua and hold an attitude of recognition and appreciation of Yu Hua's works, which lays a foundation for their excellent translation. With a regular translator, the communication between the author and the translator will be smoother.

The press also played a great role in the dissemination of Chinese contemporary literature. Since 2000, Yu Hua's works have changed from multiple presses to regular press in Actes Sud. The translation of Yu Hua's works has gone from disorganized to systematic. With the continuous efforts of this publishing house, Yu Hua has become one of the most translated Chinese writers in France. The long-term and stable cooperation with Actes Sud laid a good foundation for the establishment of Yu Hua's literary image in France. Seix Barral in Spain attaches great importance to the translation and introduction of Chinese literature and has formulated a long-term and systematic publishing plan for Chinese literature. The Spanish edition of ''Brothers'' was published by their press. In 2014, Wuzhou Media Publishing House cooperated with Planet Publishing House, the largest publishing house in Spain, to translate and publish Mai Jia's work ''Decode'' (《解密》). With large-scale publicity, this work set a record for the first release of modern and contemporary Chinese literary works with 30,000 copies（Lan Bo 2020, 45）. An excellent publishing house with reliable marketing ability and strong financial support can play a positive role in the dissemination of the translation. The combination of Chinese and foreign publishing houses is conducive to the mutual promotion of writers of the two countries and the further integration of foreign literature and domestic literature.

2. Film Adaptation

Mo Yan, Su Tong, and Yu Hua have all received film adaptations by Zhang Yimou. Zhang Yimou's 1991 film ''Raise the Red Lantern'' （《大红灯笼高高挂》）, based on Su Tong's novel ''Wives and Concubines'' （《妻妾成群》）, won the Silver Lion at the 48th Venice Film Festival and in 1992 was nominated for Academy Award for Best Foreign Language Film. ''To Live'' was adapted into a film by director Zhang Yimou, which won the Grand Jury Prize at Cannes in 1994. In 1988, ''Red Sorghum'' （《红高粱》）, adapted by Zhang Yimou, won the Golden Bear at the West Berlin Film Festival, attracting the world’s attention to Chinese films and greatly promoting novel translation. Undeniably, the adaptation of the novel into a film by the internationally renowned director Zhang Yimou does contribute to the spread of the novel. After all, Chinese literature is still read by a small number of people outside China, mostly scholars. And movies have opened up a certain market. "''To Live'' was not popular before the film adaptation, and many foreign versions of ''To Live'' had Gong li's picture on the cover," Yu said in an interview. This shows that the film adaptation did have a certain impact on overseas acceptance, which reduces the publishing house to the reader acceptance and market sales concerns.

3. Literary Features of the Novel

As mentioned earlier in the article, ''Brothers'' were generally well-received abroad but received mixed reviews in China. Some people think the content is vulgar, shallow, and in bad taste. Yu Hua wrote dirty and cruel things and is lack humanistic care and critical awareness. It holds that the bestselling of ''Brothers'' lies in the fact that ''Brothers'' buttons the secret code in the hearts of the masses and conforms to the emotional trend and reading habits of the masses. It is believed that the attitude of ''Brothers'' towards world history and the changes of the times does follow the trend, losing the value of judgment or the pursuit of meaning to the world (Wang & Zhu 2009, 13). There are also many praises. The dirt, cruelty, and vulgarity criticized by people contain very rich social content, reflecting Yu Hua's strong critical edge.

Some scholars attribute the success of ''Brothers'' in France to its Rabelaisian approach. Since Rabelais's indulgence and vulgarity is a paradigm already existing in the French literary tradition, many French critics will spontaneously associate ''Brothers'' with Gargantua and Pantagruel, thus forming a kind of identification with them （Hang Ling 2010, 136 ）. Some works that conform to the mainstream aesthetic standards of China are often considered to have a tendency to serve ideology in the perspective of French culture, which arouses the aversion of readers and media and leads to low acceptability. Cheng Baoyi, a Chinese scholar, said when talking about the differences between Chinese and Western literature and cultural concepts, "Westerners pay attention to imperfections, breakthroughs, and the existence of evil. They always believe that the relationship between man and nature is not so harmonious and complicated, and they do not hesitate to reveal the cruelty of the human world... This is caused by the different philosophical pursuits and aesthetic standards of the East and the West."(Qian Linsen 2000, 9) Although the story of Yu Hua takes place in the special historical background of China, it can show the beauty and tragedy of life, which can be shared by anyone. Therefore, how literary works grasp the present, reflect the spirit of times, the author how to transcend time and space to let foreign readers feel the life of Chinese people, or let them experience the common situation of human beings in the process of globalization, is an important prerequisite for the success of contemporary Chinese literary works going abroad. But that doesn't mean catering to other people's tastes. On the other hand, if writers excessively consider western readers' expectations of Chinese novels, they are likely to lose their "Chinese characteristics", which will lead to failure (Ulrich Kautz 2015, 9).

===Conclusion===
It is undeniable that when Chinese literature goes abroad, there is an obvious phenomenon that foreign countries pay too much attention to political issues. Yu Hua often answers questions about the censorship of China when he attends lectures and recitals abroad, although he has responded to this question. Objectively speaking, some western publishers, media, and even scholars still have an impression of Chinese literature as the stagnant closed countryside, political persecution, or twisted sex. The political misreading of Yu Hua's works in the process of translation and acceptance is an unavoidable topic. Only by treating Chinese literature as literature, not curiosity, and giving respect to Chinese literature, can we discover its real value beyond the superficial surface(Sun & Li 2021, 152）.

Through the study of the overseas reception of Yu Hua's works, it can not only better reflect on his creation and canonization process, but also observe the achievements and problems of contemporary Chinese literature in a broader world literature context（Liu Jiangkai 2014, 134）. "Chinese writers like me have limited influence even though some of our works have won awards and been published abroad," Yu said modestly. "Literary influence is a slow process. Because of that, its influence reaches across time and space." "It will take time," he said of how Chinese writers approach the world. French newspaper ''Liberation'' praised Yu Hua "The author of Brothers has a remarkable talent. He looks at the world with a caring eye. When we read his work, our emotions change from sneer to tears, from comical to tragic, from barbaric to global." There is no shortage of good works in Chinese literature, and there are many talented authors in China. It hopes that more and more excellent writers can go out and let the people of the world read Chinese works and feel the excellent Chinese literature.

===References===
*Chen Daling & Xu Duo 陈大亮 & 许多.(2018).英国主流媒体对当代中国文学的评价与接受[The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media]. ''小说评论'' Novel Review(04),153-161.
*Hang Ling & Xu Jun 杭零 & 许钧.(2010).《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介[Different Interpretations and Acceptance of Yu Hua’s Brothers in The Context of French Culture]. ''文艺争鸣'' Literature and Art Forum (07),131-137.
*Hang Ling 杭零.(2013).法兰西语境下对余华的阐释——从汉学界到主流媒体[Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media]. ''小说评论'' Novel Review(05),67-74.
*Ulrich Kautz 高立希.(2015).我的三十年——怎样从事中国当代小说的德译[My thirty years of translating contemporary Chinese novels and my relevant observations]. ''外语教学理论与实践'' Foreign Language Teaching | Fore Lang Teach(01),8-11+94.
*Ji Jin & Zhou Chunxia 季进 & 周春霞.(2015).中国当代文学在法国——何碧玉、安必诺教授访谈录[Contemporary Chinese Literature in France -- Interview with Professors Isabelle Rabut and Angel Pino]. ''南方文坛'' Southern Cultural Forum(06):37-43.
*Lan Bo 蓝博.(2020).中国现当代文学在西班牙的译介研究[A Study on the Translation and Introduction of Modern and Contemporary Chinese Literature in Spain]. ''对外传播'' International Communications(12),43-47.
*Li Chunyu 李春雨.(2021).《文城》：余华对“人”的又一次叩问[Wen Cheng: Yu Hua Once Again Asks about People]. ''文艺争鸣''Literature and Art Forum (12),142-147.
*Liu Jiangkai 刘江凯.(2014).当代文学诧异“风景”的美学统一:余华的海外接受[The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance].''当代作家评论'' Review of Contemporary Writers(06),134-145.
*Qian Linsen 钱林森.(2000).中西方哲学命运的历史遇合——法籍华人学者、作家程抱一访谈[A Historical Meeting of the Destinies of Chinese and Western philosophy -- Interview with Mr.Francois Cheng, French Chinese scholar, and writer]. ''文艺争鸣'' Literature and Art Forum,102-109.
*Sun Guoliang & Li Bin 孙国亮 & 李斌.(2021).余华在德国的译介与接受研究[A Study of Yu Hu’s Translation and Acceptance in Germany]. ''小说评论'' Novel Review(04),147-156.
*Wang Liqian & Qian Hang 王立倩 & 钱航.(2020).余华小说海外传播特征研究[A Study on the Overseas Dissemination Characteristics of Yu Hua's Novels]. (eds.)''2020年社会发展论坛（西安）论文集'' Proceedings of 2020 Social Development Forum (Xi 'an) 128-136.
*Wang Kna & Cai Lijuan 王侃,蔡丽娟 & 朱志红.(2009).《兄弟》在法语世界——法语书评翻译小辑[''Brothers'' in the French-speaking world -- French Book Review Translation miniseries]. ''文艺争鸣'' Literature and Art Forum(02),117-122.
*Wang Shouli & Zhu Qiong 王首历 & 竺琼.(2009).纷扰的《兄弟》与暧昧的余华——2007年余华研究述评[Confused Brothers and Ambiguous Yu Hua: Review on Studies on Yu Hua in 2007]. ''浙江师范大学学报(社会科学版)'' Journal of Zhejiang Normal University (Social Science Edition)(02),13-19.
*Yu Hua 余华：必须忘掉以前的小说才可能写出新的小说[必须忘掉以前的小说才可能写出新的小说]_Retrived June 6th 2022 from 中国作家网 (chinawriter.com.cn)
*Yang Ping 杨平.(2019).余华作品在欧美的传播及汉学家白亚仁的翻译目标[The Dissemination of Yu Hua's Works in the West and Allan H.Barr's Translation Goals]. ''翻译研究与教学'' Translation studies and Teaching(01),49-59.
*Baus, Wolf (2000). Yu Hua-Der Mann，der sein Blut verkaufte，in：Hefte für ostasiatische Literatur，Heft 29. München：Iudicium Verlag，S. 164

==英语笔译邝雨琪 Kuang Yuqi 202170081572 MW==
<center>'''A Study on C-E Translation of the Mao Zedong's Poetry from the Perspective of Eco-translatology'''</center>

<center>邝雨琪Kuang Yuqi</center>

===Abstract===
Based on eco-translatology theory, this thesis analyzes the translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”, namely, the transformation at linguistic dimension, cultural dimension and communicative dimension. Mao Zedong's poetry holds an important place in the history of Chinese literature. The appropriate English translation of Mao Zedong's poems is of great significance for promoting Chinese culture. This thesis will take Xu Yuanchong's translation of Mao Zedong's poems as an example to study the application of eco-translatology in the translation of Mao Zedong's poems. It aims to provide a new perspective for the study of the English translation of Mao Zedong's poetry and demonstrate the feasibility of the guidance of ecological translation, which has guiding significance to translation discipline construction, translation studies and translation practice.
===Key words===
Eco- translatology; Mao Zedong's Poetry; Xu Yuanchong's Translation
===Introduction===
With the increasingly intimate exchanges between countries, the globalization is more and more irreversible. In this condition, translation becomes increasingly important. There are also more and more interdisciplinary studies on translation. In 2001, the notion of eco-translatology was firstly put forward by Chinese scholar Hu Gengshen, which provided a brand new angle for translation studies and pushed interdisciplinary research of translation studies to a new stage.

In addition to Tang and Song poetry, Mao Zedong’s poetry also occupies a very important position in the history of literature. This thesis intends to provide a new perspective for the study of the English translation of Mao Zedong's poetry and apply the translation theory to the translation of other texts, so as to make the English translation of Chinese literature more perfect and understandable.

The thesis consists of five parts. After the introduction, Chapter One is the theoretical framework, which covers the origin of eco-translatology theory and some core concepts of ecological translation including “the translator’s subjectivity”, “selection and adaptation”, “ecological environment of translation”. Then it introduces the "three-dimensional transformation" principle which is mainly used in this thesis. Chapter Two focuses on the general review of Mao Zedong's Poetry and its C-E translation in Xu Yuanchong's version. It will introduces the two main characteristics of Mao Zedong's poems, that is, heroic style and abundant allusions. Then it looks into its translation strategies used in the C-E translation of Mao Zedong's Poetry, including domestication and free translation. Chapter three analyzes the application of eco-translatology in Xu Yuanchong's translation, and explores the translation of Mao Zedong's poetry from the linguistic dimension, cultural dimension and communicative dimension. Then comes to the last part, the conclusion. The last part serves as a summary, and points out some limitations of this thesis.
===Literature Review===
Scholars at home and abroad have done a lot of research on the English translation of Mao Zedong's poetry. From the 1950s, Russia, the United States, France, Italy and other European and American countries officially began publishing the translation of Mao Zedong's Poetry（李正栓，陶沙，2009）. Foreign scholars mainly focus on the translation of Mao Zedong's poems itself. The studies done by domestic scholars are mainly divided into three categories：introducing and commenting on the versions of Mao Zedong's poetry translation; studying Mao Zedong's poetry translation from different translation theories; comparing different translation versions of Mao Zedong's poems. Although some scholars have studied the translation of Mao Zedong's poetry from the perspective of eco-translatology, there are many viewpoints on this theory, and few analyze it from the “three-dimensional transformation” principles.
===Methods and Theories===
This thesis studies the translation of Mao Zedong's poems from the perspective of eco-translatology, and the application of “three-dimensional transformation” theory in it. Besides, Xu Yuanchong's translation of Mao Zedong's poetry is mainly used as an example, because of its high quality and complete quantity.
===I A Brief Introduction to the Eco-translatology Theory===
Eco-translatology theory is a translation method. Before going to the analysis of the C-E Translation of Mao Zedong’s Poetry from the perspective of eco-translatology, meaning and methods of eco-translatology theory are discussed first.

'''1.1The Eco-translatology Theory'''

Eco-translatology is a systematic and complete translation theory. This section will briefly introduce its original, meaning and its main viewpoints.

'''1.1.1The Origin of Eco-translatology Theory'''

Based on Darwin's biological evolutionism, that is, survival of the fittest, Hu Gengsheng put forward the theory of eco-translatology, the most important part of which is the theory of adaptation and selection. “ ‘Adaptation’ and ‘Selection’ is the basic mechanism to adjust human behavior”(Lopreato& Crippen 1999:85). Liu Aihua(刘爱华) argued that “the core content of Darwin's theory of natural selection is that ‘the most basic rule of adaptation of organisms to the ecological environment is survival of the fittest’”(Liu Aihua, 2010, translated by the author). While adapting to the natural environment, organisms will also be restricted by the natural environment. If apply this basic principle to translation studies, it is surprisingly to find that the same is true for the translators. The translators and the translation should adapt to the translation ecological environment and be restricted by it.

Eco-translatology was put forward by Professor Hu Gengshen in the 21st century. It is an interdisciplinary study of eco-translation, text ecology and "translation community" ecology and their interaction and relationship. Eco translation pays attention to the integrity of translation ecosystem. From the perspective of eco translatology, it gives a new description and explanation of the criteria, procedures, methods and principles of translation. Professor Hu's eco-translatology means that all elements of translation, including the original text, the source language and the target language, should be coordinated to achieve a dynamic ecological balance and form a harmonious and unified eco translation environment. Therefore, the translators should consider the connection and influence of all factors, adapt and make the best choice in the whole process of translation, and finally produce an ideal translation.

'''1.1.2 The Main Viewpoints of the Eco-translatology theory'''

There are some main viewpoints on eco-translatology. The first is Translator- centeredness. Eco-translatology thinks highly of the translator-centeredness, and regards it as a positive factor. Cha mingjian(查明建)defined the translator's subjectivity as “the translator, on the premise of respecting the object of translation, expresses his subjective initiative in translation activities in order to achieve the purpose of translation. Its basic characteristics are conscious cultural consciousness, humanistic character and creativity of cultural aesthetics”(Cha Mingjian, 2003:22, translated by the author). Zhang Zhizhong(张智中) believes that “translation is an art of compromise, let alone the poetry translation. The translatability of poetry embodies the translator's subjectivity and creativity”(Zhang Zhizhong, 2015, translated by the author).

Besides, the other major viewpoint is “translation as adaptation and selection”. “Adaptation” and “Selection” are the most important words through the eco- translatology. On the one hand, from the perspective of humanities, translation is also a human behavior, so the translator need to make lots of adaptations and selections in the process of translation in order to choose the suitable translation. On the other hand, from a macro view, there must be some similarities between the natural law of “seeking survival and merit” and translation activities.

According to eco-translatology, translation is the translator's adaptation and choice to the ecological environment. Ecological environment includes all the factors related to translation. The nature and process of ecology not only provide new interpretation for translation, but also provide new principles, methods and criteria for translation. Eco-translatology has its own translation principles, such as: text ecology; multidimensional integration; symbiosis; translator's responsibility. However, the essence of eco-translatology principle is “multi-dimensional adaptation and adaptive selection”.

Then is the “three-dimension transformation” principal that most people analyzed in this theory.

'''1.2Eco-translation Method: Three-dimension Transformation'''

The main translation principle in eco-translatology is three-dimensional transformation. It includes the transformation at linguistic dimension, cultural dimension and communicative dimension. The translation criterion derived from eco translatology is the adaptability of the three dimensions of language, culture and communication. In other words, translators should do themselves justice in translation, fulfill their subjective initiative, and comprehensively consider the balanced transformation of "three dimensions", so as to ensure that the translation can conform to the target language environment and be understood by the target readers.

'''1.2.1Linguistic Dimension'''

Hu Gengshen(胡庚申) explained that “the ‘adaptive transformation from the linguistic dimension’ refers to the translator's adaptive choice transformation of language form in the process of translation. This transformation takes place in different stages, levels and aspects of the translation process”(Hu Gengshen, 2011(2):8, translated by the author).

In poetry, language is very important. There are many kinds of Chinese poetry, and different kinds have different language requirements. Different genres express different emotions. And when change a word, the meaning and charm will be different. After all, poetry is very short, but it carries no less content and thoughts than a novel. Therefore, the language of poetry is required to have strong tension and cohesion. Besides, Chinese poetry is very particular about rhyme, rhythm is very important, because it will make people read catchy. Chinese poetry is quite distinct from foreign poetry, so in translation, language conversion and selection is very important.

'''1.2.2Cultural Dimension'''

Hu Gengshen(胡庚申) defined the“‘adaptive transformation from the cultural dimension’ as the translator's emphasis on the transmission and interpretation of bilingual cultural connotation in the process of translation”(Hu Gengshen, 2011(2):8, translated by the author). The translator needs to take note of the differences of the bilingual culture, make full understand of the source culture so as to avoid misunderstanding. In the translation of poetry, this kind of cultural transformation is particularly important. Because Chinese culture is broad and profound, and there are many allusions and rhetorical devices in poetry, and the expression of poetry is diverse. When translate the poetry, there are lots of factors need to be considered, especially in cultural dimension, so it is particularly important to explain its cultural sense and deep meaning of poetry.

'''1.2.3 Communicative Dimension'''

Hu Gengshen(胡庚申) interpreted that the “ ‘adaptive transformation from the communicative dimension’ means that in the process of translation, translators pay attention to the adaptive choice of bilingual communicative intention. It requires the translator to focus on the communicative level and pay attention to whether the communicative intention in the original text is reflected in the target text”(Hu Gengshen, 2011(2):8, translated by the author).

Translation is not only the transformation of words, but also the transmission of ideas. The main purpose of translation is communication. The translator is like a bridge between two languages so that two different cultures can communicate freely. It can make us appreciate the excellent culture of other countries, and can also spread our excellent culture to the whole world.
===II General Review of C-E Translation of Mao Zedong’s Poetry===
This thesis mainly studies the translation of Mao Zedong poetry. First, it analyzes its characteristics of Mao Zedong's poetry; then taking Xu Yuanchong's translation as an example, it analyzes several translation strategies used in C-E translation of Mao Zedong’s poetry.

'''2.1 Characteristics of Mao Zedong's Poetry'''

In the long history of the Chinese nation, there are many splendid poetry works. Poetry of each dynasty has its own characteristics, and poetry of different eras is even more different. Mao Zedong had experienced a lot of turbulence at his time, and his poetry expresses various emotions due to the different creative backgrounds. This thesis mainly discusses its two characteristics: heroic style and abundant allusions.

'''2.1.1 Heroic Style'''

The most important characteristic of Mao Zedong's poems is the heroic style. Ancient and modern writers can be roughly divided into two categories, one is pure literati, the other is politicians. Pure literati's sentiment is better than reason, while statesman's reason is better than sentiment. The reason lies in the author’s thoughts. To write an article is to express one's own thoughts. Mao Zedong is a politician, and only politicians can sum up the laws of society and publicize their political opinions in turbulent times. This kind of writing is not written with pen, but the fruit of the author's social practice. They experience it, feel it, reflect on it, and finally turn it to an article. The article is only a part of his career, such as the tip of the iceberg.

Mao Zedong's heroism can be seen from his childhood. When he was 16 years old, he wrote a poem “To My Father”(《七绝·呈父亲》) as follows:

孩儿立志出乡关，学不成名誓不还。
埋骨何须桑梓地，人生无处不青山?

Determined is the child to go out of his hometown,
And the pledges not to come back without studying to the fame.
A land of mulberry and Chinese catalpa is not necessary for burying bone,
And human life sees nowhere without green mountain.
(Translated by Zhang Chunhou)

From this poem, his lofty ambition and ideal was well expressed. He wanted to go out to study and armed himself with knowledge. There are many more such examples. It can be seen from these poems that Mao Zedong is very bold, optimistic and confident, and his poetry has a distinctly heroic style.

'''2.1.2 Abundant Allusions'''

Besides the heroic style, there is another distinguishing feature of Mao Zedong’s poems, that is abundant allusions. The traditional way of studying in our country is to inherit. As the leader of the party, he needed to use the new practice to annotate the old familiar knowledge, which was what he often said about the Sinicization of Marxism. There are 19 poems about history in Mao Zedong's poems. And in his poems, there are many characters from history, literature and legend. These characters have rich cultural connotations and are closely related to historical events. For example, in the poem “Tune :Spring in a Pleasure Garden-- Snow”

惜秦皇汉武，略输文采;
唐宗宋祖，稍逊风骚。
一代天骄，成吉思汗，只识弯弓射大雕。
《沁园春·雪》

But alas! Qin Huang and Han Wu
In culture not well bred,
And Tang Zong and Song Zu
In letters not wide read.
And Genghis Khan, proud son of Heaven for a day,
Knew only shooting eagles by bending his bows.
(Xu Yuanchong, 2015:36.3-8)

Here, Mao Zedong mentioned “秦皇汉武”, “唐宗宋祖”, “成吉思汗”, which were all great emperors in Chinese history. By describing them, Mao Zedong expressed his regret for these historical figures. Although they unified the country, they failed to stick to it. Through enumerating these historic images, Mao Zedong hoped that young people could manage China well.

These are the two main features of Mao Zedong's poems, which should be paid special attention to in translation. The following section will analyze several different translation strategies used in C-E translation of Mao Zedong’s poems taking Xu Yuanchong's translation as an example .

'''2.2 Strategies in C-E Translation of Mao Zedong’s Poems'''

In translation, different translation strategies should be used for better translation. Various translation strategies are also used in the translation of Mao Zedong's poems. Next, this section will focus on the domestication and free translation used in C-E translation of Mao Zedong’s poems.

'''2.2.1 Domesticating Translation'''

Domestication and foreignization are two main translation strategies. In the English translation of Mao Zedong's poems, domestication is mainly used. According to Venuti(2004),“domestication means bringing the foreign culture closer to the reader in the target culture, making the translated text recognizable and familiar”. Domestication is to localize the source language, take the target language or the target readers as the destination, and express the content of the original text in the way that the target readers are accustomed to.

In the poem “贺新郎·别友”, the translation of this title is “Tune: Congratulation to the Bridegroom - To Yang Kaihui”(Xu Yuanchong, 2015:4). In this sentence, the word “友” is not translated as friends, but as the name of Yang Kaihui. Mao Zedong wrote this poem in a more subtle way. Actually, he wrote the poem for his wife Yang Kaihui. But in the title, he wrote “to friends” instead of pointing out her name. However, here Xu Yuanchong translated it as “Yang Kaihui”, and made a detailed remark about her at the end of the poem, which made it better for readers to understand Mao Zedong’s melancholy and sorrow. It not only about the lingering love, but also about the unremitting commitment to the revolutionary cause. It vividly depicts the unique and rich emotional world of Young Mao Zedong.

Besides, the translation of mume blossom is also the embodiment of domestication. In Chinese culture, plum blossom is loved by scholars for its tenacity and bravery in the cold winter, but it doesn’t have such meaning in English. Therefore, when translating the title “卜算子·咏梅”，Xu Yuanchong translated it as “Ode to the Mume Blossom”(Xu Yuanchong, 2015:129) instead of “Mumeplant”.

'''2.2.2 Free Translation'''

Different from literal translation, free translation usually tries to express the original meaning, instead of restricted by the original pattern or figure of speech. Literal translation is to convey the content of the original text in strict accordance with the format of the original text, especially to retain the rhetoric and some special cultural expressions of the original text. However, each country has its own culture and way of expression. Therefore, sometimes when the expression or implied meaning of the original text is different from that of the target culture, it is easy to cause ambiguity. At this time, literal translation should not be used.

Free translation is based on the main idea of the original text. In the C-E translation of Mao’s poems, there are many examples of translation according to meaning rather than word by word. Take the poem “Capture of Nanjing by the People’s Liberation Army” as an example:

天若有情天亦老，人间正道是沧桑

Heaven would have grown old if it were sentient;
The proper way on earth is full of ups and downs.
(Xu Yuanchong, 2015:81.3-4)

Here, the word “沧桑” didn’t translate into “vicissitudes”. Originally, it refers to the great changes in nature or the changeable world and the impermanence of life. However, in this sentence, this word is used to describe the hardships and twists on the road of revolution, so it was translated into “ups and downs”. Cultural information is complex and difficult to understand in depth in a short time, so free translation is adopted to make this kind of information not become an obstacle in reading.
===III Applications of Eco-translatology in C-E Translation of Mao Zedong’s Poetry===
From the Perspective of Eco-translatology, this thesis takes Xu Yuanchong's translation of Mao Zedong’s poems as an example. Xu Yuanchong is a famous and excellent translator. He has been engaged in literary translation for more than 60 years, mainly translating ancient Chinese poems into English, and has also translated Mao Zedong's poetry. There are many research perspectives in the theory of eco translation. This section mainly uses the three-dimensional transformation principle to analyze his translation.

'''3.1 Transformation at Linguistic Dimension'''

Translation begins with the transformation of language form. First of all, translators should follow the linguistic norms of the source language and the target language, and make adaptive choices at the lexical, syntactic and poetic levels. In order to achieve the dynamic balance of translation, the right vocabulary and the right language form should be chosen.

Therefore, the translation of words needs to be analyzed according to specific sentences. For example, in Mao Zedong's poems, the word "去" appears many times， but there are different translations of this word according to different sentences. For example,

黄鹤知何去？

Where is the yellow crane in flight?
《菩萨蛮·黄鹤楼》
(Xu Yuanchong, 2015:11.7)

此行何去？

Where are we hurrying?
《减字木兰花·广昌路上》
(Xu Yuanchong, 2015:31.1)

陶令不知何处去，桃花源里可耕田？

Were the poet Tao still in the Peach-Blossom Village,
Would he not find the fertile land there good for tillage?
《七律·登庐山》
(Xu Yuanchong, 2015:112.7-8)

Obviously, the word “去” in the above poems has three different translations: “in flight”, “hurrying”. And in the third poem, the translator did not translate the word “去” in one word, but translated its meaning of the sentence.

Besides, many rhymes are used in Xu Yuanchong's translation, which is very rhyming and easy to read, for example:

屈子当年赋楚骚，手中握有杀人刀。
艾萧太盛椒兰少，一跃冲向万里涛。
《七绝·屈原》

“Qu Yuan”
Qu Yuan had rhymed his griefs long, long ago;
He had no sword in hand to kill the foe.
Wild weeds o’ergrown, few sweet flowers could blow;
He plunged into endless waves to end his woe.
(Xu Yuanchong, 2015:217.1-4)

The original text is a kind of modern poetry with strict rules, named “七绝”. It has a fixed length and strict rhyme. In this poem, the last word in each line is rhymed. The second and fourth lines in quatrains must be endowed with the beauty of rhyme. In Xu Yuanchong’s translation, the last word of the second line “foe” and the last one of the fourth line “woe” is rhymed. Xu abides by the rhyme requirement of quatrains. He vividly remained the form of the original text, and successfully applied the adaptive transformation from the linguistic dimension.

'''3.2 Transformation at Cultural Dimension'''

Due to the cultural differences between English and Chinese, in order to avoid the target readers from misinterpreting the original text from their own cultural point of view, the translator should pay attention to the conversion of Chinese and English in the process of translation, as well as the transmission and interpretation of bilingual cultural connotation. So the utilization of the adaptive transformation from the cultural dimension is needed.

There are many allusions in Mao Zedong's poems, which should be handled well in translation, so that readers can understand the true meaning of Mao's poems. Take one of the poems as an example:

洒向人间都是怨，一枕黄粱再现。
红旗跃过汀江，直下龙岩上杭。
收拾金瓯一片，分田分地真忙。
《清平乐·蒋桂战争》

“Tune: Pure Serene Music- The Warlords Fight”
Sowing on earth but grief and pain,
They dream of reigning but in vain.
O’er River Ting our red flags leap;
To Longyan and Shanghang we sweep.
A part of golden globe in hand,
We’re busy sharing out the land.
(Xu Yuanchong, 2015:20-21.3-8)

There are two allusions in this poem. The first is “一枕黄粱”, which refers to unattainable dreams. So the translation is “They dream of reigning but in vain”. And the another allusion is “金瓯”, which refers to the integrity of territory , but also to the territory only. Therefor, its translation is “golden globe”. Under these translations, readers can better understand the meaning of this poem.

Take another example in “Tune: Charm of a Maiden Singer- Mount Kunlun”
夏日消溶，江河横溢，人或为鱼鳖。

When summer melts your snow
And rivers overflow,
For fish and turtles men would become food.
(Xu Yuanchong, 2015:68.6-8)

From the literal meaning of the original text “人或为鱼鳖”, it may mean that people will become fish and turtles. In fact, his real meaning is that people may be eaten by fish and turtles. From these two examples, transformation from the cultural dimension has been well used.

'''3.3 Transformation at Communicative Dimension'''

The adaptive transformation at communicative dimension requires the translator to pay attention to the communicative level and whether the original author's communicative intention is clearly expressed. It means that the translator attaches importance to the adaptive transformation of communicative intention in the translation process.

In translating poetry, it is more important to show and convey the spirit to the target readers. In the poem “Tune: Spring in a Pleasure Garden- Changsha”
恰同学少年，风华正茂；书生意气，挥斥方遒。

When, students in the flower of our age,
Our spirit bright was at its height,
Full of the scholar’s noble rage,
We criticized with all our might.
(Xu Yuanchong, 2015:9.3-6)

In this translation, the translator added “our”, “we”, showing that they are young and vigorous, full of ambition and dreams. It describes the liberation of the youth in the new era from the shackles of the old ideas and their free and unrestrained minds. From this translation, Mao Zedong's ambition and the spirit of the young people are well reflected.

In conclusion, the communicative dimension of eco translation focuses on the intention of the original author, which requires the translator to make appropriate integration and transformation with the participation of the original author, the translator and the readers, so as to achieve the communicative purpose.
===Conclusion===
Mao Zedong, as the most influential politician and revolutionist in China, is also a very outstanding poet. His poetry is an important part of Mao Zedong Thought and a mirror of the history of Chinese revolution and construction after the founding of new China. The translation of Mao Zedong's Poetry not only enables foreign readers to understand the Chinese poetry culture, but also allows them to understand the difficulty of China's development and the strength of China.

Eco-translatology is a new perspective of translation studies, which enriches the types of translation theories. It contains many important viewpoints, including translator's subjectivity, the ecological environment of translation, the principle of three-dimensional transformation, and etc. Eco-translatology adopts a new perspective to analyze translation and improve the quality of translation to a certain extent.

This thesis analyzes the English translation of Mao Zedong's poetry from the perspective of eco-translatology, and focuses on Xu Yuanchong's translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”. Some examples are used to make the analysis more perfect. And some translation strategies used in Xu Yuanchong’s translation are also analyzed and clearly explained. The thesis summarizes the translation strategies of Mao Zedong's poetry in the hope that their application can be promoted to more other poetry translations.

However, due to personal limitations in translation theory and practice, there still exists some deficiencies, which are mainly reflected in the following aspects. First of all, the selected theoretical perspective is limited. This thesis explores the translation of Mao Zedong's poetry mainly from the perspective of “three-dimensional transformation” theory of eco-translatology. There are many other perspectives in eco-translatology that can be used to. Secondly, restricted by space, the number of instances picked out from Mao Zedong's poetry is not rich enough to make a comprehensive study. And the analysis of these examples is also not comprehensive enough. Thirdly, eco-translatology theory is still developing. There is still room for improvement in the theoretical analysis of this thesis.
===References===
*Lopreato, J.&T. Crippen. Crisis in Sociology: The Need for Darwin [M]. New Brunswick /London: Transaction Publishers, 1999.

*Cha Mingjian, Tian Yu查明建,田雨. 论译者主体性--从译者文化地位的边缘化谈起[On Translator's Subjectivity -- From the Marginalization of Translator's Cultural Status]. 中国翻译Chinese Translators Journal, 2003, (1) : 19-24.

*Hu Gengshen胡庚申. 生态翻译学的研究焦点与理论视角[Research Focus and Theoretical Perspectives on Ecological Translation Studies]. 中国翻译Chinese Translators Journal, 2011, (2) : 5-9.

*Liu Aihua刘爱华. 生态视角翻译研究考辩 --“生态翻译学”与 “翻译生态学”面对面[Translation Studies From an Ecological Perspective -- "ecological translatology" face to face with "translation ecology"]. 西安外国语大学学报Journal of Xi'an Foreign Studies University, 2010.

*Li Zhengshuan, Tao Sha李正栓,陶沙. 国外毛泽东诗词英译研究[A Study on the English Translation of Mao Zedong's Poems Abroad]. 河北师范大学学报Journal of Hebei Normal University, 2009, (2) : 104-109.

*Xu Yuanchong许渊冲. 许渊冲英译毛泽东诗词[Xu Yuanchong's English Translation of Mao Zedong Poetry]. 北京:中译出版社Beijing: Chinese Translation Press, 2015.

*Zhang Zhizhong张智中. 汉诗英译的主体性[The Subjectivity of Chinese Poetry Translation]. 外文研究Foreign Studies, 2015.

==英语笔译黎溢佳 Li Yijia 202170081573 CE==
On the popularity of Three Body abroad

==英语笔译李思敏 Li Simin 202170081574 MW==
A Study on Translation Methods of Agricultural Terms in Chinese Sci-tech Classics —— A Case Study of Tian Gong Kai Wu

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

===References===
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*顾卫星.试论马建忠的“善译”理论[J].江苏大学学报(社会科学版),2007(06):81-84.
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==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

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==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

===Abstract===
苗语是苗族文化的主要载具。在文化历史发展的过程中，由于受经济、地理、科学技术等方面的限制，苗语没有得到很好的继承和保护。本文主要介绍苗族的概况、分布情况以及苗语的基本特点。近十年来，对苗语进行研究的专家学者和相应著述越来越多，本文主要从介绍最基本的与苗语相关的情况，试图引起更多人对苗语以及更多少数民族语言的关注，从而对少数民族语言和文化进行保护。

===Key words===
Miaoyu, Hmong,language protection

===Introduction===
20世纪30年代，美国一些学者开始关注美洲印第安语和澳洲土著语言的大规模灭绝现象，并由此引发濒危语言研究的热潮。根据1996年，教科文组织发布的世界濒危语言地图显示，目前全世界大约有2500种语言存在不同程度的濒危情况。而面临濒危情况的语言主要由于一些语言是因为使用人数仅存一人而濒临灭绝，比如巴西的阿皮亚卡语（Apiaka）、迪亚霍伊语（Diahoi）以及中国台湾的拔泽海语（Pazeh）等都极度濒危，因为这些语言在2009年前大多只剩一人会说。同样我国是一个少数民族众多的国家，因而会有众多少数民族特有的语言，比如蒙古语，客家话，土家族语等。语言不仅是一种交际工具，更是一个民族文化的传承，每一种语言都是一个族群独特文化和族群特征的重要体现和表现形式。少数民族语言也面临着同样的现象，因此想对离自己生活比较接近的语言进行了解和研究。

===Literature Review===

===Methods and Theories===

===Subtitle 1 The Motivation of the Miaoyu===
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.

===Subtitle 2 Miao Nationality ===
1.The Source of the Name “Miao”
There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.
2.The Distribution of Miao Nationality
(1)Domestic Distribution
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.
(2)Overseas Distribution
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.

===Subtitle 3 The origin of the Hmong and the historical formation of the Hmong===
1. Origin of the Miao
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."
2. Historical formation of the Hmong
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.

===Subtitle 4 Miao Folk Beliefs===
phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".

===Conclusion===
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.

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

==英语笔译李媛 Li Yuan 202170081579 CE==
The Translation and Reception of Sunzi: The Art of War in the West

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
This is a paragraph. (Wang 2021:423)

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Study on the canonization of Chinese Modern Poetry'''</center>

<center>Liu Ting</center>

===Abstract===

It has been more than a century since the birth of Chinese Modern Poetry, also known as the new poetry. As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to Chinese ancient poetry and songs, which have a long history and cultural accumulation. So, its canonization has always been the common concern of writers, scholars and researchers. In any country, canonization of any literary work is a long and complicated process in terms of time and mechanism. The canonization of new poetry has rich texture in the synchronic and diachronic aspects of literary history. This paper analyzes the essential characteristics of the so-called "classic" works and points out the problems faced by the canonization of new poetry and only by solving these problems can the canonization of Chinese modern poetry be put on the right track.

===Key words===
Chinese modern poetry, canonization, classic work

===Introduction===

Chinese Modern Poetry, also known as the new poetry, refers to the poetry genre that emerged around the May Fourth Movement, which is different from the Chinese classical poetry and uses vernacular when it is composed.

During the development of Chinese literature, poetry, including Han Fu, Tang poems, Song Ci, Yuan Qu, had achieved great success. However, in modern times, the creation of classical poetry gradually became rigid, using lots of clichés, and the words used in classical poetry was seriously disconnected from modern spoken language. The strict restrictions on the form including the verse style, rhyme, allusions etc., were a great constraint on poetry's ability to express the ever-changing and increasingly complex social life and to express people's true thoughts and feelings. Therefore, the new poetry revolution became the first and most important part of the May Fourth New Literary Movement.

As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to the old poetry and songs, which have a long history and cultural accumulation. But with its freedom, flexibility, and versatility, new poetry has maintained its creative vigor and vitality over the past century. From form to content, from creation and dissemination to influence, new poetry can be said to be relatively complete and uncompromising.

The issue of literary classics and the classicization of literature is a hot issue that has always been of concern to academics. In terms of the classicism of poetry, the power that new poetry has contributed to the history of Chinese poetry over the past century should not be underestimated. As far as the century of Chinese new poetry is concerned, the modern new poetry classics and the rationality of their canonization have been gradually recognized in recent studies, while the issue of its canonizaton is quite controversial. Canonization is actually a process rather than a result. Many scholars have doubts about whether "Canonization" of new poetry is a valid term, because the time of generation and development of them is still short compared with that of Chinese classical poetry, and "classics" must go through layers of elision by years and readers, and through the heavy burden of generations. The reason is that the generation and development of contemporary new poetry is still short compared to that of modern new poetry, and the "classics" must go through the test of time. Of course, this is the general understanding of the generation of classics, but while seeing the ephemeral nature of the generation of "classics", we should also see the commonality of the generation of them.

By clarifying the defining characteristics of Chinese new poetry and classic works, this paper points out the difficulties and misunderstandings encountered in the classicization of Chinese new poetry today, and only by solving these problems and breaking these misunderstandings can the canonization of Chinese new poetry and “canonization” be put on the right track.

===Literature Review===

===Methods and Theories===

===Chinese Modern Poetry===
To solve the problem of canonization of Chinese modern poetry, first and foremost, it is necessary to have an understanding of it. This chapter introduces the development of new poetry, its representative figures, the literary characteristics of poetry and its achievements.

2.1 Development of Chinses Modern poetry
Compared with drama and fictional prose, the century-long development of Chinese modern poetry is relatively weak. Fiction, after all, still has Lu Xun, Ba Jin and Lao She; drama has Cao Yu, Lao She and; all these writers have been recognized by the world. Poetry, on the other hand, lacks such figures. New poetry faces two peaks that are difficult to surpass: one is Chinese classical poetry and the other is the poetry achievements of the West since Shakespeare. The existence of poetry requires the existence of a refined and mature national language, and poetry is most closely connected to language, while modern Chinese has only been existed around for a century. Nevertheless, achievements of Chinese modern poetry are remarkable. The most important development stage of it was the first thirty years after its birth.

2.1.1 The first decade

At the experimental stage, Hu Shi was regarded as "the first vernacular poet." His Trying Collection (1920) was "a bridge” between the old and new poetry. Individual poems at this time had modern lyrical forms, but most of them still could not escape from the formal tradition of classical poetry. The techniques of the new poetry were firstly, "line drawing" and secondly, metaphorical symbolism. The early vernacular poems are thus divided into two categories: the first is the objective realistic tendency of using white description; the second is the modernist tendency of putting things into context. The latter is not common in traditional poetry.

At the foundational stage, Guo Moruo's "Goddess" (1921) was the foundation of Chinses new poetry. The lyrical nature of poetry and the individuality of it were given full attention and play, and the strange and daring imagination really made the wings of poetry soar. " The free spirit of the May Fourth Era and the artistic rules of poetry itself are fully reflected in this collection.

At the normalization stage, if "Goddess" broke the traditional poetic rules with the spirit of "absolute freedom and absolute autonomy", the New Moon School was born in response to the need, with Wen Yiduo, Xu Zhimo, Zhu Xiang and Lin Huiyin as its representatives, advocating "rational moderation of emotions". " Wen Yiduo advocated the metricalization of the new poetry and proposed the theory of "three beauties" of poetry: music beauty (level and oblique tones and rhyme), pictorial beauty (the theory that Chinese poetry and painting are connected), and architectural beauty (proportionality of stanzas and evenness of sentences).

2.1.2 The Second Decade

The Chinese Poetry Society was a mass poetry group led by the Left League, inheriting the early proletarian poetry tradition of Jiang Guangci from the previous decade, with Yin Fu as its representative. The characteristics were: first, reflecting the revolutionary struggle and major events of the times; second, emphasizing the ideologization of poetry, the subject of poetry was not the poet himself but a fighting collective; third, focusing on realism in artistic expression. This somewhat deviated from the essence of poetry, which is the catharsis of individual's emotions.

In the later period, the poems of the New Moon School shifted the focus of their lyricism to the "trembling of the soul" and the alienation of the modern human spirit. Xu Zhimo's "Collection of Fierce Tigers" and "Collection of Cloudy Travels" are representative of this. "Farewell to the Cambridge" belongs to this period, but its mood is still a remnant of the previous one. New poets, such as Chen Mengjia and Fang Wei De, were students of Xu Zhimo. And the poetry at this period, borrowed the form of sonnets.

Shi zhe was another poet at this period. He emphasized the need to write purely modern poetry, which is genealogically related to the early Symbolist poetry and used modern rhetoric to arrange modern poetic forms. The "leaders of the poetry world" at this time is Dai Wangshu and Bian Zhilin. Dai Wangshu was known as the "Rainy Lane Poet" with his poem "Rainy Lane". Bian Zhilin, on the other hand, was influenced by Xu Zhimo and Dai Wangshu, and provided something new to the new poetry, namely, a shift from the main emotion to the main intellect. He was one of the poets in the history of new poetry who was consciously philosophical, and his poetry was surprising in its simplicity because he was good at penetrating and exploring the phenomena of daily life philosophically.

2.1.3 The Third Decade

Ai Qing accomplished the task of "synthesis" in the history of Chinese poetry. On the one hand, he insisted on developing the realistic and fighting tradition of the poets of the Chinese Poetry Society, on the other hand, he overcame and abandoned their weaknesses of "childish shouting", and at the same time, he critically absorbed some of the achievements of the modern poets in their artistic exploration of new poetry, further enriching and developing the art of poetry. He drew on the passion of Guo Moruo and the pursuit of external forms of the New Moon School, and Ai Qing began to pursue an inner beauty in Chinese new poetry. He became the most influential poet of the third decade. He was also one of the first new Chinese poets to go global.

At the beginning of the war, the Chinese Poetry Society, the New Moon School, and the Modernist poets all sang the battle hymn of national liberation. During the war period, the debate over the aesthetic and artistic characteristics of poetry and political propaganda brought people to a new level of understanding of the content and form of poetry. There were many academic works that raised the artistic discussion of new poetry to a theoretical level: Ai Qing's "Essay on Poetry", Zhu Ziqing's "Miscellaneous Discussions on New Poetry", Li Guangtian's "The Art of Poetry", and so on. Zang Kejia wrote "Songs of the Clay" and Dai Wangshu wrote "Years of Catastrophe", and there was a transformation of style, integrating the "small self" into the "big self". The most influential poetry school during this period was the July Poetry School. Under the influence of Ai Qing, this school of poetry was formed by Hu Feng as the center, with July and other publications as the main base. It advocated revolutionary realism and free verse as its main banner, and had a great influence in the National Unification Area.

After the end of the war, the new poetry took on a new life. In literary history, the Nine Poets school led by Mu Dan are known as the "New Chinese Poetry School". They emphasized, first, the modernization of the way of thinking about poetry. The second was the extreme importance attached to the application of everyday language and the rhythm of speech. "Only words and rhythms that are varied, flexible, fresh, and vivid can properly and effectively express the strange sensitivity of the modern poet's senses and the rapid changes in his thoughts." The emphasis on the basic transformation of poetic thinking and language, which characterized the Chinese New Poetry School, also concentrates on its rebelliousness and heterogeneity, which precisely echoed the claims of early vernacular poetry in a distant way.

2.2 Value of Chinses Modern poetry

The value and significance of modern Chinese poetry does not only lie in the depth and breadth of thought and emotion expressed in the works of its outstanding writers and artistic thinking, but is also closely related to the cultural characteristics it reflects. As representatives of modern Chinese intellectuals with the most prominent self-awareness, the cultural consciousness of modern Chinese poets and their many outstanding creations not only provides readers with a rich and unique scope of understanding and propositions at the level of ideology, but also gives a taste of the free power and will of their individual lives in the vibration of the intersection of different cultures and the care of national emotions.

Chinese modern poetry has been following the changes in the future and destiny of the nation, and has been deeply concerned with the suffering of the masses, especially the creation of realistic poetry, which integrates realism and lyricism into one, has gained great significance. Guo Moruo's "Phoenix Nirvana", Wen Yiduo's "Dead Water", Dai Wangshu's "I Use My Broken Palms", Zang Kejia's "Old Horse" and Ai Qing's "Snow Falling on the Land of China" all belong to this category, and they are all typical modern poems with the theme of worrying about the country and the people. As a "social discourse for the masses" with strong, sharp values and realistic concerns, they indeed disclose the heavy and oppressive environment of the time and the sense of suffering and crisis caused by the increasing destruction of modern China by the real oppressors and invaders, and those politicized complaints of grief and anger processed by the authors' reason and emotion also inherit the sense of historical mission of classical Chinese poetry: "Essays are written for the time, songs and poems are written for the matter. "The poetry of modern poets, however, is not as good as that of classical poetry. However, in contrast to classical poetry, modern poets have been able to consciously strengthen their "self-awareness" in the midst of successive social changes, national suffering, and political turmoil, thus examining the close relationship between the changes of the times, public suffering, and the poet with the poet's real identity and vision, and integrating the poet's independent "self-awareness" into the "self-awareness" of the poet. The poet's independent "self-consciousness" is integrated into the "social discourse of the masses"

Since the real feeling of individual independence and emancipation and its cultural and psychological structure have gained a dominant position in modern China, the modernization of Chinese poetry is gradually free from the traditional aesthetic thought's domination and bondage to the poet's personalized historical experience and unique feeling in the continuous farewell to the traditional consciousness of classical poetry. In other words, many modern poets have become the most important poets. In other words, many modern poets have achieved complete emancipation from the classical poetic consciousness with a very distinctive personal character. Nevertheless, modern poetry has clearly increased its tendency to express "motherly emotions" accompanied by sorrow and grief. Bing Xin's small poems, for example, have a great deal of motherly love and tenderness molten into the artistic world she has constructed, fully reflecting the modern woman's self-consciousness, and vividly embodying the modern intellectual woman's painful independent personality of "living in evil but loving goodness", which is a struggle of the inner soul. Classical poetry generally does not reveal the oppressive factors of women's existence from the perspective of women's care, and often examines women's lives with a tragic vision and a sense of suffering. In contrast, the new poetry tries to explore women's unique life consciousness, emotional imagery and their inner flashing moments of perception, in order to replace the vague and hazy or generally suppressed monotonous and long-lasting sadness of classical poetry, whose overall sense of life and overall mood underline the poet's deep concern for women's cultural consciousness. In this sense, modern poetry has gained its own vitality because of the significance of women's cultural awakening.

To sum up, the general awakening and vigorous exploration of the self-consciousness of modern Chinese poets has given modern poetry a more independent, profound, liberating and new way of thinking and value of thought and art, different from the classical poetry.

===What is Classic===

From the reality of Chinese literature in the 20th century, both the discussion on whether there are classics in modern literature and the sense of anxiety crisis about the classics of modern literature are greatly related to the understanding of the meaning of classics. I have the following four understandings of the connotation of the classics.

First of all, in terms of spiritual meaning, literary classics shine with the light of thought. It is often rooted in the times, showing the distinctive spirit of the times, with the character of historical reality, but also outlines and reveals the far-reaching rich cultural connotations and human implications, with the transcendent open character. It often raises fundamental questions about human spiritual life, such as man and nature, man and society, and man and himself. At the same time, classics and classical interpretation have a close relationship, and classics must be continuously compiled and organized, accepted and disseminated, and revered in order to become classics. Original classics also need original interpretation, and original interpretation may become new classics or have new classical characteristics.

Secondly, from the point of view of artistic aesthetics, literary classics should have a "poetic" connotation. It is the creation of an irreducible artistic world permeated by the writer's unique worldview, which can provide some kind of aesthetic experience that no one has ever provided before. It is a unique aesthetic grasp of the world based on sensual life, spiritual needs, and even the individual and collective unconscious. This aesthetic grasp, through original efforts, incorporates the rich and colorful world of the mind and the vivid and rich real life, and also absorbs the past and future life into the present with the "time field of presence" that is generated and acted upon. The literary classics created in this way can make the human nature and human heart connected, and the heart of literature and poetry connected, so that the culture and literature of different periods can get deep communication.

Thirdly, from the perspective of national characteristics, literary classics often open a new chapter in the history of national literature, with the value of "history". That is to say, the literary classics can promote a nation's language and thought to a new platform. Just like Shakespeare's modernity in English and English literature, Pushkin's modernity in Russian and Russian literature, Lu Xun and the new literary classics in the May Fourth era also pushed our national language and thought to a new height and a new platform through the original artistic world of modern Chinese. This made it possible for the writers and theorists of modern literature to operate, communicate and create on this platform, and thus a series of classical achievements emerged.

Fourthly, from the acceptance of the classics, literary classics must be accepted and appreciated by the majority of readers. There are indeed many classics of highbrow, but those that are loved, recognized, appreciated and enchanted by a wide audience are the classics of classics. The "Three Hundred Tang Poems" have been printed countless times, with billions of readers. Therefore, a classic work must be a work respected by the public, and it must conform to the public's value orientation, respond to the public's will and pursuit, in order to constantly renew new vitality and vitality in order to be immortalized.

===Problems about Canonization===
Although a number of well-received classics of Chinese modern poetry have emerged or are being classicized in its hundred years of development, there are still many problems that need to be solved. Only by solving these problems and recognizing some misconceptions can we better promote the process of canonization of new poetry.

The first problem is the vision of the selector. As it mentioned above: the classics are often rooted in the times, not only displaying the distinctive spirit of the times, but also summarizing and revealing the far-reaching and rich cultural connotation and the meaning of human nature and having the character of transcendent openness. Therefore, there is a need for selectors and editors with vision, thoughtfulness, noble character and culture to select and recommend Chinese modern poems that can be regarded as classics for us. However, some selectors and editors lack a comprehensive, objective and fair vision when they compile anthologies such as "New Poetry Classics of 100 years". They choose poems according to their own preferences, and choose whoever I want to choose, and let whoever I want to stand aside stand aside. In this way, some fine and classic works with superior ideology and art are blocked and rejected by him, while some unknown works with low artistic achievement and simple connotation are regarded as classics by him. In view of this we should strictly screen the professionals to ensure that they can take a serious and responsible attitude, be unbiased, to prepare an excellent collection of selected new poetry classics for everyone to appreciate, read and taste, and promote the process of canonization of new poetry.

The second problem is the vision of a literary historian. As mentioned above: literary classics often open a new chapter in the history of national literature, with the value of "history". Therefore, literary historians play a crucial role in the process of canonization of Chinese modern poetry. If a poet's poems enter the history of literature and new poetry, and are recommended and analyzed as a key poet, it seems that he will definitely be a "classic poet" and his poems "classic poems ". However, it should also be recognized that many literary historians are unable to be unbiased, and the literary and poetry histories they have written have obscured and blocked many new poetry works that have had a significant impact, and inappropriately regarded some works that readers know nothing about as masterpieces.

The third problem is the selection of Chinese modern poems in Chinses textbooks. The role of Chinses textbooks is crucial to the canonization of poetry. In my personal experience, those textbooks are more inclined to poems with aesthetic nature, complex connotations, focus on the experience of life, the beauty of humanity, etc.. However, the sense of the times is often not strong enough. Some "purely lyrical" poems are necessary, but masterpieces that reflect the spirit of the times and real life should not be completely excluded. Language teaching materials are responsible for the canonization of new poetry.

The fourth problem is the education and teaching of new poetry. When it comes to the selection and editing of new poems in Chinese textbooks, the issue of education and teaching of new poems is naturally inseparable. The canonization of poetry is inevitably associated with poetry reading, and the level, form and state of poetry reading are obviously subject to the various stages and levels of contemporary poetry education and literary education, the latter's influence on aesthetic ability and aesthetic intuition is evident to all. In reality, few teachers are willing to make great efforts to guide students to appreciate the beauty of Chinses modern poetry, and few students are really interested in them. The reasons for this are many. The first reason is that modern poetry has a low status. Chinese modern poetry is far inferior to classical poetry, which has a cultural history of several thousand years, in terms of quantity and quality, as well as the number of poets. Another important reason for the low status of modern poetry in language teaching is that it is not considered as part of the test in China's exam-oriented education. The appreciation of classical poetry, instead of modern poetry, is often taken as a key test in the examination of poetry appreciation, and when students are asked to write something, it is often explicitly state that the genre is not limited except for poetry, etc. Secondly, teachers' poetry literacy is not good enough. The poetry literacy of Chinese teachers directly affects the quality of poetry teaching. For a long time, modern poetry is a niche literature in Chinese literature, and people in general like to listen to stories but not to read poems, to read novels but not to read poetry collections, and even many Chinese teachers have very little experience of modern poetry, very little knowledge reserve of modern poetry, and not high poetry literacy. This directly leads to the fact that in order to complete the teaching plan, teachers will only boringly read from the text and cannot well guide students to appreciate the beauty of modern poetry. Some teachers even teach it quickly and do not seek for teaching quality, which greatly erases students' interest in learning poetry.

The fifth problem is the public's awareness. The making of "classic" new poems is closely related to society, media and education. The repeated selection and publication by publishers, the repeated broadcasting and promotion by TV, radio and newspapers, and the long-term "required reading" in Chinses textbooks are the most important channels for the creation of classics. In addition, the awareness of the public is also an important factor. However, Chinese modern poetry is still far from being publicized, and only a certain circle of people knows about the new poems, while the rest of the people can only recite or memorize few poems that are selected for language textbooks, which is far from enough. The most important factor in the highest achievement of Tang poetry in ancient China lines in the its high quality and higher production, while new poetry, except for the rapid development in the first thirty years, has seen fewer and fewer excellent poets emerge in the later period, gradually fading out of the ordinary people's view. In view of this, relevant institutions can organize some programs and activities, so as to publicize Chinese modern poetry; hold related competitions, so as to reward the creation of new poems.

===Subtitle 4===

===Conclusion===

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

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On Mo Yan’s Representative Works Translated Overseas'''</center>

<center>Liu Yao 刘瑶</center>

===Abstract===
With the implementation of “Going Global” strategy of Chinese literature, more and more works of outstanding Chinese writers have been translated and published in countries around the world, and Mo Yan’s works are representative of them. In 1988, The Dry River was published in Japan, which started the overseas publishing of Mo Yan’s works. As of October 2019, there are 388 kinds of Mo Yan’s works published in 41 countries and Mo Yan has become a representative of contemporary Chinese writers to the world. A comprehensive discussion on the development history, geographical and language distribution, and audience acceptance of Mo Yan's representative works translated overseas is an important topic that can summarize some features of Chinese literature translated overseas, from which to gain some revelation related to Chinese literature's going global. This paper collects relevant papers and journals on the translation and dissemination of Mo Yan's works, based on which this paper reaches a conclusion of information related to Mo Yan's three representative works —''Red Sorghum''《红高粱家族》, ''Frog''《蛙》, ''Big Breasts and Wide Hips''《丰乳肥臀》. Taking masterpieces of well-known writers as examples, this paper is in the hope of offering new ideas for the translation and dissemination of Chinese literature.Through study and research on the topic, this paper concludes that the significance of Mo Yan's works translated overseas is mainly reflected in the following three aspects: first, showing the global influence of Chinese contemporary literature; second, contributing to the further development of the dissemination of Chinese culture; third, setting a model for cultural communications between China and other countries. The translation and dissemination of Mo Yan's works also inspire us that the spread of Chinese literature needs not only policy support from the government, but also high level translation from translators, both of which are key factors in terms of Chinese literature's going global.

===Key words===
Mo Yan; representative works; translation; dissemination

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘珍 Liu Zhen 202170081588 MW==

<center>'''A Study of Strange Stories From a Chinese Studio from the Perspective of Skopos Theory'''</center>

<center>刘珍</center>

===Abstract===
Liao Zhai Zhi Yi written by Pu Songling is a famous collection of more than 400 peculiar short stories. As a work coming into being at the very beginning of the 17th century when the classical Chinese writing was on the wane, the appearance of Liao Zhai Zhi Yi (or Liao Zhai in abbreviation) injected vigor and vitality into the classical Chinese literature. Among the many foreign translations of this book, the English version named Strange Stories from a Chinese Studio translated by Herbert Allen Giles is the most popular and influential one so far, thus becoming an indispensable part for the study of the English translation of Liao Zhai. At a time that we are calling for Chinese culture going global, as a successful case of Chinese literature work well-accepted by the foreign market, the English translation if sure of high research values and guiding significance. This thesis attempts to take Skopos theory as the theoretical basis, and take Giles’s Strange Stories from a Chinese Studio as the main research object to study the translator’s aims, the choices of translation strategies and the achievement of translation function.

===Key words===
Strange Stories from a Chinese Studio; Herbert Allen Giles; Skopos theory; Reader Expectations

===Introduction===

===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.

==英语笔译马艳焕 Ma Yanhuan 202170081591 CE==
The Translation and spread of Su Tong 's works Abroad

<center>'''The Translation and spread of Su Tong 's works Abroad'''</center>

<center> Ma Yanhuan 马艳焕 </center>

===Abstract===
Su Tong is one of the famous contemporary Chinese writers, whose works have been translated into a variety of languages and widely spread abroad. therefore, the writer Su Tong has also become one of the top three foreign translators of novels in China. Based on the present situation of the foreign translation of Su Tong's works, this paper will explore the reasons for the success or failure of its overseas dissemination, and put forward some countermeasures to provide a reference for the going out of Chinese literature.

===Key words===
Su Tong; Translation； Spread

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译聂薇 Nie Wei 202170081592 MW==

<center>'''Translation of Idioms in Howard Goldblatt's ''Life and Death are Wearing Me Out'''''</center>

<center>Nie Wei 聂薇</center>

===Abstract===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is full of vivid and interesting idioms, which make the language of this novel so unique and characteristic. Howard Goldblatt's translation of this novel has been a great success in the English-speaking world. In the translation of idioms in this novel, he mainly adopts the methods of foreignization and omission, and follows the translation principles of preserving the foreign culture and insisting on semantic correspondence in order to present the heterogeneity of the idioms, so that the Chinese culture contained in the idioms in ''Life and Death are Wearing Me Out'' is well presented to Western readers. His translation provides a more objective platform for Western readers to know the diverse cultures of the world. The study of Goldblatt's translation of this novel can help guide the English translation of Chinese literature, thus providing references for promoting Chinese culture abroad.
===Key words===
''Life and Death are Wearing Me Out''; Howard Goldblatt; translation of idioms; creative treason
===Introduction===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is not considered the best novel in China, but Goldblatt's English translation has received much attention in the English-speaking world, won many international awards, and is even considered one of the most important works for Mo Yan to win the Nobel Prize in Literature. One of the most distinctive features of this novel is its unique language style. Goldblatt’s exquisite translation enables Mo Yan's style to be reproduced, and the strong local flavor and magical realism to be manifested, all of which is an important factor for the success of the English translation of ''Life and Death are Wearing Me Out''. This paper discusses the translation methods and principles adopted by Goldblatt in his translation of the idioms in this book, and analyzes its influence on the dissemination of Chinese culture, so as to provide reference for future translations of Chinese classics. (Shi Chunrang 2019, 94)
===Literature Review===
I searched CNKI with keywords "''Life and Death are Wearing Me Out'' and translation" (searched until May 29, 2022) and found 355 related papers. These papers analyzed the translation methods, strategies and Goldblatt’s translation style of ''Life and Death are Wearing Me Out'' from different perspectives, such as relevance theory, Bourdieu’s theory of field, Reception Aesthetics Theory, eco-translatology, translation aesthetics, the post-colonialism perspective, rewriting theory, translation ethics, hermeneutics and translators' subjectivity.

Among them, there are five papers related to the study of proverbs ( idioms). Wang Yiting and Lin Mei point out that Goldblatt mostly uses literal translation to translate idioms in the linguistic dimension, chooses both literal and free translation in the cultural dimension, and uses rewriting in the communicative dimension. Liu Geng and Lu Weizhong, with the help of conceptual metaphor theory, point out that the English translation of the idioms in ''Life and Death are Wearing Me Out'' has certain translator's subjectivity, and the translator's metaphorical way of thinking affects the use of different translation strategies. Ye Pingting, based on the cultural translation view, uses the idioms in Goldblatt’s version as a corpus to explore how translators effectively convey cultural information. Chen Qiansa analyzes the use of idioms and their translation methods in this novel based on the Chinese-English parallel corpus. Shi Chunrang and Shi Yan analyze the role of idioms in ''Life and Death are Wearing Me Out'' in constructing the "image of the other" for Western readers, as well as in deconstructing the cultural psychology of western readers.

The study of idioms’ translations in Goldblatt's version includes both case studies, in which a single idiom is selected for discussion, and quantitative analyses supported by definite statistics. This paper provides an overall study of the methods and principles of translating idioms, and suggestions for improvements to the mistranslations in Life and Death are Wearing Me Out, so as to provide a reference for the English translation of Chinese literary works in the future.
===Methods and Theories===
This paper focuses on the study of Goldblatt’s translation based on Venuti's theory of domestication and foreignization and the concept of creative treason.

Lawrence Venuti firstly formulated and introduced the theory of domestication and foreignization in the book ''The Translator’s Invisibility''. According to Venuti, domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target readers, while foreignization refers to the type of translation in which a target text deliberately breaks target conventions by retaining something of the foreignness of the original.

The domestication method can express the language and culture of the source language with the language and culture familiar to the target language readers, and the translation is fluent and easy to read and accepted by the readers, but the "domestication method" tends to distort the facts of the original text, which is not conducive for the target readers to feel the "exoticism" of the foreign culture. On the other hand, the "foreignization method" can better maintain the style of the original text, convey the author's original intention, and let the target language readers truly feel the difference between the two cultures, but the disadvantage of it is that the translation may be obscure and difficult to understand, and may sometimes make the readers have cultural misunderstanding. (Zhu Zhouxain 2013,155)

Professor Xie Tianzhen published a book entitled ''Translation Studies'', in which he elaborated on the creative treason in literary translation in depth. In his book, he clearly pointed out that "the most fundamental characteristic of creative treason in literary translation is that it introduces the original work into a receptive environment that the original author did not originally anticipate, and changes the form originally given to the work by the original author."

Due to the specific differences in social, historical and cultural factors between the source language and the target language, the translator will certainly make appropriate and comprehensive "adjustments" to the specific differences in semantics between the two languages in different contexts during the whole process of translation. These "adjustments" are, on the surface, a "treason" against the original work, but it is not the translator's trampling on the original work at will, but the translator's attempt to make the translation convey the same meaning as the original work in the translated language environment. (Zhang Liyun 2019,141)

===1.Idioms in ''Life and Death are Wearing Me Out'' and their characteristics===
Idioms are simple and concise folk languages that are widespread and easy to understand. Most of them are short sentences that are transmitted orally by the laboring people, reflecting their experiences in production and life vividly. Idioms contain a great deal of background information and culture, and it is a form of language that has been developed over a long period of historical development and real life.

''Life and Death are Wearing Me Out'' is filled with lively and amusing idioms that bring uniqueness and vitality to the novel's language. This novel tells the story of joys and sorrows experienced by the landlord Ximen Nao’s family and the farmer Lan Jiefang’s family for more than half a century. The theme of the novel is closely related to the farmers and the land, which of course requires the use of a large number of idioms to narrate the story. (Shi Chunrang 2019,94)

Clearly, the idioms in this novel are diverse in form and peculiar in presentation. For example, when the donkey reincarnated from Ximen Nao bragged about being favored by the county chief, it said, "人们都知道，侍候好了县长的驴，就会让县长格外高兴。拍了我的驴屁，就等于拍了县长的马屁。" The translation is "Everyone knew that taking special care of the county chief's donkey made him very happy. Patting my rump was equivalent to patting the county chief's behind with flattery." Here cleverly, the common saying "拍马屁" in people's daily life is used as “拍驴屁”, which highlights the identity of the donkey, and also vividly and humorously depicts the complacency and arrogance of the donkey, while expressing its contempt for those who strive to curry favour with people in authority.

In addition, when the ghosts in the hell sneered at Xinmen Nao, they said, “猫改不了捕鼠，狗改不了吃屎”. The translation is “You can’t keep a cat from chasing mice or a dog from eating shit.” The language, though vulgar, is very common in people’s daily life and fits the overall style of the novel.

This kind of linguistic style is both traditional and innovative, both unbridled and unrestrained, and is highly effective for shaping the characters and plotting.
===2.Goldblatt’s translation methods of idioms in ''Life and Death are Wearing Me Out''===
(i) Foreignization

The method of foreignization is to deliberately make the translation violate the conventional linguistic models in target language and retain the exotic atmosphere of the original text, with the aim of "injecting the linguistic and cultural differences in the foreign text into the target language, sending the readers abroad" and providing them with an "unprecedented reading experience”. Goldblatt deliberately uses the method of foreignization to translate idioms in this novel.

Specifically, Goldblatt tries to convey the heterogeneity of idioms in the original text in the following ways.

First, he tries his best to show the target readers the meaning of Chinese idioms that is unique to China and not available in the Western culture. After all, idioms are developed in the production and life experiences of different peoples. Therefore, Goldblatt chooses literal translation whenever possible.

For example, “你是煮熟的螃蟹难横行了，你是瓮中之鳖难逃脱了” is translated into “You’re a cooked crab that can no longer sidle your way around，a turtle in a jar with no way out”. “瓮” is a unique Chinese utensil with rich Chinese cultural information. The image of "瓮" is missing in the English-speaking world. Therefore, he borrows the familiar apparatus "jar" from English to translate it, which is roughly similar to "瓮" in appearance. This translation uses an alternative image to convey the message of the original text, which reduces the connotative information of the original idiom but makes it easier for the target readers to understand the essential message of the idioms.

Second, for some idioms, Goldblatt translates them by literal translation with annotation. The literal translation is of course for presenting the original message of the idioms to the target readers, while the annotation is to help the readers better understand the essential message of the idioms, because some of them have complex metaphorical messages, so annotation is essential for understanding.

For example, “兔死狐悲，物伤其类” is translated into “When the rabbit dies，the fox grieves, for his turn will come.” This annotation “ for his turn will come” clearly illustrates the message of the original idiom and removes any confusion about why the fox grieves for the rabbit’s death. With annotation, the connotative meaning of the idiom becomes clearer.

Third, for some idioms that have exact equivalents in the target language, the translator deliberately translates them with explanatory literal translations instead of copying the idioms in the target culture. For example, “入乡随俗” is translated into “When you come to a new place，learn the local customs and follow them” rather than “When in Rome, do as the Romans do” in English. Obviously, the use of semantic equivalents of idioms in the target language cannot translate the information conveyed by the original context. An explanatory literal translation approach can help target readers better understand the plots of the novel and increase their interest in reading it. (Shi Chunrang 2019,95)

(ii) Domestication

Sometimes we may find that the Chinese idioms don’t have equivalents in the target language, so they can be translated through free translation, which means we can follow the principle of domestication by borrowing existing expressions in the target language, thus making the translation closer to the reading habits and cognition of the target readers. In Goldblatt's translation of idioms in ''Life and Death are Wearing Me Out'', about 30% of those idioms are translated through free translation. (Chen Qiansa, 2019,108)

For example, “洪泰岳你出口无信，食言而肥” is translated into “Hong Taiyue，your words meant nothing, you did not make good on your promise”. In this sentence, “食言而肥” and “出口无信” mean the same thing: not to keep one’s word. These two idioms came out of ''The Commentary of Zuo''. It is not possible for the translator to translate the allusions behind each idiom, which would result in a lengthy and unclear translation. So Goldblatt uses a phrase with similar meaning to express the idioms “食言而肥” and “出口无信”. He borrowed from the English idiom “not make good on your promise” and delivered an authentic translation cleverly.

Due to the differences between the English and Chinese languages and between Eastern and Western cultures, the “treason” of the original text in literary translation is inevitable. For example, in the novel ''Life and Death are Wearing Me Out'', there are many epithets such as "爷们" and "伙计", which are difficult to translate into English with full equivalence, and Goldblatt's creative "rewriting" of them also reflects his unique translation ideas. For example, according to different contexts, “伙计” is translated into “gentleman” “buddy” “old friend”; according to the specific meaning of the sentence, “掌柜的” is translated into “you are the head of the household” “my husband” “the old gentleman” “sir” and so on. (Zhang Qi 2019,329)

Although the domestication method changed the images or structure of the original sentence, Goldblatt's translation better conveys the original author's intentions and can be deemed as a kind of fidelity from a deeper level.

(iii) Omission

Omission means that the idiom is not translated from the original text. There are two kinds of idioms that Goldblatt did not translate. The first one is those idioms that contain distinctive local culture, which cannot adequately convey the content of the novel in the target language. For example, “我这哥，惯常闷着头不吭声，但没想到讲起大话来竟是‘博山的瓷盆——一套一套的’ ” is translated into “He was normally not much of a talker, so everyone was taken by surprise. To be honest, it turned me off.” The idiom “博山的瓷盆——一套一套的”(which means a set of porcelain pots from Boshan) has been omitted here because it contains an item known only to a small group of people, and the message it implies is so unique and unnecessary that the translator chose to omit it. (Shi Chunrang 2019,95)

In addition, Goldblatt chose to deliberately omit some idioms, such as “西游记”“小妖红孩儿”“封神演义”“哪吒”“天山童姥”. Because in his mind, "capturing the style, rhythm and imagery of the original work is the real task and challenge for the translator”. Omitting those idioms makes the storyline more compact and the language more straightforward and easily accepted by the target readers. (Zhang Qi 2019,329)

Second, some idioms that serve to add explanatory information and vividness to the original text are also often deleted by Goldblatt. For example, "出水才看两条腿" and "咱们骑驴看账本，走着瞧! " and other similar proverbs are omitted.

On the whole, however, the idioms in ''Life and Death are Wearing Me Out'' are very important for the novel’s general language style. Therefore, there are not many cases where the translators leave idioms untranslated.

(ⅳ) Mistranslation

In Xie Tianzhen’s article ''Mistranslation: Misunderstanding and Misinterpretation in Different Cultures'', he divides mistranslation into two types, namely intentional mistranslation and unintentional mistranslation. Intentional mistranslations are those in which the translator chooses to consciously misinterpret the meaning of the original text for some reason. Unintentional mistranslations can be divided into three types which are caused respectively by carelessness, poor linguistic skills and lack of knowledge of the cultural background of the original language. (Zhang Sen 2016,111)

Intentional mistranslation closely reflects the translator's creative treason and is also a major manifestation of the collision, distortion and deformation between cultures in literary and cultural exchanges. Therefore, this paper focuses on the current situation of intentional mistranslation in Goldblatt’s translation of ''Life and Death are Wearing Me Out'', and reveals how translators creatively fill the gaps between different cultures. (Zhang Liyun 2019,143)

For example, “……让老婆孩子吃糠咽菜的守财奴” is translated into “…made his wife and kids eat chaff and rotten vegetables”. The original text intended to use the idiom "吃糠咽菜" to depict the poor life of them, but in the translation it is translated into "eat chaff and rotten vegetables". In the original text, the word "菜" means "wild edible plants", because in the old days, Chinese people who could not afford to eat vegetables often used wild plants to fill the belly. But in the English version it is translated as "rotten vegetable". Why? Because with the improvement of people's livelihood, "wild edible plants" have become a delicious delicacy for people in both the East and the West. Therefore, in order to tell the target readers about the poor life of those people, he translated "糠咽菜" into "chaff and rotten vegetables", which makes it easier for the readers to accurately capture the meaning of the original text.

The translator plays an important role in this process, and the translator's personalized translations, mistranslations and omissions reflected in the translations are all manifestations of the translator's creative treason.
===3.Goldblatt’s principles for translating idioms===
(i) Preserving the culture of the original language

Generally speaking, idioms have deep semantic connotation and vividly reflect the material and spiritual culture with local characteristics. Therefore, when translating idioms, we should try to understand the deeper connotations of them and to express them clearly. By researching, communicating with the author and other methods, Goldblatt managed to understand the essential meaning of the idioms, their historical roots and the context in which they are used, so as to truly grasp their precise meaning. (Shi Chunrang 2019,97)

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopts the methods of foreignization and omission, so we can say that the principle he follows in translation is that of preserving the culture of the original language. He tries to highlight the heterogeneity of the original proverbs through literal translation, to reveal the uniqueness of Chinese culture, and to help Western readers understand the life experience of the Chinese people attached to the idioms through annotations.

Due to the cultural status of Europe and America, cultural differences and the marginal position of translated literature in the European and American literary world, European and American translators often choose to translate other countries' literary works by means of domestication, and the translation of ''The Story of the Stone'' by David Hawkes is an example of the use of domestication strategy. However, cultural hegemony and cultural colonization have led a group of translators with a sense of mission to choose a translation strategy that preserves the style of the original work, which is called foreignization.

The contradiction is obvious: the translator wants to preserve the taste of the original work, but the reader's difficulty in understanding the language and structure of the vernacular novel requires the translator to make concessions in the translation. Goldblatt's approach to translation reconciles this contradiction to a certain extent. He tries to strike a balance in the translated work so that it can be accepted by Western readers. (Tian Debei 2016,91)

(ii) Semantic correspondence

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt not only tries to reproduce the meaning of the idioms in the target language, but also strives to achieve an overall semantic correspondence between the proverbs and the context in which they are found. He helps to make the text more logical and readable by adding explanatory phrases, explicitly stating the implied meaning or adding connecting words. In achieving semantic correspondence, he tries to make the translation as close to the original text as possible, without adding or subtracting anything, and without creating ambiguity. In terms of choosing words, he tries to be as concise and appropriate as possible; in terms of sentence construction, he tries to achieve a sentence style that reflects some of the features of the original but is also in keeping with the conventions of the target language. (Shi Chunrang 2019,97)
===4.Implications of ''Life and Death are Wearing Me Out'' for the English Translation of Chinese Literature===
As mentioned above, guided by the principle of personalized translation, there is 'fidelity' in translating the idioms in ''Life and Death are Wearing Me Out'', as well as creative treason and omission of the original text. It can be seen that Goldblatt is not bound by the traditional dichotomy of literal translation and free translation. The language of his translation is authentic and fluent, reading like an original English novel but conveying exotic cultural imagery.

Goldblatt insists on translating for his readers, so he was selective in his translation strategies in order to make exotic Chinese literature accessible to western readers, thus allowing excellent literature to enter the field of foreign translated literature and achieving the effective dissemination of Chinese literature.

Compared with Western culture, Chinese culture is still in a disadvantaged position in the world cultural landscape. Therefore, if Chinese literature wants to “go global”, translators must take into account the special cultural background and general readers' acceptability.

Goldblatt’s choice and application of translation strategies carries with it the translator's subjectivity, and under the guidance of such translation principles, his translations meet both the literary standards of the Western world and the expectations of the Western readers for Chinese literature. (Zhang Qi 2019,330)

Whether Chinese literature has done a good job in “going global” is not only judged by the accuracy of their translations, but also by how well they are received by foreign readers. The difference between Chinese and Western cultures have resulted in readers’ different preferences for literary themes, so Goldblatt has paid great attention to the tastes of Western readers when selecting books he was going to work on, so that his translations can be better accepted by them. However, the mistranslation in his version has led to a deviation from the original Chinese works.

Compared with Chinese translators, Sinologists have a strong linguistic background, but their knowledge reserve of Chinese culture is still insufficient. So the best mode of translation is a kind of Chinese-foreign collaboration, in which the Chinese translators deal with the cultural challenges while the sinologists do the linguistic touch-ups, in order to ensure the integrity of Chinese culture in the West, and to achieve both fidelity to the original work and increased acceptance abroad, thus achieving success in the translation of Chinese culture. (Zhang Sen 2016,115)
===Conclusion===
In translating idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopted the strategies of literal translation (39.2%) and free translation(30.3%), supplemented by omissions, additions and borrowings, with a few mistranslations (about 10 cases). It is evident that he tends to retain the cultural image of the idioms in the source language, and tries not to add or delete; however, when those images in the source language don’t have equivalents in the target language, he will be bold enough to adopt free translation, so as to maintain the readability and fluency of the translated work. In the translation process, he stays true to the connotation of the text rather than the literal meaning, and stays true to the target readers rather than the readers of the source language. (Chen Qiansa 2019,110)

This helps us to reveal Goldblatt's faithful translation and reader-consciousness. In conclusion, in the process of translation, translators should preserve the style and image of the idioms in the original text as much as possible, so as to spread Chinese culture and enrich the English vocabulary; at the same time, they should take into account the readability of the translated work and adopt various translation approaches to deal with the Chinese idioms.

Goldblatt not only makes the message conveyed by the idioms and the proverb-rich language style of ''Life and Death are Wearing Me Out'' well presented to Western readers, but also makes them easily understood and accepted by Western readers. The translator does his best to spread Chinese culture and respect the culture clash between different cultures. His translation dares to face up to the cultural differences between China and English-speaking countries, and uses a unique translation method to strongly promote Chinese literature and culture to the Western world, which achieved good results, and also provides some useful references for us to do a good job in promoting Chinese culture to go abroad.

Therefore, we should not only consider the needs of Western readers at the expense of the dissemination of our own distinctive culture, instead, we should take the promotion of our own culture as our responsibility and take into account the reading needs of Western readers. The successful translation of idioms in Mo Yan’s novels is a good case in point. In the exchange between Chinese and foreign cultures, the translation of idioms in Mo Yan's novel adheres to the idea of faithful translation and mainly adopted foreignization, fully demonstrating the traditional Chinese culture with strong national flavor and distinctive regional characteristics, which is an important inspiration for the dissemination of Chinese culture today.
===References===
*Mo Yan 莫言. (2011). Life and Death are Wearing Me Out. tans. by Howard Goldblatt. New York: Arcade Publishing．
*Venuti, L. (1995). The translator’s Invisibility: A History of Translation. London and New York: Routledge．
*Xie Tianzhen 谢天振.(2012).创造性叛逆:争论、实质与意义[Creative Treason: Controversy, Substance and Meaning].''中国比较文学''Comparative Chinese Literature (2):33-40．
*Zhang Qi张琦.(2019).“创造性叛逆”:莫言《生死疲劳》英译特点及启示[Creative Treason: Characteristics and Insights of the English Translation of Mo Yan's “Life and Death are Wearing Me Out”].''上海理工大学学报''Journal of Shanghai University of Technology (04):327-330+337.
*Zhang Liyun, Wu Qingjuan张丽云,吴庆娟.(2019).创造性叛逆与葛浩文《生死疲劳》英译本的译介[Creative Treason and Goldblatt’s Translation of “Life and Death are Wearing Me Out”].''齐齐哈尔大学学报''Journal of Qiqihar University (10):141-143+172.
*Wang Yiting, Lin Mei王怡婷,林梅.(2014).翻译适应选择论视角下《生死疲劳》的习语翻译[The Translation of Idioms in "Life and Death are Wearing Me Out" from the Perspective of Translation Adaptation Selection Theory].''常州大学学报''Journal of Changzhou University (04):100-102+106.
*Shi Chunrang, Shi Yan石春让,石岩.(2019).葛浩文译《生死疲劳》中谚语的文化建构与解构[The Cultural Construction and Deconstruction of Idioms in Goldblatt's Translation of “Life and Death are Wearing Me Out”].''外国语文''Foreign Literature (01):94-99.
*Zhang Sen, Zhang Shijin张森,张世瑾.(2016).葛译《生死疲劳》中的误译现象与中国文化译介策略[Mistranslation in Goldblatt's Translation of Life and Death are Wearing Me Out and Strategies for Translating Chinese Culture].''河北大学学报''Journal of Hebei University (05):111-116.
*Liu Geng, Lu Weizhong刘庚,卢卫中.(2016).汉语熟语的转喻迁移及其英译策略——以《生死疲劳》的葛浩文英译为例[The Metonymic Migration of Chinese Idioms and Their English Translation Strategies - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''外语教学''Foreign Language Teaching (05):91-95.
*Chen Qiansa陈千飒.(2019).基于语料库的《生死疲劳》熟语英译研究[A Corpus-based Study on the English Translation of the Idioms in "Life and Death are Wearing Me Out”].''重庆交通大学学报''Journal of Chongqing Jiaotong University (01):105-111.
*Zhu Zhouxian朱周贤.(2013).论乡土小说翻译的难点——以葛浩文英译的《生死疲劳》为例[On the Difficulties of Translating Rural Literature - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''作家''The Writers (14):155-156.
*Tian Debei, Zhan Xuanwen田德蓓,詹宣文.(2016).入乡未能随俗:论葛浩文译《生死疲劳》的乡土气息[On the Local Flavor of Goldblatt's Translation of “Life and Death are Wearing Me Out”].''东北农业大学学报''Journal of Northeast Agricultural University (01):88-92.

==英语笔译孙丽君 Sun Lijun 202170081593 CE==

<center>'''An Analysis of English Translation of Luotuo Xiangzi from the Perspecctive of Rewriting Theory'''</center>

<center>Sun Lijun</center>

===Abstract===
Traditionally, translation is regarded as a kind of linguistic conversion, which means translating the source text from one language into another. And with further and deep study of translation, Bassnett and Lefevere went beyond the level of language, focusing on the mutual interaction between translation and culture, and the influences and restrictions of culture on translation. Therefore, the move from translation as text to translation as culture and politics is termed as the cultural turn. Rewriting Theory, proposed by Lefevere, is the representative fruit of the translation studies on culture, exerting profound influence on academia. Rewriting Theory shows that translation is regarded as rewriting, which is mainly constrained by the dominant poetics, ideology and patronage under certain backgrounds.
Luotuo Xiangzi, writtten by Lao She in the year of 1939, is one of the representative masterpieces of Chinese classics, gaining great popularity both at home and abroad since its first English version, translated by the American translator Evan King in 1945, came out. And this translated text obtained great success in America, which establishing Lao She’s reputation as a writer in the international literary circle. However, due to the inequivalence to the source text, Evan King’s translated work invited some critics from Chinese scholars even unsatisfied the original author Lao She himself. Thereafter, this short essay will briefly analyze the translation of Luotuo Xiangzi by Evan King from the perspective of Rewriting Theory, trying to find out the influences the dominant poetics, ideology and patronage exert on translation.

===Key words===
Luotuo Xiangzi; rewriting theory; translation

===Introduction===
As is known to all, translation is a kind of special and creative activity carried out in a certain context. And it is influenced by some certain activities of the society at one hand, while on the other hand, translation is also restricted by some factors of the works and the writers themselves. In a word, translation plays an essential and pivotal role in communicating and exchanging ideas in this global village. And with further cultural exchanges, some foreign masterworks have been introduced into China, broadening people’s horizon and enriching their daily life and spiritual life in China; also, some Chinese classics have been translated abroad and made foreign friends get a better understanding of Chinese culture. As one representative work of Chinese modern classics, Luotuo Xiangzi has been translated into several versions by some famous translators at home and abroad, including Evan King’s Rickshaw Boy, Jean M.James’ Rickshaw: The Novel Lo-t’o Hsiang Tzu, and Shu Xiaojing’s Camel Xiangzi. And due to the three English versions translated aboard, Luotuo Xiangzi turned out to be a huge hit as soon as it was published. However, as the first translated version in English, though wildly welcomed among American readers, it invited some terrible criticism made by the Chinese literary circles for Evan King broke the rule of equivalence and he did a lot of rewritings. Throughout the history of translation, we can tell that being true to the original text is of paramount importance no matter from the “faithfulness, expressiveness and elegance” proposed by the famous Chinese scholar Yan Fu or the “dynamic equivalence” or “functional equivalence” initiated by Eugene A. Nida. However, those translation theories concentrate on the source-text-oriented methods and techniques, paying much attention to how to translate the original text faithfully into the target text, which represents a kind of static status and mainly focuses on the linguistic level. However, as the march of translation studies, some scholars have studied translation approach from the perspective of culture, attempting to put translation into a larger context. Thus translation studies was labeled with cultural turn from then on. And the polysystem theory and rewriting theory were representatives in this regard. Taking the dominant poetics, ideology and patronage into consideration, Lefevere’s rewriting theory then exerted profound influence in the later translation studies, providing a brand new viewing angle for individuals who engage in the translation studies. Given the Evan King's translated version, it is of terrific significance to explore the underlying reasons why Evan King did a lot of rewritings to Lao She's Luotuo Xiangzi on the framework of Lefevere's rewriting theory.

===Literature Review===

===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.

==英语笔译仝雨梦 Tong Yumeng 202170081594 MW==

<center>'''A Comparison of The Analects Translated by James Legge and Ku Hungming'''</center>

<center>Tong Yumeng</center>

===Abstract===
Confucius is a great thinker and educator in ancient China, the founder of the Confucian school, and one of the world's most famous cultural figures. As the only book recording the sayings and discourse between Confucius and his disciples, The Analects is a classic of Confucianism as well as of Chinese civilization. Up to now, there have been nearly forty English translations of The Analects, which indicates the importance of this work in China and western countries. This paper mainly focuses on two English translations of The Analects published in 1861 and in 1898 respectively. One is translated by James Legge, a Scottish protestant missionary of London Missionary Society. The other is the translation of Ku Hung-Ming, an extreme cultural conservative and a strong advocate of Confucianism at the turn of the 19th and 20th centuries. By comparing the two English translations, the paper tries hard to trace back their translating processes, find out the criteria used in interpreting the original text, and summarize the strategies adopted to resolve cultural conflicts in translation. Besides adopting the traditional translation theories, this paper conducts its investigation from the perspective of functionalist "skopos theory" and theories of Lefevere. At last, the paper also mentions the influence of the two English versions of The Analects and the images of Confucius they have helped construct.

===Key words===
Confucius, Legge, The Analects, English Translation

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译童略雅 Tong Lueya 202170081595 CE==

<center>'''A Brief Analysis of Reading Strategies of Chinese Classics in a Digitalization Era'''</center>

<center>Tong lueya</center>

===Abstract===
With the rapid development of the society and the in - depth application of science and technology, people’s traditional production and living habits have been gradually changed. And their reading habits, reading time, reading preferences and reading content have also shown new characteristics. Especially with the mature application of science and technology such as Internet, intelligent handheld device, cloud computing, big data and so on in various fields, the reading mode of readers has gradually changed from systematic reading to fragmented reading. Classic works are the crystallization of human civilization. Reading classic works is of great significance to individual growth and social development. It cannot be overemphasized to promote classic reading. This paper analyzes the status of classic reading in a digitalization era, and then attempts to put forward some suggestions in classics reading. In this way, it hoped that people could realize the significance of reading classics and then form good habits to reading them.

===Key words===
Classics reading; strategies; digitalization

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译庹树梅 Tuo Shumei 202170081596 MW==

<center>'''The Cantonization of the Dream of Red Mansions'''</center>

<center>庹树梅</center>

===Abstract===
As a treasure of Chinese literature and an important source of cultural confidence for the Chinese nation, Dream of the Red Chamber has been disseminated in the English-speaking world for two hundred years. Under the multiple views of traditional historiography, neo-Hanology, neo-history and neo-Songology, Dream of the Red Chamber has been transformed from a "historical text" to a "classic text" and has undergone an evolutionary path from an academic research classic to a literary classic and then to a cultural classic. The first chapter of this paper discusses what classicization is. The second chapter discusses why Dream of the Red Chamber has become a classic work and analyzes its intrinsic literary value. The third chapter discusses the impact of the classicization of Dream of the Red Chamber on the influence of Chinese culture in the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译王思琪 Wang Siqi 202170081597 CE==
A Study on C-E Translation of The Book of Songs from the Perspective of Xu Yuanchong’s Theory of Three Beauties

==英语笔译王亚娟 Wang Yajuan 202170081598 MW==

<center>'''On the Overseas Transmission Paths of Journey to the West'''</center>

<center>Wang Yajuan</center>

===Abstract===
The continuous development of Internet technology has not only changed the way of reading classics, but also the path of classical communication. According to American scholar Harold Lasswell's 5W communication model, medium is the basic component of the communication process. And in the present time of continuous media convergence, the multidimensional transmission paths of classical works are formed. It is necessary to study the development of communication paths. As one of the Four Great Works of China, Journey to the West has been disseminated overseas for hundreds of years. It has not only been translated into many languages such as English, French, German, Italian, and Russian, but also a large number of film and television dramas, stage plays, animation, video games and other works of that adaptation have been derived.
This paper takes the overseas transmission path of Journey to the West as the research object, first discusses the reasons why it was spread from the perspective of its value, and then clarifies the transmission path of Journey to the West in overseas by analyzing relevant books and papers, and finds that the print publication path mainly relies on paper media to publish translated works; with the evolving of transmission paths with help of new media, the multidimensional transmission path has emerged. And then talks about opportunities for the innovation of classics transmission paths brought by the times. Then studies effects of changing of transmission paths on the classic communication and its prospect, hoping that analysis of the transmission paths of Journey to the West, can provide reference for the continuous dissemination of other classic works.

===Key words===
Journey to the west; transmission paths; classic dissemination; medium; 5W

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译肖冬晴 Xiao Dongqing 202170081599 CE==

<center>'''On C-E Translation of Lexical Gaps in Teahouse from the Perspective of Reception Aesthetics Theory'''</center>

<center>Xiao Dongqing</center>

===Abstract===
Representing as a masterpiece of Lao She, ''Teahouse'' works as a monument in the history of Chinese drama. From the perspective of reception aesthetics theory, this paper studies the translation of lexical gaps in ''Teahouse'' translated by Ying Ruocheng. It briefly introduces the content of reception aesthetics and its main concepts, expounds the basic conception of lexical gaps and classifies them into four types. In this thesis, the author mainly focuses on the translation strategies adopted by the translator to deal with the lexical gaps in ''Teahouse''. It is found that in the translation of lexical gaps the translation strategy of domestication dominates while foreignization works as a supplement, a tactic which caters to its reader’s expectation horizon.

===Key words===
Reception aesthetics theory; ''Teahouse''; lexical gaps

===Introduction===
''Teahouse'' is a work of monument in the history of Chinese drama and a sensational one in the world. The key to investigating its reception overseas lies in the studies on its translated versions. Currently, there are two impactful translations in the literary community: the one translated by Chinese scholar Ying Ruocheng and the one translated by the prestigious American sinologist Howard Goldblatt. Over the years, researches and studies on ''Teahouse'' have never ceased. For instance, Lu Jun and Ma Chunfen (2009) studied from the perspective of cultural translation theory the translation of names and idioms in the two translated versions mentioned above, Yu Yanqing (2016) investigated the metaphors in the source text and elaborated on their translation in the two different versions as she deciphered some of the special connotations in them, while Jin Yan (2022) focused on some of the mistranslation phenomena in the English and Korean translated books based on cultural amnesia and memory reconstruction.

In cross-cultural communication, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.
Researches on the theory of vacancy and lexical gaps were initiated in the west when the distinguished American linguist Hockett put forward the idea of “random holes in patterns” (Hockett, 1954:106-123) in the comparison of the linguistic models between two languages. In the 1970s, the discussion over cultural vacancy attracted more scholars, among whom the American cultural anthropologist Hall took the lead. He used the term of “gap” (Hall, 1959:32) to describe the kind of absence in the study of the colour words of the aborigines when he noticed a lack of necessary colour words in the culture of those natives. In the 1980s, vacancy theory was officially put forward by Russian psycholinguists Jurij Sorokin and Irina Markovina as they conducted their research on the discourse and the characteristics of its national culture, dividing vacancies from the perspectives of linguistics, culture and discourse (Xu Gaoyu & Zhao Qiuye, 2008).

Reception aesthetics theory was first proposed in the 1960s in Germany. Unlike previous theories, it shifted its focus from the author and the original work to the role that the audience play in the process of cultural reception. The traditional translation view holds that translation is to convey the "meaning" of the original text into the target language. Reception aesthetics believes that the meaning of the text is uncertain, and it needs to be made concrete in reading by readers (including translators here). The most direct philosophical basis of reception aesthetics is philosophical hermeneutics. In China, many scholars have also worked a lot on this topic. For example, Qu Suwan (2019) studied on the translation of dialect words under the guidance of the reception aesthetics theory while Yu Shan (2015) conducted a comparative analysis of the translation strategies of culture-loaded terms in the two mentioned English versions.

From all the above, it’s clear that efforts have been made in the search of Chinese culture and Chinese classic translation based on aesthetics theory. Inspired by all the predecessors, this thesis is going to adopt the reception aesthetics theory to investigate the translation of lexical gaps in the English version translated by Ying Ruocheng. It will cover the basic outline of the theory itself, classify the lexical gaps in the work as it gives an overview of all the lexical gaps in the book and finally discuss the translation strategies used in Ying’s processing of the lexical gaps.

===Reception Aesthetics Theory===
Reception aesthetics is a theory of literary criticism raised by the German literature theoretician and aesthetician Hans Robert Jauss in the 1960s, in which the focus of literary studies is shifted from the author and text to the reader. It emphasizes reader's participation and acceptance during the text understanding, by shifting the central position of studies from the author and work to the reader. It claims that only the works that have been comprehended and delivered by readers possess artistic value and meaning.

'''2.1 The Role of Readers'''

“Literature and art only obtain a history that has the character of a process when the succession of works is mediated not only through the producing subject but also through the consuming subject, through the interaction of author and public” (Jauss 1989:43). Here the "consuming subject" refers to readers. Reader-centred status is underlined and more attention should be paid to reader's active role, subjective reception ability and creativity in literary works.

Reception aesthetics believes that the reader is an active or determinant factor in the process of text interpretation. In the process of translation, translator, as a reader, can only enter the world of text based on the vision developed by his pre-understanding and abilities. In the process of realization, the translator's pre-understanding plays an important role. The translator's pre-understanding and ability determine his understanding of the text world. It can be seen that in order to promote the meaning of the text, translators must pay attention to their own pre-understanding and the horizon of expectations of the reader. The translator must deeply understand the similarities and differences between the two languages in terms of language, history, and culture. They should use their subjective initiative and appropriately adjust their translation strategy to fill the gap in text understanding. After entering the text world, translators begin to analyse, judge and summarize until they are integrated with the text horizon. Iser believes that literary texts have a structural "blank". The so-called "blank" is the unwritten or unclear part of the text. Only in the specific process of reading and the reader's participation, these “blank” can be filled or explained.

To sum up, three points should be paid attention to in the process of translation. First of all, the interpretation of the original text is open. Secondly, the translator as a reader has a subjective position during the translation process. Thirdly, target readers' responses should be taken into consideration. Reception Aesthetics enables the translation work to centre on readers instead of texts. Therefore, the translator believes that the excerpts of this book can achieve its translation goal under the direction of reception aesthetics theory.

'''2.2 Blank'''

Reception aesthetic theory advocates the openness of the text, which undoubtedly helps to define the text in the process of translation. The text of literary works is a complex system full of blanks and uncertainties, which resonates well with the concept of “vacancy” or “gaps” this thesis is going to talk about. And according to Iser, the meaning of the works is not included in the text itself, but is obtained during reading.

Due to the uncertainty of the meaning of the text, there is no definite answer to the understanding of literary texts, so there is a saying that "a thousand readers have 1000 Hamlets". As far as translation is concerned, the uncertainty and openness of the text are the important reasons that lead to interpretative interpretation. It provides a broad space for translators to give full play to their imagination in the translation process, so that translators can interpret the text from different perspectives, thereby forming different translations.

'''2.3 Horizon of Expectation'''

Horizon of expectation is another important concept of reception aesthetics theory, which includes three kinds of meaning. Firstly, based on the readers experience, the horizon of expectations can be formed before reading. Secondly, even a literary work appeared in a new form, it cannot be regarded as absolutely new in the information vacuum. It reminds readers of the past reading memories and brings readers to a special feeling, and then calls for the expectations. At last, the horizon of expectations is changed accordingly.

There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text. As the source text is Chinese drama aimed for a larger audience abroad, more attention should be paid to its audience.

===An Overview of Lexical Gaps in ''Teahouse''===
''Teahouse'', a three-act play, is one of Lao She's most successful plays which represent the highest artistic achievement of Chinese drama writing. At that time, a teahouse is not only a place for the customers to kill time, but an epitome of Chinese society. The dialogue between characters has the unique national characteristics. It summarizes the sharp antagonism and conflict of various social strata and forces in China, and reveals the historical fate of semi-feudal and semi-colonial China.

'''3.1 The Definition of Lexical Gaps'''

As was mentioned in the first chapter, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field. Lexical gaps, therefore, are in essence the embodiment of cultural vacancies at the vocabulary level.

'''3.2 The Classification of Lexical Gaps'''

Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps. Here we will have a detailed discussion on them respectively.

Material lexical gaps refer to those words reflecting certain ways of life of a certain society, including things as daily material, tools of production and transportation, household appliances, products, food and so forth. For example, in ''Teahouse'', “盖碗茶” is unique to Chinese culture. Before the invention of this teacup, people could easily be burned or hurt when trying to drink from the tea bowl which was made of porcelain, and it could transmit heat quickly. To prevent getting hurt while drinking tea, ancient Chinese invented something similar to a wooden plate to support the tea bowl, which was becoming more and more delicate and eventually developed into the shapes and size that we see today. Obviously, “盖碗” is very culturally specific. The unique material life will produce the unique material culture. Here is a list of material lexical gaps appeared in ''Teahouse'':

盖碗茶 lidded cups of tea

绫罗绸缎 brocades

小叶茶 a cup of very best tea

马褂 jacket

满汉全席 imperial-style banquets

杂和面儿疙瘩汤 a bowl of dough drop soup with maize flour

五供儿 incense burner

纸钱 paper money

Social lexical gaps are the reflection of customs, ways of life, social life, historical background and behaviour of a nation or a country, including address and folk adage. The address can be a direct reflection of the personality of character. In ''Teahouse'', “唐铁嘴” is a fortune teller and a regular at the teahouse. His way of life was to persuade people to believe what he said, and to some extent he had to lie to make a living. “铁嘴” is literally a personal mouth made of iron, which is also a metaphor for the eloquent and plausibility of Mr. Tang. The list below provides an overview of social lexical gaps in the translated work:

相面/算命 fortune-telling

善扑营 Imperial Wrestler

说媒拉纤 go-betweens and pimps

庞太监 Eunuch Pang

唐铁嘴 Tang the Oracle

说评书的 story-teller

数来宝 improvised doggerel recitation

蹓鸟 strolling about with caged birds

北衙门 Northern Yamen

手相 palm-reading

“爷” master

旗人 bannerman

请安 bow

三教九流 people from all walks of life

Religious lexical gaps are those expressions relate to religion, for Chinese especially those words relate to Buddhism and Taoism. In ''Teahouse'', there are many lexical gap words related to the religious beliefs, for example, “念佛” means expressing sincere thanks to Buddha for all the good luck in your life. In Buddhism, “佛” refers to Buddha, an immoral person who is regarded by the Buddhists that can offer blessings to the human being. The following is a list displaying further religious lexical gaps in the work:

造化 a lucky fate

天师 Heavenly Teacher

“醉八仙” intoxicated eight immortals

财神龛 shrine of the god of wealth

念经 chanting Buddhist scriptures

八卦仙衣 special robes

Linguistic culture-loaded words and phrases reflect the characteristics of the phonetic, grammatical and formal systems of a certain language including pun and idioms. For example, in ''Teahouse'', the suffering Chinese drinkers who frequent Yutai always use “好死不如赖活着”(meaning “it is better to live in this world than to die under terrible circumstances”) to comfort themselves or others to show them the bright side and to endure seemingly persistent bad conditions. It is an idiom well reflects the wisdom and unremitting hope of the Chinese people in the act play, even when it was during the darkest times. Here are more examples of linguistic lexical gaps translated in the book:

化干戈为玉帛 restore peace

拿刀动杖 spoil for a fight

八仙过海，各显其能 try one’s best

“好死不如赖活着” a dog’s life’s better than no life

改良,改良,越改越凉!冰凉！ Reform indeed! Soon you’ll have nothing more left to reform!

“包圆儿” “it's all yours.”

According to calculation, there are altogether 34 lexical gaps in various in ''Teahouse'', of which the 14 social lexical gaps take the lead, accounting for about 41%, followed by 8 material lexical gaps which take up about 23%. There are only 6 religious and linguistic gaps, each of the two categories covering about 18% of all.

===The Translation Strategies of Lexical Gaps===
In 1995, American translator Lawrence Venuti discussed hand in hand invisibility in his work ''The Translator’s Invisibility'': domestication and foreignization. He (2008:15) bemoans the phenomenon of domestication since it involves ‘an ethnocentric reduction of the foreign text to receiving cultural values.’ Venuti allies it with Schleiermacher’s description of translation that ‘leaves the reader in peace, as much as possible, and moves the author toward him.’ Foreignization, on the other hand, ‘entails choosing a foreign text and developing a translation method along linnes which are excluded by dominant cultural values in the target language.’(ibid;242) From then on, domestication and foreignization were borrowed into the field of translation as two translation strategies.

According to calculation, of all the 34 lexical gaps in Teahouse, only three were translated using foreignization strategy, accounting for about 9%; the rest 31 lexical gaps taking up around 91% were translated under the guidance of domestication. Taking a closer look, there are 7 material lexical gaps out of 8, 13 social lexical gaps out of 14 and 5 religious lexical gaps out of 6 translated using domestication. All of linguistic lexical gaps were translated under the guidance of domestication strategy.
Given the translation by Ying Ruocheng was published and put into the market in the opening stage of the reform and opening-up in 1979, the sweeping domestication strategy applied in the translation is understandable.

'''4.1 Domestication'''

In the translation of lexical gaps, the translator adopted domestication strategy the most of times, which was especially true when it comes to the translation of linguistic lexical gaps. For example:

(1) ST：那总比没有强啊！好死不如赖活着，叫我自己去谋生，非死不可！

TT：Still that’s better than nothing! A dog’s life’s better than no life. If I were to earn my own living, I’d surely starve.

In this example, when dealing with the idiom“好死不如赖活着”，the translator didn't take it at face value reproducing it into“it is better to live in this world than to die under terrible circumstances”. Instead, he translated it based on his own pre-understanding as he took the readers’ expectation horizon into consideration. In selecting the similar expression“to live a dog’s life”from the target language, the translator managed to achieve fusion of horizons.

The phenomenon of homophones in Chinese linguistics is partly determined by the four tones in the language, each one containing a large collection of words capable of creating “puns” in daily use. For instance, the following marks a quotation taken from ''Teahouse'':

（2） ST：改良，改良，越改越凉！冰凉！

TT：Reform indeed! Soon you’ll have nothing more left to reform!

In the excerpt above, the Chinese characters“良”and“凉”are homophones with completely opposite connotations. Concerning this example, there was no equivalents in the target language able to convey exactly the same meaning. As a result, the translator dealt with the idiom liberally and represented the irony in the sentence thereby.

Unlike foreignization, domestication is more audience-friendly when it comes to understanding. However, this thesis believes that if the translator adopted the strategy of “overwhelming domestication” and used some expressions in the target language which failed to be the equivalent of the original, the meaning of the source text would be distorted, making it even harder for the translator to secure the readers’ horizon of expectation.

The following is an example taken from the translation of a material lexical gap “五供儿”:

（3）ST：娘娘，我得到一堂景泰蓝的五供儿，东西老，地道，也便宜，坛上用顶体面，您看看吧？

TT：Your Imperial Majesty, I managed to get hold of a set of cloisonne incense burners, five pieces in all. Antiques! The real thing! Dirt cheap too! Just right for the altar of our secret society. Why not have a peep of them?

Known as a set of vessels carrying the sacrifice during worship rituals in ancient China, “五供儿” first got its name from the amount of pieces of wares. In Teahouse, although the translation of “incense burner” kept some of its sacrificial usage, the actual meaning of the phrase was lost. After some research, therefore, the author believes it is more accurate if the translation would be changed into “sacrificial vessel”.

'''4.2 Foreignization'''

When it comes to the translation of “vacancy” or “gaps” in cross cultural communication, foreignization could help to narrow a bit through retaining the exotic feelings and traces of the original. However, little of lexical gaps in ''Teahouse'' were translated under the guidance of this strategy, which is partly due to the fact that most of the lexical gaps in the work were members of “absolute vacancy” which were unable to find their corresponding or even similar equivalents in the target language society. For instance, the material lexical gap“杂和面儿疙瘩汤”was translated literally into“a bowl of dough soup with maize flour”, an expression showing the ingredients of the snack. Meanwhile, the social lexical gap “北衙门” was translated into “Northern Yamen”, which combined both literal translation and transliteration conducive to meeting the innovative expectation of the audience of Beijing in modern China.

===Conclusion===
Drama is a unique literature genre with dual identities, both on the page and on the stage. The dual characteristics of dramatic text make drama translation distinct from other forms of literary translation. Reception aesthetics theory has practical guidance for the translation of drama works. Through the analysis of the translation strategies of various lexical gaps in ''Teahouse'', it has been found that at the early stage of reform and opening up when the Chinese literature was eager to go abroad and be well-received by the audience overseas, the translator had to adopt the strategy of domestication most of the time so as to cater to their horizon of expectation, even when it came to the translation of lexical gaps which may find no natural equivalents in the target language. Therefore, it could be concluded that translation literature is closely linked with politics, a notion echoing with the background witnessing the birth of reception theory.

The contents and key notions of reception aesthetics theory are discussed in this paper, which is helpful to have a more comprehension understanding of this theory. Then there is the definition and classification of lexical gaps in ''Teahouse''. As the treasure in the history of Chinese modern drama, the study of ''Teahouse'' is arousing more and more attention and academic interest both in China and abroad. Translation strategies --- foreignization and domestication in translation are highlighted in this paper, which has been elaborated by examples. In translation practice, only when the conceptual meaning and cultural meaning of lexical gaps are taken into account can the translator convey the meaning of words accurately and meet the readers’ horizon of expectation.

However, limitations are inevitable in this thesis due to the pressing time. Due to the writer’s limited knowledge and capacity, the analysis of the lexical gaps of ''Teahouse'' can never be all-inclusive. Yet it’s worth noting that researches on the Chinese drama ''Teahouse'' and the reception aesthetic theory should never come to a halt now that the background has changed from the way it used to be more than 40 years ago.

===References===
*Hall, Edward (1959). The Silent Language[M]. Garden City: Doubleday.

*Hockett, Charles (1954). Chinese Versus English: An Exploration of the Whorfian Theses[A]. Harry Hoijer(ed.). Language in Culture[C]. Chicago: University of Chicago Press.

*Jauss, Hans (1989). ''Question and Answer''[M]. University of Minnesota Press.

*Venuti, Lawrence (2008). ''The Translator’s Invisibility: A History of Translation''[M], London and New York: Routledge.

*Gao Fengxia 高凤霞. (2010). 跨文化交际中的文化空缺现象探讨[A Study of Cultural Vacancy in Intercultural Communication]. 社科纵横Social Sciences Review (03): 112-115.

*Lu Jun, Ma Chunfen 陆军, 马春芬. (2009). 从文化翻译观的角度看老舍《茶馆》两个英译本中文化信息的处理[Cultural information processing in Lao She's Two English versions of ''Teahouse'' from the perspective of Cultural Translation Theory]. 安徽文学Anhui Literature(10): 293-294.

*Jin Yan 金艳. (2022). 老舍《茶馆》翻译的文化记忆再现研究[A Study of Cultural Memory Representation in the Translation of Lao She's ''Teahouse'' ].中国朝鲜语文Korean Language in China(02): 83-89.

*Qu Suwan 渠苏婉. (2019). 接受美学视域下《茶馆》两译本中方言词汇的翻译[Study on the Translation of Dialect Words in ''Teahouse'' from the Respective of Reception Aesthetics]. 齐齐哈尔师范高等专科学校学报Journal of Qiqihar Junior Teachers' College (05):62-64.

*Xu Gaoyu, Zhao Qiuye 许高渝, 赵秋野. (2008). 俄罗斯心理语言学和外语教学[Russian Psycholinguistics and Foreign Language Teaching]. Beijing: Peking Univesity Press北京大学出版社.

*Yu Shan 于杉. (2015). 接受美学视角下《茶馆》两译本中文化负载词的比较研究[A Comparative Study of Culture-loaded Terms in Two English Versions of ''Teahouse'' from the Perspective of Reception Aesthetics].吉林大学Jilin University.

*Yu Yanqing 于艳青. (2016). 老舍作品《茶馆》的隐喻研究和文化解读——以霍华和英若诚英译版本为例[A Study of Metaphor Translation of Lao She’s ''Teahouse'' and Its Cultural Interpretation——A Case Study of Howard and Ying Ruocheng’s Versions]. 济宁学院学报Journal of Jining University(06):93-97.

===Terms and expressions===
Reception aesthetics theory 接受美学

Blank 空白

Horizon of expectation 期待视野

Fusion of horizons 视域融合

''The Translator’s Invisibility'' 《译者的隐身》

Material lexical gaps 物质类词汇空缺

Social lexical gaps 社会类词汇空缺

Religious lexical gaps 宗教类词汇空缺

Linguistic lexical gaps 语言类词汇空缺

===Questions===
1. How does the two reception activities work in the process of translation?

2. What is the definition of lexical gaps?

3. How many categories did the thesis divide the lexical gaps into?

===Answers===
1. There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text.

2. Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.

3. Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps.

==英语笔译肖佳莉 Xiao Jiali 202170081600 MW==

<center>'''The Canonization of Tao Te Ching'''</center>

<center>Xiao Jiali</center>

===Abstract===
Tao Te Ching can be divided into two parts.The first part of the moral Sutra is called the Taoist chapter, and the second part is called the moral chapter.The philosophical works written by Lao-tzu in Luoyang during the Spring and Autumn period.Taoism focuses on the view of the universe and nature.The moral focuses on social outlook and outlook on life. What does this mean?
First of all, we should know that all the schools of pre-Qin in China are concerned about the sociology of human relations, and almost no one cares about the problems of nature, which is in sharp contrast to ancient Greek philosophy. With the exception of Socrates, all the ancient Greek philosophers were concerned about the view of nature and the universe. Thales, the first philosopher in ancient Greece, left famous allusions, which were summed up by later generations into four words, called "looking up at the starry sky". However, it is strange that all the hundred schools in the pre-Qin period in China are all concerned with the sociology of human relations.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译谢晓莹 Xie Xiaoying 202170081601 CE==
<center>'''On the English Translation of The Analects in the Contemporary Era'''</center>

<center>谢晓莹</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译熊嘉玲 Xiong Jialing 202170081602 CE==
On the C-E Translation of The Book of Songs
<center>'''On the C-E Translation of The Book of Songs'''</center>

<center>Xiong Jialing</center>

===Abstract===
The traditional culture of the Chinese nation is a cultural treasure house with long history. In this treasure house, the variety of classical literature, especially the elegant, beautiful and profound ancient poetry, is undoubtedly the most dazzling pearl. As the source of Chinese literature and the prototype of classical poetry, The Book of Songs is one of the oldest collections of poetry in the world, dating from about the same time as Homer's Epics (about 8th to 6th centuries BC). The Book of Songs "embodies the Confucian thought of cultivating one's moral character, putting one's family affairs in order, and governing the country with rites and music" (Wang Rongpei, Ren Xiuhua,1995: Preface 1). As one of the Confucian classics and the oldest textbook in China, The Book of Songs plays a very important role in Chinese culture, so its English translation is bound to build a bridge for westerners to understand and appreciate traditional Chinese culture.
===Key words===
The Book of Songs; poetry; traditional Chinese culture
===Introduction===
The Book of Songs, the earliest collection of poems from the beginning of ancient Chinese poetry, has collected 311 poems from the early Western Zhou Dynasty to the middle of spring and Autumn Period (11th to 6th century BC), among them 6 for sheng poems, namely the title only, no content, known as sheng six poems. Some scholars argue that the poems actually date“from 1713 BC (hymn 304 'Rise of the House of Shang') to 505 BC(song 133 'Comradeship')"”(Xu,1994:17). The authors of The Book of Songs are unknown, and it is said to have been collected by Yin Jifu and compiled by Confucius. In the pre-Qin period, The Book of Songs was called Shi, or Three Hundred Poems. In the Western Han Dynasty, the Book of Songs was regarded as a Confucian classic.

Whether Confucius was in charge of the compilation of The Book of Songs is difficult to be verified, but it is true that this anthology was highly admired by him and has an indispensable position in Confucian classics. In The Analects of Confucius, he says that a man ignorant of the“three hundred poems”was “like one who stands with his face towards a wall，limited in his views, and unable to advance”(Legge,1960a:prolegomena 7). In his opinion, reading the songs can "enable us to incite other men to desirable courses, help us to observe accurately their inmost feelings and to express our won discontents, to do our duty both to parent and prince, and finally to widen our acquaintance with the names of birds, beasts, plants and trees”(Waley，1960:335). Thus, it was applied as one of the major textbooks by Confucius and his followers for moral educations.

To some degree, classical Chinese poetry is the most expressive and the most charming literary form in Chinese literature. The charm of ancient Chinese language comes from classical poetry, which mainly refers to Shi of the Tang Dynasty (618-907 AD), Ci of the Song Dynasty (960-1279 AD), and Qu of the Yuan Dynasty(1206-1368 AD). All these three forms had their origins in The Book of Songs. There appeared many prominent poets who have won immortal fame, such as Li Bai, Du Fu, and Bai Juyi, and the poems written by them have become the most precious literary relics in Chinese history.(Yan, 2006)

Besides its educational and literary function ,The Book of Songs is also like a window through which we can appreciate the splendor of Chinese civilization over 2,500 years ago. Those poems reflect various aspects of Chinese life at that time. Some depict emotion and feeling of people of different classes of the society, and some describe events and issues of state. Different kinds of buildings, food, musical instruments, metals, clothing, etc. are frequently reported by those poems. It is an invaluable resource for those who long to get a deep understanding of the ancient Chinese civilization.

In terms of content, In The Great Preface of the Poetry of Mao, there is the following statement: "Thus it is that in the [Book of] Poems there are six classes:-- first, the Fung; second, descriptive pieces; third, metaphorical pieces; fourth, allusive pieces; fifth, the Ya; and sixth, the Sung.(故诗有六义焉，一曰风，二曰赋，三曰比四曰兴，五曰雅，六曰颂。)(Legge,1960a:prolegomena 34)And in the same page, he adds,"... the names Fung, Ya, and Sung are those of the three Parts into which the She-king is divided，intended to indicate a difference in the subject-matter of the pieces composing them; while Foo, Pe, and Hing are the names applied to those pieces,intended to denote the form or style of their composition. They may, all of them, be found equally in all the Parts. (ibid.)

This is a common opinion held by most scholars. In other words, Feng, Ya and Song refer to the three sections of The Book of Songs; while Fu,Bi and Xing are the artistic features used by the poets in composing those poems.(Yan, 2006)

===The History of English Translation of The Book of Songs===
Though Chinese poetry has a tradition of about 3,000 years, the time when Chinese poetry was introduced into the english-speaking world, dating back to the late 16th century. The book written by G. Putenham, published at 1589, was the first to introduce Chinese poetry and translated two poems.(Huang,1997:50).

Since the 17th century, Christian missionaries in China have become the earliest messengers of cultural exchanges between the East and the West. These missionaries, in order to make the west understand and learn more from China, but also to promote Christianity, began to translate Confucian classics. As a Confucian classic and the source of Chinese literature, the Book of Songs is highly paid attention to.

In 1626, the Belgian Nicolas Trigault translated the Five Classics, including the Book of Songs, into Latin. It is the earliest known Western translation of the Book of Songs. A Frenchman, J. H. Mariede Bremare, came to China in 1698 and translated eight poems from the Book of Songs. The translation was collected by French missionary and Sinologist Du Haldle and published in Paris in 1735 in The General Annals of China. It was translated into English by R. Brokes in 1736 and E. Cave in 1738 respectively. In 1829, J. F. Davis, a British Sinologist, took the Book of Songs and the folk songs of the Qin to The Six Dynasties as examples to discuss the Chinese poetry pattern in his monograph Interpretation of Chinese Poetry, creating the first translation of source text of the Book of Songs into English.

In the 19th century, with the expansion of Britain, France and other capitalist countries to China's power, The European "sinology fever" further heated up. People's understanding of the Book of Songs gradually got rid of the shackles of early church scholarship and began to explore the value of this ancient poetry collection from the perspective of culture and literature. At this time, the translation of the Book of Songs flourished, with complete translations available in all major European languages.

In 1871, British Sinologist James Leggle (1814-1897) published his The She-King in London. It was The first complete English translation of The Book of Songs, and it was a milestone in The history of The English translation of The Book of Songs. With a solid foundation in Chinese and the help of Wang Tao, a Chinese scholar from Jiangsu province, He was able to translate the poem faithfully. Leggle's translation not only provides the text for English readers to read the Book of Songs, but also shows the rich connotation of the Book of Songs. It has a great influence in Europe and has become the English classic of Sinology. Many later translations have drawn on it.

The Shi King by William Jennings, a Briton, was published in 1891. He was inclined to rhyme translation, and The translated poems adopted The form of ballads with interlaced rhymes, which had a quaint flavor of traditional English poetry. In 1891, Alan (C. F.R. Allen published his English translation of The Book of Songs (The Shih-ching) in London. He also adopted rhyming translation, but in order to harmonize rhyming, he often adopted some flexible methods, such as replacing biological proper names with general reference. His translation makes many changes to the original, with additions and deletions, bordering on rewriting.

In the late 19th century, a certain number of selected translations of The Book of Songs were published. A typical translation is by Herbert A. Gilles (1845-1935). Gilles Is a famous British Sinologist and former British Consul in China. He is familiar with Chinese language and fond of Chinese literature. He has long devoted himself to the translation and research of Chinese literature.

In the first half of the 20th century, the English translation of The Book of Songs flourished and appeared in large number of full and selected translations. These translations were more and more faithful, elegant and expressive. One of the most representative works is the translatitons of Arthur Walley, 1889-1966) and Bernhard Karlgren (1889-1978).

Walley is a famous British Sinologist. He began to study and translate the Book of Songs in 1937 and published it in London. Walley focus on the literariness of the Book of Songs. Therefore, fifteen political plaintive poems with little literary interest were deleted in translation. The rest of the works were broken the original Feng, Ya and Song to the arrangement of the order, according to the theme rearranged, divided into courtship, marriage, warriors and wars, farming, feasting, singing and dancing. This is convenient for readers to understand the ideological and artistic nature of the original poem from the literary perspective.

As a world-renowned Swedish Sinologist and linguist, Karlgren came to China to study Chinese for six years and has a profound knowledge of ancient Chinese books. He believed that the book of Songs was produced in a long time, and the text was complicated. Only by mastering the traditional Chinese exegesis and phonology methods, supplemented by the scientific methods of modern linguistics, and really understanding the text, can the book of Songs be translated better. For this reason, he spent a lot of time on the interpretation of the book of Songs, and annotated the book with a rigorous and scientific attitude. In 1946, he published Commentaries on the Book of Songs in Stockholm. It represents the highest level of research on the Book of Songs in The Sinology circles of Europe at that time, and is still the classic of English annotations on the Book of Songs until today.

In the second half of the 20th century, international poetics research centers moved from Europe to the United States. The study of the Book of Poetry in The United States can develop comprehensively and deeply from a higher starting point due to its advantages in capital, talents and materials, as well as the input of Chinese American scholars and the application of new theories and methods. Many scholars of the Book of Songs, such as J. R.Hightower and W. McNaughton, have been translating the book into English simultaneously.

Ezra Pound (1885-1972), a famous American poet and translator, was the representative figure in translating the Book of Songs into English in this period. In 1908, he went to England and became the leader of modern poets in London. He loved ancient Chinese culture all his life. As early as 1915, when Pound could not speak Chinese, he translated 19 ancient Chinese poems, including the Book of Songs, on the basis of the will of American orientalist Ernest Fenollosa (1853-1908). The publication of Cathay was not faithful to the original in translation and was largely a re-creation of the author. This book has become the representative work of Imagist poetry in Britain and America, and has far-reaching influence. (Bao Yanxin, Meng Wei, 2002)

Compared with the various translations of the Book of Songs in Europe and America, there are not many local translators and translations in China. There are two complete English versions of The Book of Songs translated by native Chinese scholars: one by Prof. Xu Yuanzhong, and the other by Prof. Wang Rongpei and Prof. RenXiuhua. The former was published in 1994 by the Chinese Literature Press, and the latter in 1995 by the Liaoning Education Publishing House.(Yan, 2006)

===An Introduction to Four English Translations of The Book of Songs===
The four translation versions analyzed in this paper are ：Firstly, The She King: Or The Book of Ancient Poetry by James Legge; Secondly, Shih-ching: The Classic Anthology Defined by Confucius by Ezra Pound; Thirdly, The Book of Poetry by wang Rongpei; And a 1993 translation of Xu Yuanchong's Book of Poetry.

The She King: Or The Book of Ancient Poetry by James Legge were published in 1871, 1876 and 1879 respectively. The 1871 edition is a complete translation of blank verse, and its style features are mainly reflected in three aspects. First, the introduction is detailed and lengthy. The 182-page introduction includes five chapters, seven sections and seven appendages, which respectively introduce the compilation, contents, annotations, rhyme and rhythm of the Book of Songs. Secondly, the text part has corresponding translation and critical notes. On each page of the text, the Chinese original text is listed first, in the form of vertical song style sections, with the Corresponding English original text in the middle and the comments at the end. In addition, the translator's treatment of "preface" adopts the form of appendix and explanation, or occasionally add personal understanding. In addition, the translator also compiled three indexes after the main text, namely, the English subject index, the English proper noun index and the Chinese phrase index, which provided great retrieval convenience for overseas researchers of the Book of Songs. The 1876 version is different from the 1871 version in style and many other aspects. The 1876 translation is a complete version of the rhyme system, showing a strong English poetic style. Although there is an introduction to this edition, it has been simplified. The translated contents of the main text are still arranged in the traditional order of the Book of Songs, but the answers to the questions are generally shortened. The original text and lengthy notes of the Book of Songs are missing, and there are only two parts left in the index: the English subject index and the English proper nouns index. The 1879 edition is an selected translation of the prose style, and its influence is relatively small.(Liu, 2016）

James Legge spent more than fifty years, built a bridge between Chinese and western, his life is from the missionary to the Sinologist's life, his life activity, began to preach Christianity to the east, but is prominent in the dissemination of Chinese culture to the western has more than one hundred years, his translations is still considered the standard translation of Chinese classics, He ended the amateur study of Chinese literature by western scholars and embarked on the road of specialization.
Pound's English translation of The Book of Songs came into being with the second World War. The outbreak of the Second World War made the poet Pound realize the collapse of the western moral system, so he eagerly hoped to introduce Chinese Confucianism to the West through translation, and rebuild the western moral system.

His translation of The Book of Songs not only reproduces the image of Chinese poetry collected in Cathay , but also shows his strong appreciation for the sound effects and phonological masks of ancient Chinese poetry. Pound's English translation of Chinese classical poetry not only introduces Chinese culture well, but also properly applies the essence of Chinese poetics to the development of Modern English poetry, and at the same time shows his creative translation method. This creative English translation has formed a translation trend in the United States for a period of time.(Wang, 2005)

Pound's translation has two main characteristics: one is to make use of the past to compare to the present to spread Confucianism, and absorb the essence of Confucianism to rebuild the value system of the West. The other is to promote the development of imagist poetics. Pound's translation follows the principles of imagist poetics and adopts a highly imagistic translation method to make the translation full of poetics, thus becoming the first choice in the study of poetic image.

In 1995, the Liaoning Education Publishing House published The Book of Poetry (Chinese-English bilingual version) by Prof. Wang & Prof. Ren. It is a thick book of 1657 pages, divided into four parts: prefaces, verses, appendices and references. There are two simple prefaces of 10 pages, one written by X.Y.Z. in Chinese, and the other by the authors in both Chinese and English. The poems are written according to the original sequence in both Chinese and English,and after each poem, there is a very brief annotation concerning the contents of it. The unique point of Wang's version is that under each Chinese character, there is the Chinese Pinyin to show the pronunciation of the character. In the Appendices, there are three kinds of indexes of first lines: English-Chinese, Chinese-English and in order of Pinyin.This makes it very easy for the reader to locate the poem.Wang's English version is a plain and natural one, close to the simple style of the original songs.(Yan, 2006)

The English translation of The Book of Songs by Wang Rongpei and Ren Xiuhua is the second complete English translation of the Book of Songs by A Chinese author after Xu Yuanchong. Wang and Ren were among the first scholars to emerge from new China. Wang Rongpei graduated from Shanghai International Studies University in the early 1960s. He studied postgraduate courses under ge Chuan, a famous scholar of the older generation in China. He is a well-known contemporary translator with extensive knowledge and abundant writings. On the basis of summing up the gains and losses of previous translators, their translation of the book of Songs and the culture of The Times, combined with their own unique aesthetic observation, makes the translated poems present a fresh, natural and smooth style. The flexible and ingenious art of translation reveals the translator's unique artistic ingenuity in the reconstruction of images, the transmission of beauty and the elucidating of meaning and interest. After that, this translation does have new pursuit and improvement in artistic aspect.(Bao Yanxin, Meng Wei, 2002)

Wang Rongpei's translation of The Book of Songs is deeply influenced by the theory of traditional Chinese artistic realm. He attaches importance to the "verve" of ancient Chinese poetry and tries to reconstruct the unique form characteristics of the Book of Songs in his translation, which reflects the cultural consciousness of the Chinese translators to explore the translation theory of Chinese classic books based on the standpoint of Chinese culture.

"The Three Beauties Theory” is the ontology of Xu Yuanchong's translation theory, which is also the highest standard of poetry translation proposed by Xu Yuanchong. The "three beauties" refer to "beauty in sense", "beauty in sound" and "beauty in form" respectively. "beauty in sense" mainly means that the translated poem should be as touching as the original poem, and the translated poem should be consistent with the original poem in spirit or substance. "beauty in sound" means that poetry should be well-tuned, rhymed, smooth and easy to listen to; "beauty in form" mainly refers to the "antithesis" or "general orderliness" of poem lines (Xu, 1984).

Xu yuanchong graduated from Southwest Associated University in his early years, and later went to Paris University to study. After returning to China in 1950, he taught English and French in foreign language schools in Beijing, Zhangjiakou in Hebei province and Luoyang in Henan Province. In 1983, he was transferred to Peking University. In the past 20 years, he has published more than 40 translated works, starting from "The Book of Songs" and "Ci of Chu", to the modern huang Xing, MAO Zedong and other people's poetry selected into English verse and French verse published. The translation of Chinese and foreign literary masterpieces and the promotion of Chinese culture are his persistent goals.(Bao Yanxin, Meng Wei, 2002)

Xu Yuanchong's translation of the poems strictly follows the theory of "three beauties", striving to achieve beauty in sound, meaning and form, which not only effectively conveys the meaning and rhythm of the original poem, but also preserves the rhythm and rhetoric of the poem, reproducing the beauty of the original poem, making it catchy and memorable to read. Xu Yuanchong's translation practice illustrates the translatability of poetry, with beauty in sense, sound and form being the criteria for poetry translation and the goal to be pursued. The sense is the soul of the poem, the essence of the poem. Sound and form are also essential to poetry, so in translating poetry, it is important not only to pursue the beauty of sound and form, but also to attach importance to the subjectivity and creativity of the translator.(Wang, 2011)

In his translations, Mr Xu partially adopts domesticating translation. As the source language and the target language are of different times and cultural backgrounds, the translator must also translate the original poetry from the reader's perspective, so that the reader can grasp the understanding of the original text, while at the same time being faithful to it. The translation of the Poems by James Legge mostly adopts the literal translation method, faithfully preserving the original cultural imagery and adding detailed notes and commentaries, without considering the domesticating translation method and the rhythmic beauty of the original poem, which makes it difficult for readers who do not understand their own culture to understand the contextual beauty of the original poem. Both translations are of great academic value to the study of The Book of Songs.

Xu Yuanchong's translation of The Book of Songs aims to promote the excellence of traditional Chinese culture and to develop literary translation into translated literature in the target language. Xu Yuanchong was very concerned with the 'Western transmission' of The Book of Songs, and since the Western reader was an important force in the spread of culture, he adopted a translation strategy based on domesticating translation. Xu Yuanchong's profound knowledge of Chinese and English and his poetic sensibility enabled him to regenerate the cultural ideas and artistic values of The Book of Songs in a foreign soil.

===The Significance of Translating the Book of Songs into English===
The Book of Songs is the earliest collection of Chinese poetry, which contains more than 300 classical Chinese poems in the five hundred years since the western Zhou Dynasty. It is famous at home and abroad for its unique beauty of rhythm and occupies an important position in traditional Chinese culture. In order to promote more effective, diversified and multi-perspective dissemination of China's excellent traditional classics, it is necessary to increase the multi-perspective research on the translation of classic books, which is an important part of Chinese culture going abroad. Therefore, the in-depth study of the Book of Songs and its English translation is of great significance and value. The theoretical value of The Book of Songs is also reflected in the fact that its 305 poems contain abundant images of animals and plants. According to the statistics of Mr. Hu Miao, a famous agronomist, there are 141 mentions of animals, a total of 492 times, involving 133 species; 144 articles mentioned plants, 505 times in total, involving 152 species. In addition, the classification of names is very fine (Chen, 2017 (3) : 61). Some medicines recorded in The Book of Songs are still commonly used in traditional Chinese medicine today, which is undoubtedly a model reflecting the value of traditional Chinese medicine. Li Shizhen, a famous ancient doctor, widely quoted The Book of Songs in Compendium of Materia Medica, and the Book of Songs became the best evidence for Li Shizhen to explain the medicinal names of plants and animals (Zhou, 2010 (12) : 3369). The medicinal names in The Book of Songs are also of great literary value, which reflects another unique phenomenon in traditional Chinese culture, that is, the ancient literati's "combination of Confucianism and medicine". Since ancient times, the ancient scholars of our country have "not for good to save the country, but for good doctors to save the people"（不为良相救国，便为良医救民）, so there is no lack of traditional Chinese medicine content in the literary creation of the ancient literati "patriots". According to the statistics of scholars, there are 41 kinds of medicine names quoted in the Book of Songs, thus it can be seen that the Book of Songs is not only the source of Chinese poetry, but also the cultural source of integration with traditional Chinese medicine culture.(Qu, 2018)

The so-called historical culture refers to the culture formed by the specific social development process and the accumulation of social heritage. Different nations and countries have different historical backgrounds and different historical cultures accumulated in their long history of development. Poetry is one of its important forms of expression. It can be said that poetry is the treasure of history and culture. It has a strong national culture personality, contains rich historical and cultural information, and can best reflect the characteristics of different history and culture. However, due to the unique wording and profound cultural connotations of Chinese classical literature works, there are many obstacles in the process of foreign language translation, such as language, rhetoric, cultural concepts, etc. In order to translate these poems properly and reasonably, we must understand the rich historical and cultural connotations hidden behind them and master appropriate translation methods.(Huang, 2008)

As treasures in the history of Chinese national literature, Chinese classical literary classics have been translated into various languages by Chinese and foreign translators and spread to all over the world with their unique linguistic art and cultural accumulation, and are highly respected by literature lovers in different countries. Among the excellent Chinese classics, there are many chapters explaining the excellent cultural genes such as "fraternity" and " harmony". The Book of Songs is the classic of Chinese culture, which contains rich national spirit and culture. These precious cultural wealth is a powerful magic weapon to enhance China's comprehensive national strength and improve China's coping ability. Translating traditional Chinese classics is a good opportunity to spread Chinese stories and propagandize Chinese ideas. We should pay attention to the translation of The Book of Songs, tell Chinese stories well, and let the world hear the voice of Chinese culture.

The English translation of The Book of Songs has come a long way. In the future, while continuing the previous studies, we should conform to the needs of the development of The Times, explore the value of The Times from different aspects of the Book of Songs, and promote the diversified interpretation of the Book of Songs into English.

Poetry, as a kind of literary form expressing human emotions and thoughts, can have deep cultural roots in the specific object of expression, and is a highly condensed language artistic expression that embodies the essence of a specific culture. Cross-cultural translation of Chinese poetry is of great guiding significance.(Huang, 2008)

===Conclusion===
This paper gives a general description of The Book of Songs, from the overall introduction of the Book of Songs, the historical development of the English translation of the Book of Songs, the characteristics of the four English translations of the Book of Songs, to the significance of the English translation of the Book of Songs. We can better understand the history of the Book of Songs and its translation into English, as well as its important role in promoting the spread and development of Chinese culture. The poems written by ancient people are full of the historical and cultural connotation and local customs of that era. As precious cultural heritage, they are worth our careful reading, savoring and appreciation.
===References===
*Legge, James(1960a). The Chinese Classics,Volume 4. Hong Kong: Hong Kong University Press,prolegomena 7
*Waley, Arthur(1960). The Book of Songs. New York: Grove Press,Inc, 335pp.
*Xu, Yuanzhong(1994). An Unexpurgated Translation of Book of Songs. Beijing: Chinese Literature Press, 17pp.
*Bao Yanxin, Meng Wei包延新, 孟伟(2002). 《诗经》英译概述[Overview of English Translation of The Book of Songs]. 晋东南师范专科学校学报Journal of Southeast Shanxi Normal College(06): 36-38.
*Chen jia, zhang ling陈佳, 张凌(2017).《诗经》动植物英译生态翻译探微[On the Ecological Translation of The Book of Songs into English]. 河南机电高等专科学校学报Journal of Henan Mechanical and Electrical College3(25): 61-65.
*Huang Mingfen黄鸣奋(1997)．英语世界中国先秦至南北朝诗歌之传播[The Spread of Poetry from Pre-Qin to Northern and Southern Dynasties in The English-speaking World].贵州社会科学Guizhou Social Sciences(2): 50pp
*Huang Xianwen黄贤文(2008). 跨文化对中国诗歌英译的指导意义[The Guiding Significance of Cross-cultural Translation of Chinese Poetry]. 福建商业高等专科学校学报Journal of Fujian Commercial College(01): 116-119.
*Liu Yongliang刘永亮（2016）. 理雅各《诗经》翻译出版对中国典籍走出去之启示[The enlightenment of The translation and publication of James Leggett's Book of Songs on the going abroad of Chinese classics]. 中国出版China Publishing Journal(13): 63-65.
*Qu Qianqian曲倩倩(2018). 《诗经》的文学价值及其英译[The Literary Value of The Book of Songs and Its English Translation]. 青年文学家Youth Literator(29): 96pp.
*Wang Guiming王贵明(2005). 论庞德的翻译观及其中国古典诗歌的创意英译[Pound's View on Translation and His Creative Translation of Chinese Classical Poetry]. 中国翻译Chinese Translators Journal(06): 20-26.
===Terms and expressions===
Homer's Epics 荷马史诗

sheng poems 笙诗

Five Classics 五经

The General Annals of China 《中国通志》

sinology fever 汉学热

Cathay 《神州集》

Compendium of Materia Medica 《本草纲目》

===Questions===
1. When did the British Sinologist James Leggle (1814-1897) publish his The She-King?

2. What are the main characteristics of Pound's translation?

3. What theory did Xu Yuanchong's translation of the poems strictly follows?

===Answers===
1. In 1871, British Sinologist James Leggle (1814-1897) published his The She-King in London.

2. One is to make use of the past to compare to the present to spread Confucianism, and absorb the essence of Confucianism to rebuild the value system of the West.The other is to promote the development of imagist poetics. Pound's translation follows the principles of imagist poetics and adopts a highly imagistic translation method to make the translation full of poetics, thus becoming the first choice in the study of poetic image.

3. Xu Yuanchong's translation of the poems strictly follows the theory of "three beauties", striving to achieve beauty in sound, meaning and form, which not only effectively conveys the meaning and rhythm of the original poem, but also preserves the rhythm and rhetoric of the poem, reproducing the beauty of the original poem, making it catchy and memorable to read.

==英语笔译杨心怡 Yang Xinyi 202170081604 MW==

The Source of China Children's Literature and the Dilemma of Its Translation

==英语笔译杨紫微 Yang Ziwei 202170081605 CE==

<center>'''The English Translation of the Names in A Dream of Red Mansions from the Perspectives of Domestication and Alienation'''</center>

<center>Yang Ziwei</center>

===Abstract===
"A Dream of Red Mansions" is a great work of high ideological and artistic quality. There are many characters in the book, including more than 300 people with names. Some of the names of these characters are allusions to classics, and some borrow homophonic techniques, and these names also suggest backgrounds, identities, characters and fates of the characters. Cao Xueqin is unique in naming characters. However, due to the cultural background differences in the translation process, it is often difficult for translators to accurately translate the true meaning hidden behind names. Based on this, this paper intends to analyze the characteristics of people's names in A Dream of Red Mansions and explore the translation art of people's names in its English version. In addition, this paper compares Hawkes and Yang Xianyi's translation methods and rules in name translation from the perspective of domestication and alienation, so as to increase its fluency and readability and promote the spread of Chinese culture.

===Key words===
A Dream of Red Mansions;Domestication and Alienation;Name translation.

===Introduction===
A Dream of Red Mansions is one of the four great classical novels in ancient China. Written in the late feudal society, it systematically summarizes the cultural system of Chinese feudal society, deeply criticizes all aspects of the feudal society, and reaches the peak of ancient Chinese literary creation in terms of language and artistic aspects. On the one hand, the English version of A Dream of Red Mansions has provided western readers with an opportunity to understand Chinese culture, and on the other hand, it has made remarkable contributions to the cultural exchanges between China and the West. There are many characters in A Dream of Red Mansions. Cao Xueqin, the author, gives the characters distinctive characteristics with his ingenious naming techniques. Some of them quote ancient poems and some use homophony. The identity, character and even the whole life and destiny can be seen from the names. It is indispensable to understand the deep meaning of characters' names for grasping the connotation of literary works and letting English language readers understand the feudal culture of China.
In the 1980s, there appeared a complete English translation of A Dream of Red Mansions, the two most famous English translations nowadays which from Yang Xianyi and Hawkes. When translating the names of people in books, Yang xianyi and his wife mainly use transliteration of names, while Hawkes adopts the strategy of transliteration of main characters and free translation of secondary characters. Based on this, this paper analyzes hawkes and Yang Xianyi's translation of names from the perspective of domestication and alienation in order to explore the gain and loss of their translation of names.

===Literature Review===
To promote intercultural interaction, introducing Chinese culture to the world is important and urgent. Due to differences in cultures and languages in different countries, the most feasible and efficient way is to translate Chinese books for foreign readers. Chinese Classic literature is an insignificant part of Chinese culture, which plays an important role in this cultural communication, so translation of literary works is in desperate need.
Among all the literary works, A Dream of Red Mansions, as the Four Greatest Classic Novels, draws more and more attention from translators because of its artistic language, significant cultural values concerning aspects such as culinary, clothing, building, economy, politics, morality and so on. According to the view in Translation Strategies of Chinese Names in A Dream of Red Mansions, it is a rare book that deepens one’s understanding of the meanings of being human. Thus the translation of it is indisputably the greatest work among all the classic Chinese novels.
Acknowledged as a pinnacle of Chinese novel, A Dream of Red Mansions is a mixture of realism and romance, psychological motivation and fate, daily life and supernatural occurrences and the more than 400 names of characters in this novel represent the artistry of Chinese naming. Cao Xueqin deliberately located connotations and special functions in these names through their sounds and forms, giving them evocative and associative meanings and communicative functions.
As the symbol of human life, a name reflects elements of culture. As carriers of the writer’s values, ideas, artistry and creativity, names in literature which are associated with theirs scenarios, play active parts in the development of the story. In other words, naming is a kind of writing device to describe characters and present the theme. As a matter of fact, writers can give characters names which characterize them with associative cultural allusions. Because of its uniqueness, a personal name is a sign which distinguishes one person from the others. In addition, names especially those of literary figures possess special connotations concerning identity,status, personality physical features, fate and the theme. But it also brings great difficulties for translators to do translation.
To solve this problem, I choose name translation of this novel as my research target and compare translation strategies of Yang Xianyi and David Hawkes in the process of translating names in A Dream of Red Mansions.

===Methods and Theories===
This paper uses a text comparison analysis method, from the perspective of domestication and alienation, compares and contrasts the two English translation versions of Hawks and Yang Xianyi to analyze their translation methods and effect in name's translation of A Dream of Red Mansions. And this paper also compares the advantages and disadvantages of the two versions to explore how to output a high quality of the translation of Chinese classics as well as promote foreigners' understanding of Chinese classics. This thesis applies the theories of domestication and alienation in translation.

===Subtitle 1===
1. Significance and Characteristics of Personal Names

As an important form of cultural carrier, name has a long history of development and rich cultural connotation. The etymology of people's names is very extensive, and there are many allusions involved in it. The cultural capacity is huge and changeable, so the study of name's culture and translation of it is of great theoretical significance and practical value.

Literature, in essence, is also "human studies". The creation of literary works has always been centered on the description of "characters", which reflects the social reality through the characterization of characters. In general, in order to describe the characters' personalities more deeply, and to hint at their experiences, fates and endings, the author always chooses the names of the characters carefully. To some extent, text or narrative analysis usually follows a basic principle, that is, choosing names is an important technique in shaping characters' images, and each name has the function of showing characters' personality, vitality and fate.

As for siginificance of names in the work, Cao Xueqin's characters in A Dream of Red Mansions can be divided into three categories: the first category is the name indicates the development of the story. These symbolic names are usually named with homonym, that is, the sound of name reveals the connotation meaning of it which is the combination of sound and meaning. Such as “甄士隐” in the work, its homophonic meaning is "true things hidden"; “贾雨村”, that is "false language exists ", means to compile a story with false language. The second type is the name of the character indicates the fate and outcome of characters. Such names often indicate the author's laments for the tragic fate of the characters in the stories. For example, the names of “元春”，“迎春”，“探春”and“惜春”in Jia Family adopt the artistic technique of hidden pun, and the homonym of them when they are read together is “原应叹息”(Yuanyingtanxi) which means one should sigh(Qin Qiyue,2016). The third one is the personality and image implied by the name of the character. Cao Xueqin also used characters' names to introduce the characters' images and personalities suggestivingly. At the same time, through the names of these characters, readers can feel the author's basic attitude towards these characters, such as “贾敬” in the work, its homonym is "false dignity", suggesting that the character does not care about the world's psychological state; There is also “贾赦”, homophonic for "lustfulness", suggesting its lustful personality characteristics. It can be seen that names have irreplaceable functions and values in A Dream of Red Mansions.

In the aspects of characteristics, there are also three types of names: the first one is using homophonic names. For example, the homonym of “贾雨村” is "False language exists"; “甄士隐” is "truth hidden", which means that the truth of the matter is hidden; “英莲”means "should pity" which expresses that this character is worthy of sympathy and the homonym of the maid “娇杏”（侥幸） is "lucky". The second type is named after an anecdote. A typical example is the origin of Jia Baoyu. When he was born, there was a psychic treasure jade in his mouth which also engraved words: Never forget; Long expectancy(莫失莫忘，仙寿恒昌)(Duan Ruifang,2016). The Jia family therefore regarded him as a gifted child who could honor his family. The third is named after jade and jewelry. The name is not only an appellation symbol, but also reflects the identity, background, status, personality, vision and hobbies of the characters. Several large families in A Dream of Red Mansions naturally hope to have a prosperous family and a bright fortune, so many characters are named after gold and jade. Such as Baoyu, Baochai, Jia Zhen, Jia Zhu, Pearl, Amber and so on.

===Subtitle 2===
2.Translation Theories

The terms of domestication and alienation or foreignization were put forward by Lawrence Venuti, a famous American translation theorist, in his book The Invisibility of the Translator in 1995. As two translation strategies, domestication and alienation are opposites but complement each other. Absolute domestication and absolute foreignization do not exist. Historically, foreignization and domestication can be regarded as the conceptual extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation. The core problem of literal translation and free translation refers to how to deal with form and meaning at the linguistic level, while foreignization and domestication break through the limitations of linguistic factors and expand their horizons to linguistic, cultural and aesthetic factors. According to Venuti, the law of domestication is "to bring the original author into the target language culture", while the law of alienation is "to accept the linguistic and cultural differences of a foreign text and bring the reader into a foreign situation. It can be seen that literal translation and free translation are mainly value orientations limited to the language level, while foreignization and domestication are value orientations based on the cultural context. The differences between them are obvious and cannot be confused.

2.1 Domestication

Domestication is to localize the source language, take the target language or target readers as the destination, and convey the content of the original text in the way that the target language readers are accustomed to(Yang Yujie, Liao Ying,2014). It requires the translator to be close to the target language reader. The translator must speak like the native author. In order for the original author to speak directly to the reader, the translation must become authentic in the native language. Domestication translation helps readers to better understand the translation and enhance the readability and appreciation of the translation.

2.2 Alienation

Alienation means "the translator as little as possible to disturb the author, and let the reader close to the author"(Yang Yujie, Liao Ying,2014). Translation is to accommodate the language characteristics of foreign cultures and absorb foreign expressions which require the translator to be closer to the author and adopt expressions corresponding to the source language used by the author to convey the content of the original text, that is, to turn the source language into a destination. The purpose of using alienation is to consider the differences of national culture, preserve and reflect the characteristics of foreign ethnic and language style as well as the exoticism for target readers.

Since translation requires us to faithfully reproduce the original author's thoughts and style, which are highly exotic, so it is inevitable to adopt alienation; At the same time, the translation must take into account the readers' understanding and the fluency of the original text, so the adoption of domestication is necessary. It is not desirable or realistic to choose one strategy to the exclusion of another. Each of them has its own advantages and disadvantages, so the final translation cannot be achieved by focusing on one and losing the other.

In translation, we are always faced with the choice of foreignization and domestication, so that we have to find a "fusion point" of translation(Wang Wenting,Xuan Zhifeng ,2016). This "fusion point" sometimes closer to the author, sometimes to the reader. In other words, foreignization does not hinder the smoothness and understandability of the translation, and domestication does not lose the flavor of the original text. At the same time, we should stick to the strategy of domestication of the language form, and carry out foreignization of its cultural factors. In this way, translation works can combine the advantages of the two strategies and avoid the disadvantages. Therefore, domestication and foreignization should have a complementary dialectical unity relationship in the actual translation process.

===Subtitle 3===
3.Contrastive Analysis of Name Translation from the perspective of Domestication and Alienation

3.1 Name System in A Dream of Red Mansions

There are more than 400 names in the book. Every name has its own connotative meaning and special function. The use of semantic puns can be found everywhere in A Dream of Red Mansions from the naming of the rich to the servants. In this paper, I divide it into four types to analyze its translation in a clear way.

3.1.1 Names of People of High Social Status

The author used different Chinese character components or radicals to distinguish seniority in the family when naming nobles. For example, from the word "代" of names "贾代善" and "贾代化", we can know that they belong to the same generation, the same with "贾赦" and "贾政" according to Chinese character component "反", "贾琏" and "贾珍" with radical "王", "贾蓉" and "贾菌" with"草"(Chen Ying,2016). However, the author did not adopt this rule when naming Jia Baoyu（贾宝玉）, mainly to highlight the particularity of him and his special status in Jia family. In addition, the naming of four noble women in Jia family also has a unique charm. The four daughters are 贾元春,贾迎春,贾探春 and 贾惜春, their name of the first word is just four words homophonic “原应叹息” which means "should sigh". After entering the palace, Yuanchun was appointed as an imperial concubine. She sighed and wept when in matrimony. although enjoy all the glory and wealth in palace but she always difficult to flat the pain of her mind because of departure with family members; Although Yingchun was coward, she had a pure and kind heart. Unfortunately, she was betrothed to Sun Shaozu and had been abused quite often after married and died miserably. Tanchun was both talented and beautiful. However, as the family decayed, she had married far away and cut off contact with her relatives. It was really pitiful. Xichun's mother died early and her father did not take good care of her, and she was brought up by Grandmother Jia. Later on, the decline of four big families and the tragic fate of her three sisters made her decide to be a nun. From all of these, we can see that the author intends to use homophonic technique to express his deep sympathy wit their unfortunate fate with “原应叹息” or "should sigh"(Chen Ying,2016).

In addition, formerly known as "Zhen Yinglian" or "Xiang Ling", she was the daughter of Zhen Shiyin originally, who was abducted by a human trafficker. She thought her fate would turn around when she met Feng Yuan, but Xue Pan snatched her away and she was beaten and cursed by a bad woman Xia Jingui. The author named her "Yinglian" whose homophonic meaning was "should pity" to express his deep sympathy and regret.The woman with real power of the family is named “王熙凤”.“王”is a homophone to “亡” which means “to die and vanish”,“熙” means “brightness and property”and “凤”refers to “phoenix” which is the symbol of“nobility, dignity, power and wealth” Therefore, the whole name suggests that “prosperity, dignity and power will be gone”. "林黛玉" has a sense of weakness, bitterness and sensitiveness, because the family name“林”originated from a tragic story. In Shang Dynasty, the chancellor named Bigan was killed with his heart being gouging out and his wife escaped into a cave covered with forest and luckily, she gave birth to a son and survived. Since then, her son was bestowed with the family name“林”by the next brilliant king -Wu king of Zhou Dynasty. As a consequence,“林”,as a family name suggests eventful fate and life. “黛” means “black” which gives a sense of “bitterness and misery”and “玉”means "jade" which is fragile and easy to break. Another one in the novel is called“薛宝钗”.“薛”is the homophone of “削” which means “getting rid of or discarding”;“宝钗”is actually“宝钗楼”which is the place where prostitutes live it is a living hell to virtuous girls. Accordingly. the name owner is doomed to be abandoned and live in misery.

3.1.2 Names of Maids

There are many servants in the rich and powerful Jia family and their names have different functions in the story. I have chosen some of them to analyze and explain their functions.

In ancient China, the status of servants was so low that they could not be named by themselves, but their masters gave them the name(Duan Ruifang,2016). Therefore, the name of a servant largely represents the interests and cultural accomplishment of his or her master. Some of the maids' names indicate the status of their masters. For example,“琥珀” and “珍珠” are both Grandmother Jia's personal servant girls, since amber and pearl are precious jewelries, their names reflect that Grandma Jia occupies the highest status in Jia family. And as the daughter-in-law of Grandmother Jia, Lady King had her maid named “金钏” and “银钏”, which was not arrogated but prosperous.

Some of the maids' names show the personality and interests of their masters, such as those of Baoyu: “袭人”，“晴雯”，“锄药”，“焙茗”. The author named the servant girls around Baoyu with plants in their names, which reflected Baoyu's wildness and unwillingness to be bound by feudal etiquette and customs. The servant girls around the four girls in Jia family are “司棋”，“侍书”，“抱琴”，“入画”, which reflect the interests of the four girls as well as their personal expertises. Other servants' names reflect the expectations of the master. For example, Wang Xifeng's servants named as “平儿”,“封儿”,“兴儿”and“隆儿”.As Jia's financial housekeeper, Wang Xifeng was in charge of Jia's financial expenses, she was careful in budgeting and valuing money very much, so she was eager to be prosperous,and names of her servants mapped her aspiration.

In addition, there are also some servants' names reflecting the character of their masters. For example, Li Wan's two servant girls “素云” and “碧月”. Though li Wan became a widow when she was young, she craved neither money nor power and devoted herself to taking care of her mother-in-law and father-in-law and her son. Her heart was as pure and white as the maids' names around her.

3.1.3 Names of Performers

In Jia Family, there are entertainers named“宝官”，“棋官”“玉官”，“藕官”，“葵官”，“艾官”,“豆官”，“药官”，“茄官”，“蕊官”，“文官”，“芳官”and“龄官”(Cao Xue, Yin Xiaotang,2020).These names can be divided into three types:
(1)Names related to jewelry: “玉官”，“宝官”and“棋官”. These names show the nobility and high dignity of their masters;
(2)Names connected with flowers and plants: “藕官”,“葵官”、“艾官”，“豆官”,“药官”,“茄官”and “蕊官”.This indicates temperament and personality of the actresses who are tender and delicate;
(3)Names associated with personality: “文官”,“芳官”and“龄官”. And the last one indicates personal talents and charms of the actresses.

3.1.4 Names of Monks,Immortals and Nuns

Names of nuns include “静虚”,“智能”and“妙玉”which implicate meaning of tranquility, wisdom, capability and so on. These are all desirable virtues to people who believe in Buddhism. Names of immortals are“茫茫大士”,“渺渺真人”,“空空道人”,“警幻仙子”,“神瑛侍者”and“绛珠仙子”. As long as these immortals show up, there will be a turn of development of the story. All these names of immortals have a sense of mystery and extraordinariness(Cao Xue, Yin Xiaotang,2020).

3.2 Constractive Analysis of Translation Strategies of Yangxianyi and David Hawkes

3.2.1 Transliteration

Transliteration is to translate the source language through pinyin according to the pronunciation of Chinese, reserving only the pronunciation of the source language but not the content, meaning and writing form of the original text.

At present, transliteration is the most commonly used method in the translation of Chinese names. Yang Xianyi's version and Hawkes' version mostly use this method in the translation of main characters’ names, but there are subtle differences in the details. Yang's translations often use the phonetic transliteration of Wei's(韦氏音标音译). For example: 甄士隐, Chen Shih-yin；贾雨村，Chia Yu-tsun；贾宝玉， Chia Pao-Yu；林黛玉，Lin Tai-Yu；贾政，Chia Cheng；贾雨村，Chia Yu tsun；薛宝钗，Hsueh Pao chai；元春，Yuan-chun；迎春，Ying chun；惜春，His chun；探春，Tan chun；金钏，Chin Chuan；袭人，His jen；宝官，Pao Kuan. This translation is more in line with the common pronunciation habits of English and more acceptable to foreign readers. Hawkes mostly uses Chinese pinyin, for example: “甄士隐” is translated as Zhen Shiyin, “贾雨村” as Jia Yucun, “贾宝玉” as Jia Baoyu and “林黛玉” as Lin Dai-yu. This translation method retains the original taste of the original work to a large extent, making it easier for foreign readers to understand the most authentic Chinese culture.

From the perspective of domestication, Yang's translation retains the naming rules of the original text for the convenience of Chinese readers. From the perspective of alienation, Hawkes chose the easiest translation method, and such transliteration of names can be regarded as the introduction of a unique name culture for the West. On the other hand, although the translation is simple and straightforward, it only preserves the pronunciation and writing form of the source language, but loses the profound connotation of the original text.

3.2.2 Free Translation

Free translation is to translate according to the general meaning of the source language. It is neither word for word nor limited to the form of the source language, but more focused on connotation expression(Duan Ruifang,2016). Hawkes usually uses free translation when translating many metaphorical and homophonic names. Free translation is embodied in the following three ways:
(1)Literal translation of the original language. It largely preserves the literal and imaginary meanings behind it, such as the two maids of Grandmother Jia, “珍珠”and “琥珀”, which are translated as "Pearl" and "Amber" respectively. It highlights the Grandmother Jia’s prominent status in family.
(2) The original name is explained and extended according to the meaning of the target language. This is a way to enhance the readability of the translated text and make the foreign language readers easily accept the strange and obscure traditional Chinese culture. For example,“晴雯” is translated as "Skybright", which means "clear sky". The clear sky after rain fits the image of Qingwen as lively, cheerful and intelligent, which can enhance readers' impression of her.
(3) Adjust the original name and reconstruct the image. For example, the name of Daiyu's servant girl is “紫鹃”, which originally means "cuckoo". This kind of bird often expresses the meaning of "sorrow" in Chinese classical literature, which can easily remind people of the tragic fate of its owner. However, in English, cuckoo can not express this meaning. Therefore, Hawkes changed it into "Nightingale". And “袭人” was translated into Aroma, but it did not show the kindness and thoughtfulness of Aroma in her name.

As for Yang Xianyi, in order to keep the characters' names connected with the original story, he adopts free translation in the names of deified figures, such as monks. For example, “空空道人”was transalated as “The Reverend Void”, “渺渺真人” as “Boundless Space” and “茫茫大士”as “Buddhist of Infinite Space”. In Chinese feudal society, married women were addressed with their husband's surname, such as “贾氏”，“尤氏”and“封氏”. Yang's translation did not directly transliterate them but translated “尤氏” into "Madam Yu", indicating her position of the household steward. “贾氏”was translated as "Mrs.Jia," implying that she was the mistress of the family. .“贾母” was translated as “Lady Dowagers” and “刘姥姥”was Granny Liu(Chen Ying,2016).

3.2.3 Annotation

Due to the huge differences between Chinese and Western cultural backgrounds, it is difficult for target language readers to accurately comprehend the special meanings behind names as the source language readers do. Based on this situation, Yang Xianyi used pinyin in the translation, but in order to truly translate the original work, it is necessary to interpret or remark the cultural connotation implied by the name in the original work. This is because a few words can not fully explain the inner meaning, adding annotations is a crucial tool. There are two main reasons for the use of annotation method. First, annotation is not limited by the number of times and sentence length, so it can better fill the deficiency of free translation and literal translation. The other is that annotation will not interfere with the integrity and structure of the original text. According to these characteristics of annotation method, it can be concluded that all character names can be properly and accurately translated through annotation.
Hawkes’s and Yang's versions have adopted appropriate annotations to facilitate readers' understanding.
For example, Yang translated “甄士隐” as Zhen Shiyin. Homophone for "true facts concealed." while Hawkes translated it into Zhen Shi-yin(the Zhen-another word-play (who are a sort of mirror-reflection of the Jia family). Annotations are used in both translations to further explain the inherent meaning contained in character names. However, too simple annotations cannot effectively achieve the purpose, and too detailed translation will load redundant cultural information into the target language, causing reading barriers for readers and making it difficult for them to reproduce in the target language. Therefore, learn how to use annotation properly is hard but significant.

===Subtitle 4===
4.Influence of Name Translation in A Dream of Red Mansion

The translation purpose of Yang's translation is given by the Foreign Languages Press, so when facing translation problems, he chose the strategy of transliteration and try his best to be faithful to the original text(Chen Ying,2016). It is precisely because this translation mostly retains the original information of A Dream of Red Mansions and respects its cultural characteristics to a certain extent. With the development of China's soft power, Yang's translation has attracted more and more Western readers who are trying to understand with the help of Yang's translation the original ideas and cultural essence conveyed in the book. Similarly, Hawkes' translation should not be underestimated, especially for western countries. First of all, as a foreigner, he was able to complete the huge task of translating A Dream of Red Mansions. In addition, he gave full play to his initiative in translating characters' names. Getting to know hundreds of characters is a big problem for Western readers, who can't understand the deep meaning of the names. Hawkes used different translation strategies to give them English names and tried to help readers get a clear picture of the characters. It can be said that Hawkes's translation can make it easier for foreigners to understand Chinese culture, thus it plays an important role in the process of Chinese culture going to the world.

All in all, A Dream of Red Mansions represents the profoundness of Chinese classical culture. With the rapid rise of China's economy and the increasing curiosity of western countries about Chinese culture, it is a good opportunity for China to show its long history and culture to the world. We should strive to improve the translation of "A Dream of Red Mansions", and use a variety of methods to reduce readers' reading barriers and promote the spread of Chinese classical culture.

===Conclusion===
Hawkes uses transliteration of the main characters and free translation of the minor characters which better let English readers understand the connotation of the name, but also to reveal and predict the fate of the character. But on the whole, there are still some shortcomings in the translation(Wang Wenting,Xuan Zhifeng,2016). This kind of translation can help spread the original works to the West, make the target language readers better understand Chinese culture, and correct the mistakes in other English translations. However, because of direct transliteration, it is difficult for the target readers who do not know the Pinyin of Chinese characters to understand original text. If the annotation method is used to assist the translation and the annotations are added after transliteration, the target readers can understand the exact meaning of the original text. For girl servants names' translation, Hawkes mainly adopts the free translation strategy to translate the name according to the character's personality and fate, but this kind of translation is too generalized, which hinders the cultural communication between source language and target language, resulting in the reader can't fully understand the original meaning and losing the elegant charm of the original language.

Although the transliteration strategy adopted by Yang Xianyi failed to translate the pun, it also conveyed the original information to the maximum extent. His free translation based on his understanding of Chinese culture, which not only respects the literary context of the original work, but also smooth the understanding of English readers, and effectively reproduces its literary meaning.

By analyzing the English translation of names of Yang Xianyi and David Hawkes, we know that there is not fixed rules or uniform patterns in the translation of names. Whether transliteration, free translation, transliteration listed, or some special translation approaches, they require the translator, according to the specific style, the rhetoric and content of works, to convey the original meaning.

===References===
*Qin Qiyue秦启越(2016).《红楼梦》人名翻译艺术再探讨[On the Translation of Names in A Dream of Red Mansions].Chinese National Expo，200-201.

*Duan Ruifang 段瑞芳(2016).《红楼梦》英译本中的人名翻译艺术[The Art of Name Translation in the English Version of A Dream of Red Mansions].Overseas English(15):101-102.

*Lin Yao林瑶(2020).从功能翻译理论对比分析《红楼梦》的杨译本和霍译本的人名翻译[A Comparative Analysis of the Translation of Names in Yang's and Hawkes's versions of A Dream of Red Mansions from the Perspective of Functional Translation Theory].中外文学[The Chinese and Foreign Literature],4-5.

*Wang Wenting,Xuan Zhifeng 王文婷,轩治峰(2016).从异化和归化角度浅析《红楼梦》英译本的人名翻译——以霍克斯版为例[On the translation of people's names in the English version of A Dream of Red Mansions from the Perspective of foreignization and domestication -- a case study of Hawkes' version].唐山文学[Tangshan Literature],133-134.

*Yang Yujie, Liao Ying 杨玉洁,廖颖(2014).从归化与异化角度对比研究《红楼梦》人名翻译[A Comparative Study on the Translation of People's Names in A Dream of Red Mansions from the Perspective of Domestication and Alienation].Cultural Highlands,283.

*Li Shide李仕德(2015).功能翻译理论下《红楼梦》的人名翻译[Translation of people's names in A Dream of Red Mansions under the Theory of Functional Translation].语文建设[Chinese Construction],62-63.

*Chen Ying陈颖(2016).杨宪益《红楼梦》译本双关人名的翻译探讨[On the Translation of Pun Names in Yang Xianyi's Translation of A Dream of Red Mansions].陕西学前师范学院学报[Journal of Shaanxi Xueqian Normal University],(3):73-76.

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==英语笔译张国浩 Zhang Guohao 202170081606 MW==

<center>'''A Brief Analysis of Strategies of Promoting the Translation of Chinese Classics "Going Abroad"
'''</center>

<center>Zhang Guohao</center>

===Abstract===

Chinese culture is broad and profound, which has a long history about 5000 years. Classics culture is one of the most representative characteristics of Chinese culture. In the course of China’s five thousand years of civilization, a large number of ancient classics have been formed by the inheritance of Chinese culture and the creation of its spiritual connotation. These Chinese cultural classics contain a lot of wisdom, which is of great significance to solve the problems faced by human society today. With the increasingly close ties between countries in the world, cultural exchanges have become more frequent. Promoting the culture of Chinese excellent classics to go abroad is an important means to enhance the soft power of national culture. However, the translation of Chinese classics is still facing many difficulties at present. Chinese cultural classics are voluminous and rich in connotation. In the process of foreign translation and communication, it is necessary to improve the training mechanism of professional translators, build a market-oriented external publishing mechanism, and build a high-quality system of foreign translation of Chinese cultural classics.

===Key words===

Chinese cultural classics; Foreign translation strategies; Communication of Chinese culture

===Introduction===

China is one of the four ancient civilizations in the world and the only one among the four ancient civilizations whose traditional culture has been continued without interruption. The long history of Chinese culture is mainly due to the passing down of a large number of cultural classics. In the new era, China’s comprehensive national power and international influence have increased significantly, and there is a greater demand for spreading Chinese culture to the outside world and for the world to understand Chinese culture. Under this background, the translation of Chinese cultural classics has become inevitable. Under the circumstance of fierce cultural competition in today’s world, it is an important problem to be solved urgently that how to spread excellent Chinese classic culture to foreign countries and obtain important results. Culture is open and can only be inherited and developed in mutual exchanges. As the carrier of Chinese culture, the translation and dissemination of Chinese cultural classics are closely related to the improvement of China's international status and international influence. While the comprehensive national strength and international influence are greatly improving, China should further strengthen its cultural self-confidence, and strengthen the protection, inheritance and promotion of Chinese culture in the construction of socialist culture with Chinese characteristics, so as to maintain the Chinese style in the forest of nations in the world and highlight the Chinese style. To make China's voice heard requires not only telling the story of contemporary China, but also letting the people of the world know China from the depths of their soul and spiritual essence. In this context, Chinese cultural classics have become the basis for inheriting and carrying forward Chinese culture, and the dissemination of Chinese culture through traditional cultural classics has also become an important way to promote Chinese culture to the world. This paper will discuss the connotation of the culture of classics, the current situation and difficulties of the foreign translation of Chinese cultural classics and the significance of the foreign translation of Chinese cultural classics. Finally the author puts forward feasible strategies and schemes to promote the foreign translation of Chinese cultural classics, so as to provide reference and guidance for the translation of Chinese cultural classics in the future.

===1. The Defination of Chinese Cultural Classics===

According to Li Zhengshuan, cultural classics refer to ancient books or documents that record natural, humanistic and philosophical ideas as well as important laws and regulations (Li, 2012: 42). Generally speaking, classics mainly refer to the carving copies, hand-copied books, manuscripts and books of rubbings etc. of the previous dynasties before 1911. The concept of Chinese cultural classics have two meanings. Firstly, it refers to the important ancient documents and books-classical works in various fields of social sciences and humanities and natural science in China. Secondly, it refers to ancient Chinese codes and systems. As far as the value of cultural classics is concerned, it refers to the literature and classical books that have withstood the test and selection of time and played an important role in promoting the progress of national civilization and even the world civilization. In terms of its subject, the cultural classics include classics of ancient Chinese philosophy, religion, literature, military science, history, science and technology, law and so on. No matter in which era, cultural classics have always been studied, enriched, annotated, interpreted and used by scholars of all dynasties. They are the spiritual wealth shared by all mankind. As the prototype symbol of national culture, they have the function of continuous regeneration and inheritance.

===2. The Significance of Translation of Chinese Classics===

Firstly, the translation of Chinese classics has always been an important part of cultural exchanges between China and the west, and it is also an important way for the dissemination of Chinese history and culture. Chinese classics not only have important ideological value, but also contain rich cultural information, which makes them more difficult to understand and translate. Therefore, the accurate and complete transmission of the cultural information in the classics is of great practical significance for carrying forward Chinese culture and carrying out cultural exchanges between China and the West. However, due to historical reasons and the particularity of Chinese characters, the excellent culture accumulated in the process of Chinese civilization for thousands of years is rarely introduced to the world, so that the world lacks a comprehensive and in-depth understanding of China’s long and splendid history and culture. Therefore, the translation of Chinese classics is particularly important in the context of economic globalization.

Secondly, we have entered an era of globalization nowadays. If any nation or country wants to remain invincible among the world’s nations, it must learn from others. While learning from other nations, we should also know how to introduce the excellent translation of Chinese classics abroad, so that the world can better understand China. Only in this way can we enhance our competitiveness on the international stage, which is also the need of our reform and opening-up policy. As Chinese people, we have the responsibility and obligation to spread the excellent culture of Chinese nation to all parts of the world. Culture is not only the embodiment of national cohesion, but also the cultural soft power has become an important factor in the competition of comprehensive national strength. As the core content of traditional culture, the translation of Chinese classics is one of the important contents of cultural output.

Thirdly, from the perspective of modern history, the Chinese culture compared with the culture of other nations is in a “weak culture” state. In this case, most foreign translators will inevitably reflect the features of their own class when translating and introducing Chinese cultural classics for the benefit of the rulers they serve. Therefore, it is necessary for Chinese translators to provide the world with more comprehensive, systematic, complete and original versions of Chinese classics.

===3. The Foreign Translation Process of Chinese Cultural Classics===

The translation of Chinese culture classics began in the Ming and Qing dynasties, and the translators were mostly Western missionaries and sinologists at that time. For example, the Italian priest Matteo Ricci translated ''The Four Books'' into Latin around 1594. The French priest Joseph de Prémare translated ''Sacrifice'' into French around 1735 and the British sinologist James Legge translated ''The Four Books and The Five Classics'' into English between 1861 and 1886. These foreign translators completed these translations with the assistance of Chinese assistants. Until the early 20th century, Chinese scholars began to undertake the translation of Chinese cultural classics independently.

Since the founding of the People’s Republic of China, Western sinologists and Chinese scholars have continued to work in foreign translation Chinese cultural classics. Among them, the representative foreign translation project was the English version of Chinese Literature, founded by Ye Yongjian in 1951, which was the only official foreign translation that translated and introduced Chinese contemporary literature at that time. Since initiating reform and opening up, the first milestone in the foreign translation of Chinese culture classics was the Library of Chinese Classics project launched by the Chinese government in 1995. it was the first major national publishing project in China's history to systematically and comprehensively introduce foreign versions of Chinese cultural classics to the world. The Library of Chinese Classics project selected 100 most representative classical works in the fields of culture, history, philosophy, economy, military affairs, science and technology from the pre Qin period to modern times and expert would collate and sort out the topics and versions in detail, and translate them from Writings in Classical Chinese to vernacular, and then from vernacular to English. Chinese leaders have given great support and high praise to this translation project, and have repeatedly presented this series of translated works as an official gift to foreign dignitaries on important occasions. In addition to English translation, the second phrase the Library of Chinese Classics project started in December in 2007 has published Chinese-French, Chinese-Spanish, Chinese-Arabic, Chinese-Russian, Chinese-German, Chinese-Japanese, Chinese-Korean versions in an effort to achieve multilingual publication of Chinese culture classics.

In addition, over the past ten years, there have been many foreign translation projects of Chinese cultural classics which were vigorously promoted by Chinese government. The above-mentioned translation projects at the national level have enhanced the cultural confidence of the Chinese people and improved the soft power of Chinese culture. This is due not only to the importance of national support for traditional culture and translation, but also to the hard work of translators and publishers.

===4. The Current Status of Foreign Translation of Chinese Cultural Classics===

Under the background of economic globalization, the translation of Chinese cultural classics has made great progress with the great attention of the Chinese government and the joint efforts of many Chinese scholars and translators in recent years. In 1995, China began to launch the “Library of Chinese Classics” project, which was the first major publishing project in China to comprehensively and systematically introduce Chinese traditional cultural classics to the world. “Library of Chinese Classics” projects not only accurately translates China’s historical and cultural classics to the world, but also shows the world great Chinese culture. But even so, the current translation of Chinese classics is still facing many difficulties.

The first problem refers that there is a shortage of professional translation talents, and the coverage of translation talent education is also narrow. In the new era, China will unswervingly open wider to the outside world and strengthen its cultural self-confidence. Obviously, China is required to make efforts to promote Chinese culture to the world. The translation of Chinese cultural classics is one of the basic ways to promote the spread of Chinese culture to the world. The external translation and dissemination of cultural classics can not be separated from high-quality translation versions whose key lies in the cultivation of translation talents. At present, China lacks professional translation talents, and the coverage of translated language is narrow. Although China regards English as the basic content of national education and has basically established a higher education system covering the world’s major applied languages, the translation of Chinese cultural classics is a highly specialized translation work, which requires translators to be familiar with Chinese culture and have a deep understanding of the history and culture of the target-language countries This kind of integrated talents is relatively scarce, and it is difficult to cultivate a large number of such talents in a short period of time under the existing translation talent education mechanism.

In addition, the selection of translation materials of Chinese cultural classics is concentrated and single. The word “classics” in Cihai means “important national documents”. Professor Wang Hongyin clearly put forward the concept of “Chinese cultural classics” and limited its scope from three aspects. Then professor Zhao Changjiang also explained its definition in detail. In summary, we can draw the conclusion that Chinese classics involve the three disciplines of literature, history and philosophy, Confucianism, three religions of Confucianism, Buddhism and Taoism, as well as Chinese military classics, scientific and technological classics and so on. Among the vast Chinese classics, the ones that are truly translated into foreign languages are mostly concentrated in philosophical works such as “ The Four Books and The Five Classics” and ancient literary classics such as “Dream of the Red Chamber”. However, the foreign translation of prose and drama is very rare. The foreign translation of cultural classics of other nationalities in China is rarely involved, while the translation of scientific and technological classics is almost ignored. Therefore, it is very necessary to expand the scope of selection for classics translation in order to spread Chinese excellent culture through classics.

Facing the strong competition of Western culture, the market-oriented communication mechanism is not perfect. The translation and dissemination of Chinese cultural classics should rely on the market-oriented publishing mechanism, while the cultivation of foreign audiences’ reading demands mainly depends on the improvement of China’s international influence, especially the improvement of China’s international status in the process of economic globalization. At present, in the face of the strong position of the West in the international discourse system, the translation and dissemination of Chinese cultural classics in the market publishing face the strong competition of Western culture. At the same time, the market demand for the publication and distribution of Chinese cultural classics also lacks effective integration, and it will be difficult to obtain lasting impetus to promote the dissemination of Chinese culture by relying too much on national financial investment or incorporating the translation and dissemination of Chinese cultural classics into the cultural exchange mechanism under the national financial burden. The imperfect market mechanism for the translation and dissemination of Chinese cultural classics, the lack of scientific evaluation of the international publishing market demand and targeted marketing mechanism are important problems in promoting the translation and dissemination of Chinese cultural classics.

On the other hand, the quality of translation is uneven, and the adaptability of local culture in target-language countries needs to be improved. The development of the foreign translation market of Chinese cultural classics not only needs to cultivate the reading needs of foreign audiences and incorporate them into the construction of the publishing market, but also needs to establish the awareness of quality and build a quality system. Nowadays, although some high-quality versions have been formed in the foreign language translation of cultural classics in China, the quality of some translation works is not satisfactory. It is difficult to accurately transform the classics into the local culture of target-language countries. Especially for some minority-language countries and ethnic groups, it is difficult for China to engage in high-quality foreign language translation and form an optional quality system due to the lack of professional translators. At the same time, when translating Chinese cultural classics into foreign languages, China needs to improve the localization of text content. Whether the translated works of Chinese cultural classics can be compatible with the history and culture of target-language countries will have an important impact on the dissemination ability of Chinese cultural classics.

At the same time, the translation of Chinese cultural classics is still unevenly distributed. At present, the translation of Chinese cultural classics mainly focuses on the cultural classics of the Han nationality, while the foreign translation of cultural classics of other nationalities are in the dilemma of “small quantity”. Due to their uniqueness, the foreign translation and dissemination of them are relatively more complex. According to statistics, there are less than 20 foreign translations of cultural classics of other nationalities in China since the late Qing Dynasty, and only a few ethnic cultural classics such as Tibetan, Mongolian, Zhuang and Kirgiz have been translated into English. Compared with the 1000 volumes of ethnic minority ancient books or Han cultural classics in the Catalogue of National Rare Books in China, there is a fact that there is a small amount of foreign translation in other ethnic cultural classics. And due to the factors of Chinese local translators, the languages of translation and introduction are relatively single. The translated cultural classics of other nationalities in China are mainly focused on literary subjects, while other fields such as medicine, agriculture, science and technology are often ignored. Therefore, the number of foreign translation of them is even less.

===5. Measures to Promote Foreign Translation of Chinese Classics===

Targeted measures are needed to solve the above problems. Firstly, foreign readers’ reading demands should be guided and cultivated and a market-oriented foreign publishing mechanism should be built. At present, China’s comprehensive national strength has improved significantly and it occupies an important position in the global trade system. The exchanges and interactions between China and other countries in the world are becoming increasingly frequent, and the demand for countries in the world to understand Chinese culture is increasing. China should further guide and cultivate people’s cognitive needs of Chinese culture, and promote the construction of market-oriented foreign publishing mechanism with high-quality translation versions of Chinese cultural classics. China should encourage domestic publishing enterprises with strong strength to go out. On the basis of scientific evaluation of other countries’ demand for Chinese cultural classics reading, effective marketing strategies should be determined. Meanwhile, China also need to establish sound sales channels, and form a positive interaction mechanism between the cultivation of foreign Chinese classics reading market and the overseas publishing industry for spreading Chinese culture.

Secondly, China should build a system of excellent translation of Chinese classics to improve the local adaptability of the translated versions. As the carrier of Chinese culture, the humanistic spirit of Chinese classics should go to the world with the development of our country. China should actively promote the construction of an excellent translation system of Chinese classics. While providing guarantee in terms of talents, funds and policies, the government should also establish a standard system for the translation of excellent classics, and form several alternative high-quality versions for different countries and nationalities. In the construction of the excellent system of translation of Chinese classics, China should strengthen the exchange between the translated versions and the local culture of the targeted-language countries and select different classics according to the historical culture and religious customs of different countries and nations, so as to avoid the conflict between the contents of classics and the historical culture and religious customs of relevant countries.

Thirdly, the government should improve the training mechanism of professional translation talents and increase the number of foreign language for education. China should actively promote the construction of professional translation talent system, and construct the corresponding talent training mechanism based on the principle of specialization in the translation of Chinese classics. For example, China should set up the translation major of Chinese classics in the current translation major and integrate it with the study of various languages. In the process of learning foreign languages, China can take the translation of Chinese classics as the basic teaching content. At the same time, China should also cooperate with the implementation of the Belt and Road Initiative to carry out targeted translation education of Chinese classics.

The the Belt and Road Initiative is the direct driving force for the foreign translation of Chinese cultural classics. Since the advent of the new century, the Chinese government has paid more attention to cultural exchanges with other countries in the world. The proposal of the “the Belt and Road” Initiative in 2014 further demonstrates the determination of Chinese culture to go global. The translation of Chinese classics is the most direct means for Chinese culture to go global. As a corridor for cultural exchanges, the the Belt and Road Initiative provides a new opportunity for the translation of Chinese cultural classics and will directly promote the development of Chinese cultural classics translation. The Library of Chinese Classics project is the most prominent project in the national assistance to the foreign translation of Chinese cultural classics, even though these translation versions are not sold well abroad. However, these works condense China’s long history and splendid culture, and enhance the foreign dissemination of Chinese classics. In addition, works of the Library of Chinese Classics project are not only sold in bookstores, but also presented to foreign leaders as official gifts, which is of great benefit to the dissemination of Chinese culture. Buddhism and Buddhist classics were introduced to China through the ancient Silk Road. Nowadays, Chinese Confucianism and Confucian classics will spread to the world through the Belt and Road Initiative. First of all, in the process of the Belt and Road Initiative construction, the builders sent by China to countries and regions will spread Confucianism and Chinese culture in daily exchanges with local people. In addition, China actively promotes Confucius Institutes in the process of the Belt and Road Initiative construction, which directly promotes the external dissemination of Confucianism and classics. Finally, the construction of the Belt and Road Initiative can also increase the public’s recognition and understanding of Chinese cultural classics and promote the development of the English translation of these cultural classics.

===Conclusion===

Chinese classics are the crystallization of the wisdom of the Chinese nation and still have important guiding value for the problems confronted by human today. With the continuous enhancement of China’s comprehensive national strength, the translation of Chinese classics is imperative. In the process of translating classics, we should improve the training mechanism of professional translation talents, build a market-oriented external publishing mechanism, and build a system of excellent translation of Chinese cultural classics, so as to promote the better dissemination of Chinese culture abroad and enhance China’s cultural soft power.

===References===
*Li Wenge 李文革.(2000). 中国文化典籍的文化意蕴及翻译问题 [The Cultural Implication and Translation of Chinese Cultural Classics]. ''外语研究'' Foreign Languages Research (1)42-44.
*Liu Xingfeng 刘性峰.(2005). 典籍英译的意义 [The Significance of Translation From Chinese Classics into English]. ''皖西学院学报'' Journal of West Anhui University (2)105-107.
*Qiu Kean 裘克安.(1991). 更好地组织中国文化代表作的英译和出版 [Better Organization for the English Translation and Publication of Chinese Cultural Masterpieces]. ''中国翻译'' Chinese Translators Journal (2)4-5.
*Wang Hong 王宏. (2012). 中国典籍英译：成绩、问题与对策 [English Translation of Chinese Classics : Achievements, Problems and Countermeasures]. ''外语教学理论与实践'' Foreign Language Learning Theory and Practice (3)9-14.
*Wang Rongpei 汪榕培.(1997). ''比较与翻译'' [Comparison and Translation]. Shanghai: Shanghai Foreign Language Education Press 上海外语教育出版社.
*Yang yingfa, Zhang Ji 杨英法, 张骥.(2017). 中华文化软实力提升与汉语弘扬间关系探讨 [The Discuss on the Relationship Between the Advance of Chinese Cultural Soft Power and the Promotion of Chinese]. ''石家庄学院学报'' Journal of Shijiazhuang University (4)106-110.
*Zhu Linbao 朱林宝. (1994). ''中华文化典籍指要'' [Essentials of Chinese Cultural Classics]. Jinan: Shandong People's Publishing House 山东人民出版社.
*Zhang Xiping 张西平. (2015). 中国古代文化典籍域外传播的门径 [The Overseas Transmission of Ancient Chinese Cultural Classics]. ''中国高校社会科学'' Social Sciences in Chinese Higher Education Institution (3)79-91.

===Terms and Expressions===

*Matteo Ricci 利玛窦
*Joseph de Prémare 马若瑟
*James Legge 理雅各
*The Four Books and The Five Classics 四书五经
*the Library of Chinese Classics project 《大中华文库》项目
*The the Belt and Road Initiative 一带一路
*Kirgiz 柯尔克孜语
*Writings in Classical Chinese 文言文
*vernacular 白话文

===Questions===

*1. What does cultural classics refer to according to Li Zhengshuan?
*2. The word “classics” in Cihai means “important national documents”. (T/F)
*3. When did the foreign translation of Chinese culture classics begin?
*4. What project did Chinese government launch?
*5. The Library of Chinese Classics project is the direct driving force for the foreign translation of Chinese cultural classics. (T/F)

===Keys===

*1. According to Li Zhengshuan, cultural classics refer to ancient books or documents that record natural, humanistic and philosophical ideas as well as important laws and regulations.
*2. T
*3. The foreign translation of Chinese culture classics began in the Ming and Qing dynasties.
*4. The Library of Chinese Classics project
*5. F

==英语笔译张姣玲 Zhang Jiaoling 202170081607 CE==

'''On movie adaptation of Chinese classics - The example of Yu Hua’s ''To Live'''
张姣玲
===Abstract===

In recent years, the movie and television adaptation of literary masterpieces has become a trend and has attracted people's attention. As the “Four Literary Masterpieces” have been successively put on the screen, which have aroused hot comments from the society. Although people have mixed reviews of works adapted from literary classics, they still have a great interest on those adapted woks. After entering the twenty-first century, China's film and television industry has become more prosperous, while the adaptation of classic literary works has also gained increasing popularity, and both film and television industries have recognized the value of classic literature to their development. The novel To Live is one of the representative works of the avant-garde writer Yu Hua, and it is also his attempt to explore the theme of death. In the novel, there are obvious imprints and scratches of the collision and docking of Chinese and Western cultures. Yu Hua aims to make interpretations and reflections on death in a metaphysical sense, reflecting his understanding and depicting of modern life philosophy in this novel. The film adaptation of “To Live” directed by Zhang Yimou is the complete opposite of the content expressed in the novel, as the film focuses on realistic criticism and historical reflection that is closer to life. This paper will take Yu Hua's work “To Live” as an example to explore the differences between novels and film adaptations from the following three aspects: storyline, narrative perspective, and connotation.

===Key words===
Movie Adaptations; Chinese Clasisics; To Live; Differences

===Introduction===
Generally speaking, classic novels have the advantage of plot and narrative framework, and consequently have a profound influence on the choice of techniques and innovative concepts of movie. Movie, on the other hand, has outstanding features in spatial modeling, and its distinctive spatial characteristics can in turn promote the innovation of novel structure, bringing irreplaceable influence to the writing techniques and innovative development of contemporary literary masterpieces. In the interaction between the two, the narrative structure and temporal consciousness of literary works are weakened, but the aesthetic features become richer as they are strengthened in terms of stylistic and spatial consciousness. Films adapted from masterpieces, on the other hand, add various audiovisual elements to the original plot, opening up a broader artistic space. At the same time, literary masterpieces provide films with rich and deep materials, and films reflect them with more diversified expressions and stronger expressive power, and reinforce their fame through wider publicity, thus realizing the wide dissemination of masterpieces. Thus, literary classics and film adaptations complement each other.

To Live has brought its writer Yu Hua high honors, winning him the top prize of the Italian Grinzana Carver Literary Award, the Chevalier de l'Ordre des Lettres et des Arts de France, and many other awards. It has become a myth of contemporary pure literature texts, with a staggering number of copies in print every year. Zhang Yimou adapted it for the big screen in 1994, and the film attracted great attention and discussion, and brought Zhang Yimou a series of honors, such as the Spirit of Humanity Award at the 47th Cannes International Film Festival, the Best Foreign Language Film Award at the 48th British Academy of Film and Television Arts, and the Best Foreign Language Film by National Society of Film Critics Awards.

As one of his best novels, Yu Hua's To Live is a modernist philosophical poem, based on the principle of "writing for the heart" and extremist writing in pioneering literature, and through a series of descriptions of "death", it condenses life consciousness and philosophy of Fu-gui style, showing a metaphysical philosophical character. Its film adaptation is based on the literary view of realism, focusing on the display of metaphysical suffering and the irony of modern history, brilliantly interpreting the "suffering" story of the original, but its "happy ending" and the aesthetic principle of gentle and generous, resentful but not angry, have dissipated the ideological meaning of the original and weakened the social criticism. Zhang Yimou's films have distinctive national and personal characteristics, and are characterized by a distinctive "Zhang Yimou style" of narrative art. Zhang Yimou's works have won numerous domestic and international awards and critical acclaim, but in contrast, there is no shortage of critical voices. The film version of To Live is one of Zhang Yimou's most popular and controversial works. This essay will analyze the differences between the novel and the film adaptation from three aspects: storyline, narrative perspective, and connotation.

===Literature Review===
Most researchers believe that the novel "To Live" and its adapted film show significant differences in theme or aesthetic meaning. Centering on this core issue, researchers conducted comparative studies on many similarities and differences between the two versions and made their own aesthetic value judgments. To sum up, there are three main views:

The first view is that the film "To Live" is superior to the original novel in artistic achievement and aesthetic value, and that "Zhang Yimou's film adaptation of "To Live" is more enjoyable, dramatic and impactful than the novel, and has a stronger tragic beauty. From the perspective of art history, some people speak highly of the film "To Live": "This film is a lofty monument in film industry since China's reform and opening up, and an artistic peak that Zhang Yimou himself has not been able to surpass so far. "Browsing through Zhang Yimou's entire oeuvre, we can see that it is in fact a monumental work that can represent the new era of Chinese movies, and it is also the peak work of Zhang Yimou, the leading figure of Chinese movie in the new era."

In the second view, more commentators focus on the basic characteristics of the two art forms of novel and film, objectively comparing the similarities and differences between them in terms of the spirit of the subject matter, narrative perspective, narrative style, characters' fate, and artistic imagery, and exploring Zhang Yimou's artistic recreation in the process of adaptation, while trying not to make an overall ideological and aesthetic implication value judgment on the two art forms of To Live.

The third view is that Zhang Yimou's film To Live is inferior to Yu Hua's novel in terms of ideological significance and aesthetic value: "Both Yu Hua's novel and Zhang Yimou's film are successful", each with its own characteristics in terms of narrative perspective, character design, time and space setting, and aesthetic style. However, it is Zhang Yimou's artistic re-creation of certain aspects, especially the happy ending, that has "flattened the novel's 'depth pattern'" to varying degrees. Some people believe that the film adaptation has weakened the artistic charm of the original novel compared to the original; from the literary text to the film script, many changes are inevitable to be made, but no matter how the changes are made, the inner spirit of the work cannot be altered. The movie "To Live" is misaligned with the original in terms of theme and intent, making its aesthetic and artistic value far from reaching the height of the original novel.

===The Differences in Storyline===
1.Novel To Live: About the absurd fate and inevitable death of human beings

The style of Yu Hua's novel To Live is quite absurd and cold.

What Yu Hua explores and expresses in his book is in fact the ultimate concern for human life and fate. What Yu Hua writes about is a mysterious force of fate that is beyond human control, just as the existence and death of Fugui's family are metaphysical presentations of the word "absurdity". The title of the novel is "To Live", but the book is filled with the demise of life around the main character, that is, "dead", which is the exact opposite of "live". In Yu Hua's novel, the demise of Fugui's family is more like a symbol, a natural and irreversible flow of life, while the realistic background is only to serve the context.

In Yu Hua's novel, according to Fugui's recollection, he was so addicted to gambling in his youth that he lost his family's fortune, and his family's house was taken away by Long Er, so the family had to move to a dilapidated thatched hut. Since then, Fugui's family seemed to be caught in a whirlpool of cruel reality and absurd fate. With his father dead, Jiazhen taken away by his father-in-law, and his family shattered, Fugui still had to try every means to earn money to make ends meet and provide for his mother. Life was hard, but there was a glimer of hope for Fugui. Jiazhen's return to the family gave Fugui a little hope and warmth in life, and then he worked as hard as he could. He thought he could live a peaceful life despite the hardships, but then a unexpected change happened, and Fugui was suddenly conscripted as a soldier and left for a few long years. It was a miracle that Fugui came back alive as no one knows when they might be shot to death while in the army. When Fugui returned home, he found his mother dead and his daughter mute after a high fever. At this point in the story, the fate of Fugui and his family shows a certain pattern of ups and downs, that is: once a little brightness is seen in life, the next thing that follows is grayness and misery.

Fugui lost his family's fortune due to gambling and his house was given to Long Er, but he accidentally avoided being shot during the Land Reform and was given five acres of land that he used to plant. When the family was rich, Fugui gambled all day long when Jiazhen washed her face with tears all day long. When Fugui was stubborn and did not listen to her advice, Jiazhen went back to her mother's house, but returned to the family with her son after Fugui ending uo of living in a hut, and supported her mother together with him ......

In all these cases, we can see that it is as if the destiny that can never be defined and controlled, or is called "fate".

Although "luck" and "misfortune" seem clear in the present, but as time goes by, no one can accurately predict what the future will look like. After that, the fate of Fugui's family changed dramatically. The son died prematurely due to excessive blood drawing, which was used by the wife of the governor, who was Fugui's friend Chunsheng in the army; his daughter Fengxia died of a hemorrhage in childbirth; his son-in-law's death was even more shocking - crushed to death in a concrete slab; His grandson Kugen died of eating too much boiled edamame. Almost all of these deaths around Fugui were unexpected disasters, except for his mother and wife, who died of illness. Suffering comes with a gray tone and a sorrowful destiny that leaves one in silence.

At the end of the novel, almost all the people are dead, but only Fugui is alive.

Depression and absurdity are the most intuitive experience and feeling brought by the novel "To Live", which is also the style and tone of the whole novel. Everyone is dead, but the main character Fugui. The fact that Fugui is still "alive" echoes the title of the novel, but it also conveys the sadness of "living for the sake of living". The thematic meaning of survival and death in To Live shows a certain overlap with Heidegger's existentialist philosophy, and Fugui's life actually has a certain philosophical revelation. Heidegger once said, "As a being toward its death, this is actually dead, and remains dead as long as he does not reach the moment of death." Behind Yu Hua's cold words is a complex imagination of the boundlessness of human death, a portrayal and writing of an absurd, uncontrollable fate.

2.Film To Live: A film about an individual's survival in harsh reality

While preserving the main characters and relationships of the novel, Zhang Yimou has adapted To Live in many ways, and the adaptation of the plot gives the film a completely different tone from the novel. Therefore, compared with the novel, the aesthetic and ideological connotations displayed in the film have also changed.

Taking 1949 as the time boundary, the plot of the movie is basically similar to that of the novel. But we mainly focus on the differences between the development of the story in the movie after 1949 and that of the novel plot.

The first episode about "death": Youqing's death.

After the Great Leap Forward begins, Fugui forced Youqing, who has stayed up all night, to go to school, but Youqing ended up being crushed to death by the collapsed wall, and the district head of the collapsed wall was the Chunsheng who had shared the hardships with Fugui back in the army. In the novel, the death of Qing was caused by excessive blood donation, which is already absurd, coupled with Yu Hua's cold and dreary writing style, will bring the reader into a spine-chilling sense of absurdity when reading. Although both of them were accidents and the cause of death was related to Chunsheng, we obviously felt that the death of "being killed by a wall" actually made the audience feel less absurd than the death of "dying from excessive blood donation".

The second episode about "death" : the death of Fengxia, Fugui's daughter.

In both the movie and the novel, Fengxia died of a massive hemorrhage during childbirth. The only difference is that in the movie, Fengxia died because no one was able to diagnose and treat her. Here, Zhang adds a more epochal touch to Fengxia's tragic death, which the film tries to highlight: the impotence of small individuals in the harsh reality of the times. The film's prominent historical background is not the main theme of the novel.

The third episode about "death": the end of the story.

In the novel, only Fugui survived at the end of the story. Perhaps Fugui was the one who was most likely to be taken away by death, but he was the only one who survived when everyone else dies. Fate is unpredictable, and this meaningless "living" is also a form of death in a sense.

The end of the movie is completely different from the novel.

At the end of the movie, there was a scene of many years later: the warm sunshine was shining on Fugui and his family. Fugui, his son-in-law Erxi and his grandson gathered around the bed of the sick Jiazhen, chatting with each other in a relaxed atmosphere. Fugui's family has gone through so much suffering, but still have the opportunity to sit around and chatting. The film's images also became slightly brighter, no longer in a completely somber and gloomy tone. The three characters Zhang Yimou chose to keep are very important to the meaning of Fugui's life. Jiazhen, as Fugui's wife, accompanied him through all his suffering, Erxi, as Fugui's son-in-law, was the sustenance of his deceased son and daughter, and Mantou, as Fugui's grandson, was a symbol of hope. The family pattern of three generations is preserved, as well as the few good things that can be experienced by people who bear the hardships of various stages together. In the film, we can see a little light in Zhang Yimou's camera. The fate of the Fugui family did not end in tragedy like it in the novel, and a glimmer of hope is preserved.

===The Differences in Narrative Perspective===

1.The novel To Live: a cold, calm narration in the first person

The novel To Live actually has two different narrators, one is the folk song collector at the beginning of the work, that is, "I". "I" wandered through the countryside and fields, originally to collect folk songs, but I met an old man, that is, Fugui, the main character of the story. The old man, Fugui, is full of vicissitudes and told "me" stories about his past. The main plot of the novel then unfolds, with the narrator switching between "me" and Fu Gui. The story of To Live is mainly about Fu Gui and is narrated by him. As a young man who came to the countryside for a ramble, “I” was more often than not a listener, independent of Fugui's story.

In the old man's calm recollection and narration, the reader sees the absurd and cruel past of the former Fugui family, all of which is saddening. The old man's eyes are gentle and indifferent, and his narrative is slow and easy. Some of the memories are absurd, some of the memories are extremely sad, but the old man is very calm, as if these things did not happen to him. In the process of the old man Fugui's narration, "I", as one of the narrators, will also reflect with the old man's memories. When "I" think, the readers are also separated from the story, so that they can think rationally as they read. This is a kind of "alienation" effect, that is, let the reader and the text have a certain distance so as to guide the reader to think independently and calmly. The reader, like the "me" in the book, is shocked and saddened by these memories, but is able to detach oneself and to think.

Yu hua's writing brings a sense of alienation and calm, and is filled with wisdom of life. Coupled with the novel's first-person limited angle of narrative perspective shift, the novel gives its reader a whole touches without drowning them in the story, thus allowing them to think independently about what Yu Hua really wants to convey - the theme of life and fate.

2.The film To Live: a moving, detailed narrative in the third person

Zhang Yimou is a photographer originally, and he is good at controling the camera with a distinctive characteristics; in the film To Live, his unique sense of lens art is expressed to the fullest. The overall tone of To Live is not bright and clear, but it does give us a glimmer of hope, not only because of Zhang Yimou's adaptation of the plot, but also because of the film's unique narrative rhythm and perspective.

The film records the story with the lens, and the lens itself is independent of the characters in the picture. When Zhang Yimou shot the film, he did not use the first-person narrative perspective of the novel, but eliminated the role of "I" as a folk song collector in the novel, and simply told the experiences of Fugui's family in chronological order. By eliminating the narrative perspective of "I", the viewers cannot feel the "separation" brought by the novel in the film, instead, they can follow the camera deeper into Fugui's story and get a more direct emotional experience.

There are many scenes of life and death in the film, but Zhang Yimou does not let them become monotonous or uniformed. Whether it is the body language of the characters on the verge of despair or the sad and passionate background music greatly enhance the artistic impact of the scenes of life and death, making the audience feel as if they were on the scene. The audience experiences the intense grief in these images, their emotions fluctuating thereby, and the sense of despair penetrates into the hearts of everyone behind the camera. That's why, at the end of the movie, when Fuguei's family gets together to talk, the dull but warm atmosphere will move the audience and make them feel a sense of gratitude for Fuguei's family and for the fact that there is still a glimmer of hope in the story.

===The Differences in Connotation===

1.The novel To Live: a philosophical inquiry into the meaning of human existence

Yu Hua's novel is titled To Live, but a large part of it is about death. The old man Fugui had experienced the death of too many people around him, and finally only an old cow was left with him. He reminisced about the past, when the progression of life stages was almost always accompanied by the death of loved ones. The suffering and the sad fate made people feel absurd, but did not destroy the old man's spirit, and he became calm and uncontested, still insisting on living. What is the purpose of this "living" and what is the meaning of it when all reasons for survival are lost? This question actually has the meaning of Heideggerian existentialist philosophy. In asking such a question, Yu Hua is thinking about the meaning of life, and he also wants to convey this kind of thinking and perception of existence of life to us.

The novel To Live has a deep and grand narrative structure. Yu Hua is always focused on the ultimate reality of human life, hoping to show us a certain normality of life's sorrow through the protagonist's absurd life. The novel is not as angry and cruel as Yu Hua's previous works, as the protagonist recalls these events with a calm and serene mood, as if he has transcended the fear of death and entered a state of philosophical detachment.

The academic circle has been debating Yu Hua's plot setting that leads Fugui to such a transcendent situation. Some scholars have given it a positive assessment, saying that it is Yu Hua's positive dissolution of the tragedy of life, a spiritual power that transcends death; others believe that Yu Hua hereby chooses to dissolve suffering and escape from it, and that this has become his limitation.

As we delve into the text and thematic ideas of the novel, we find that the rendering of the themes of death and existence in the work is not powerful enough. But we can hold a certain tolerant attitude towards this, because the novel To Live has shown that contemporary writers have shifted from the level of politics as the theme to the level of thinking about human nature, life and other values, which deserves our more attention.

2. To Live: Individual survival tragedy and social tragedy in a specific time and space
The movie To Live shows the life and death of the Fugui family, and emphasizes the political elements behind the story. What the film is about is very simple: the tragic experiences of a family in a specific historical era, using the family's suffering as an entry point and perspective on Chinese history and culture. In Zhang Yimou's film, the retrospection and reflection on a specific history are intensified, and the philosophical thoughts on human existence in the novel are weakened.

Although the film To Live retains the main characters and part of the plot in the novel, its connotation has taken on a completely different direction from the novel text. If the novel is a philosophical reflection and inquiry on the whole human life, then the film To Live is a statement of social tragedy in a specific time and space in China. Zhang Yimou's film adaptation of the original work is actually a second creation after deconstructing and reconstructing the novel, so the overall artistic style and theme connotation of the film are fundamentally different from that of the novel.

In the film, both the cause of death of the main characters and the spatial location of the story reflect the values that Zhang Yimou wants to express, which is to look back and reflect on history, and to look at the tragedies of the lives of the little people in a particular time and space. Zhang Yimou's adaptation leads the story in a direction closer to real life and history, and what he wants to highlight is the retrospection and reflection on a specific historical period. This is a tragedy of a specific historical era, a tragedy in the culture and history of the nation, and this adaptation of the film embodies Zhang Yimou's courage to face history and reflect on it.

===Conclusion===

In the process of the film adaptation of novels, there must be some deletion and modification. In different historical backgrounds, the characteristics of film adaptation are not the same. Although the novel To Live and the film have similar characters and some similar plots, in fact, they are two texts with very different connotations no matter from the overall style tone, narrative technique or thematic meaning. The novel has a somber tone, while the film has a brighter tone; the novel is narrated in the first person, which creates a certain effect of "separation", while the film is told in the third person, which makes it easier to create a certain effect of "empathy"; he novel is intended to ask questions about the fate and meaning of life as a whole, while the movie focuses on the social tragedy and personal tragedy in the context of a specific era.

Whether reading the novel or watching the movie To Live, readers and audiences will be deeply shocked and moved, which is cause by the heavy weight carried by the words "to live".

===Terms and Expressions===
the avant-garde writer: 先锋作家

the top prize of the Italian Grinzana Carver Literary Award: 意大利格林扎纳·卡佛文学奖最高奖项

the Chevalier de l'Ordre des Lettres et des Arts de France: 法兰西文学和艺术骑士勋章

the Spirit of Humanity Award at the 47th Cannes International Film Festival: 第47届戛纳国际电影节人道精神奖

the Best Foreign Language Film Award at the 48th British Academy of Film and Television Arts: 第48届英国电影学院奖最佳外语片奖

the Best Foreign Language Film by National Society of Film Critics Awards: 全美国影评人协会最佳外语片

Land Reform: 土改

Great Leap Forward: 大跃进

===Questions===

1.Is Yu Hua's novel a deliberate pile of tragedy?

2.What is the difference between the style of the novel and of the film?

3.What are the themes conveyed by Yu Hua and Zhang Yimou?

===Answers===

1.No, it’s not. All the tradedy happened to the main characters are to reveal a theme, that is, living itself does not have any meaning, what has meaning is life.

2.The novel’s style is more absurd while the film is more ironic.

3.Yu Hua’s To Live is to live for the sake of living, while Zhang Yimou’s is to live for a better life.

===References===

*刘诗杨,唐杨[Liu Shiyang, Tang Yang].文学经典影视化：融合、困境与出路[ Film and Television of Literary Classics: Integration, Dilemmas and Ways Out][J].戏剧之家[Home Drama],2021(26):137-138.

*付丹[Fu Dan].《活着》小说与电影的叙事互文[Narrative Intertextuality between Novel and Film of To Live][J].辽东学院学报(社会科学版)[Journal of Eastern Liaoning University(Social Science Edition)],2021,23(03):97-101.DOI:10.14168/j.issn.1672-8572.2021.03.14.

*王芳[Wang Fang].现实悲苦与荒诞命运——张艺谋电影和余华小说的两种“活着”[Realistic Misery and Absurd Fate -- Two Kinds of "Living" in Zhang Yimou's Film and Yu Hua's Novel][J].现代交际[Modern Communication],2020(20):135-139.

*王凌云[Wang Lingyun].论跨文化传播中文学剧本的电影改编方式[On the Film Adaptation of Literary Scripts in Cross-cultural Communication][J].西部广播电视[West China Broadcasting TV],2019(09):105-106.

*闵易秋[Min Yiqiu].论文学名著和电影改编[On Literary Masterpieces and Film Adaptations][J].戏剧之家[Home Drama],2019(07):135.

*胡焕龙[Hu Huanlong].两种艺术展现两种境界的“活着”——余华小说《活着》与同名电影改编作品比较[Two Artistic Expressions, Two Realms of "Living" - A Comparison of Yu Hua's Novel "To Live" and the Film Adaptation of the Same Name][J].海南师范大学学报(社会科学版) [Journal of Hainan Normal University(Social Sciences)], 2018,31(05):58-64.DOI:10.16061/j.cnki.cn46-1076/c.2018.05.011.

*王晨雨露[Wang Chen Yu Lu].小说《活着》与电影《活着》的死亡叙事比较[A Comparison of the Death Narratives in the Novel To Live and the Film][J].北方文学[Northern Literature],2017(21):280-281+288.

*王海霞,王达敏[Wang Haixia, Wang Minda].“真实”与“现实”的不同追求——余华小说《活着》与张艺谋电影《活着》比较[The Different Pursuit of Truth and Reality: A Comparison between Yu Hua's Novel To Live and Zhang Yimou's film to Live][J].乐山师范学院学报[Journal of Leshan Normal University],2015,30(09):23-28+75.DOI:10.16069/j.cnki.51-1610/g4.2015.09.007.

*刘悦笛[Liu Yuedi].《活着》两种——从余华小说到张艺谋电影的审美嬗变[Two kinds of To Live:The Aesthetic Transition from Yu Hua's Novel to Zhang Yimou's Film][J].锦州师范学院学报(哲学社会科学版)[Journal of Jinzhou Teachers College（Philosophy and Social Scienae Edition)],2000(03):41-43.DOI:10.13831/j.cnki.issn.1672-8254.2000.03.010.

==英语笔译张瑞 Zhang Rui 202170081608 MW==
<center>'''An Analysis of English Translation of Classical Prose Based on the Skopos Theory'''</center>

<center>张瑞 Zhang Rui</center>

===Abstract===
The information age has made cultural communication the norm in the world, and transmitting the essence of Chinese traditional culture to the world is not only an important way to show the profound cultural heritage of China, but also a good way to make the world understand China. This paper introduces the theory of cultural translation into the translation of Chinese classical prose. By selecting the classic prose of Han Yu, the first of the Eight Great Masters of the Tang and Song dynasties, as a case study, we analyze the English translation process of Han Yu's prose under the guidance of cultural translation, show the applicability of cultural translation in the English translation of classical prose, and provide new ideas and references for the future translation of classical prose.

===Key words===
Skopos Theory; Strategies for English translation of classical prose; the classic prose of Han Yu

===Introduction===

Today's era is not only the era of economic globalization, but also the era of cultural globalization, and the mutual dissemination of culture has become the norm in the world. China is an ancient civilization with a long history of 5,000 years. The Chinese people are industrious and wise, leaving behind a large number of excellent texts, which have made outstanding contributions to world civilization.

As the essence of traditional Chinese culture, the smooth dissemination of Chinese classical literature not only enables China's profound cultural ideas to be transmitted to foreign countries, but also enables countries around the world to understand China and its traditional culture more deeply. In the process of mutual cultural transmission, the role of translation is particularly important. This paper intends to study the English translation of classical prose from the perspective of cultural translation science, and to analyze and try to improve the translation of Han Yu's classic prose in order to enrich the study of English translation of classical prose and to explore the translation theories and perspectives used to guide the English translation of classical prose.

The English translation of classical prose has its unique features and cannot be carried out according to the traditional translation methods. Chinese classical prose generally presents a profound meaning in a concise text, and the language is relatively easy to translate, but the meaning attached to the language is difficult to handle. Han Yu's prose is selected for analysis because, as one of the eight great writers of the Tang and Song dynasties, Han Yu was called by Su Shi as "a writer who started the decline of the eighth generation", and his prose was a fusion of a hundred schools of thought. Han Yu's rejection of pompous forms and his focus on content, which is characterized by a free flow of thought, logical coherence, frankness and forcefulness, had a major impact on the literary creation of later generations.

===Literature Review===
Skopos translation theory is a relatively new model of translation theory dating back to the 1960s and 1970s, when the linguistic orientation in translation studies was challenged. Some scholars rejected the rigidity of the structuralist translation model that dominated the field. They wanted to inject a new school of thought that would eliminate academic scholarship with a more pioneering attitude, focusing on accessible and meaningful communication. As a different perspective of translation studies, Skopos theory breaks through this rigid model, broadens the field of translation studies, gives more meaning to translation, places translation in the framework of behavioral theory and cross-cultural communication, and opens a new path of exploration for Western translation theorists who are dominated by the linguistic school. In this way, Skopos theory has attracted more attention in recent years.
2.1 Translation Studies from the Perspective of Scopes Theory
Skopos theory is a translation theory first proposed by the German scholar Hans Vermeer in the 1970s. There are two main reasons for this: firstly, translation is not only or even mainly a linguistic process; secondly, translation is not only a linguistic process. Secondly, linguistics does not really address the problem of translation difficulties. Therefore, he proposed a Skoposian theory of translation based on the theory of action.
In the framework of Vermeer's Skopos theory, one of the most important factors determining the purpose of translation is the audience - the recipient of the translation. Each translation is directed to a specific audience, so a translation is "a text produced for a specific purpose and target audience in the context of the target language". According to Vermeer, the original text is only the source of some or all of the information for the target audience.
The central idea of Skopos's theory is that every action has a purpose. The actor chooses the most appropriate way to achieve the desired goal based on the actual circumstances. Since translation is also an action, the translator will be guided by the purpose of the translation. An attempt is made to consider all possible relevant factors. In order to determine the most appropriate course of action, a normative ground rule can be derived from the description of the actual situation: the purpose of the action determines the strategy for achieving the desired goal. In other words, the translation should perform the intended function for the intended recipient.
According to the Skopos theory, the first rule that all translators follow is the "Skopos rule": the purpose to be obtained by the act of translation determines the whole process of the act of translation, i.e. the result determines the method. There are three interpretations of this purpose: the purpose of translation (e.g., making money; gaining academic value; reputation); the communicative purpose of translation (e.g., motivating the reader), which is achieved by using special reasons for translation (e.g., the desire to make a direct translation based on the structure of the language in order to illustrate the special features of its grammatical structure). Usually, the purpose of translation refers to the communicative purpose of translation. Skopos theory suggests that the initiator's translation process determines the communicative purpose of the translation, and the initiator determines the need for the translation. Under ideal conditions, the translator will be very clear about the reasons why the translation is needed. These are collectively referred to as translation requirements. These will include the content of the recipient, the use of the translation environment, and the functional reasons for the translation. The translation requirements of the translator indicate what type of translation is needed. The translator does not necessarily accept everything passively and can be involved in determining the purpose of the translation, especially if the originator is unclear about the purpose of the translation due to lack of expertise or other reasons.
According to Vermeer, the translation (output appearance) is not the original text (input appearance), but the inner purpose of the translation.
The functionalist Skopos theory has attracted a lot of attention from the very beginning.
Mona Baker explains the Skopos theory and related concepts in her Encyclopedia of Translation Studies. Monia Cowie's Dictionary of Translation Studies contains the main elements of functionalist purposive theory and related concepts. There are many other introductory articles and books on the theory, and Functional Appmaches Explained (Nord, 2001) is the most representative work to date that introduces the functional translation approach in the most detail.
In China, many articles on translation have been written since the introduction of Skopos theory in 1987. The relevant researches mainly cover such topics as translation definition, translation standard, translation criticism, translation teaching, translation strategy, literary translation, non-literary translation (including tourism translation, trademark translation, advertisement translation, film title translation, Chinese medicine literature translation, university website translation, news translation, and legal translation). In recent years, many articles have combined theories such as Scobos Theory with traditional Chinese translation theories and research works, for example, Yan Fu's elegant writing is more abstract, vague and has a certain subjective theory. ovo theory has similarities in the pursuit of fidelity, consistency of translation and reader adaptability. However, there are great differences in the theoretical system, translation standards and the status of translators in the translation teaching research of translation Skopos theory . Noteworthy is the book Skopos Theory in Witness to the Construction of English-Chinese Translation Textbooks (Tao Youlan, 2006)。the author uses the translated Skopos theory to study and analyze translation teaching in China, and draw many suggestions from them.
According to Vermeer (1986), the concept of "translation purpose" actually includes three meanings: translation process - the purpose of the translation process, translation result - the function of translation and translation method - the intention of the method used.
Vermeer (1989) claims that the Skopos theory makes three main contributions: first, it makes explicit the often denied facts and makes people aware of their existence; second, the concept of task-driven purpose expands the possibilities of translation; it adds alternative translation strategies and frees translators from the constraints imposed on them by often meaningless direct translations; third, it puts the responsibility of translators on the agenda and frees them from the constraints imposed on them by meaningless direct translations; and third, it puts the responsibility of translators on the agenda and frees them from the constraints imposed on them by meaningless direct translations. translators' responsibilities on the agenda and expands their scope. It is clear that the translator must perform the intended function in order to achieve the stated goal. Vermeer (1989) also points out that ignoring the purpose of translation can lead to the serious consequence of misunderstanding or distorting how best to translate a text. With a clear purpose or task, agreement can be reached on at least one macro-strategic choice.
The skopos theory has a wide range of pragmatic features, which focus on the characteristics of text types and help to improve the translator's awareness of the communicative functions and linguistic signs of functional translation units and increase the effectiveness of translation. However, kopos theory focuses on the study of the functions of the target text and purposeful rewriting for the effects of the target text, which gives the original text a new purpose to communicate to new times and audiences. In conclusion, Skopos theory provides a new perspective for translation research and facilitates the comprehensive study of various translation variants and the development of translation theory.

===Strategies for English Translation of Han Yu's Prose===
3.1 Grasp the meaning of the original text accurately

To convert a literary text into a modern one, one needs to have a solid foundation in Chinese, especially knowledge about the language. In addition, the translator is required to pay attention to the specific meaning of the words in the text when converting it to modern. In addition, it is important to understand the phenomenon of word usage in the text. In the conversion. In addition, we must understand the phenomenon of word-appropriation in the text, and in the conversion, we must be flexible in converting words according to the context of the original text, and not stick to the lexical nature of the word that makes the sentence awkward. It is difficult to read or difficult to Dong: for example, the original second paragraph "horse-eaters do not know that they can eat for a thousand miles" where "thousand miles" is a quantity word, but according to the meaning of the text, this should be understood as "traveling a thousand miles a day". Therefore, it belongs to the use of the word "quantity" as a verb.

3.2 Deeper understanding of the emotion of the original text

Without the grasp of the emotion of the original text, the modern text will not be able to convey the original author's thoughts and feelings and the quality of the English translation will also be greatly reduced. The talent is compared to a thousand li horse. The ruler who is foolish and shallow and does not know talent is compared to a horse eater. In the case of the thousand-lipped horse, he was humiliated by the hands of the slave and died in the groove of the stable, and wrote about the fate of talented people who were not used for life. The story is written with the words "not enough food, not enough strength. The author's resentment at the lack of talent and his dissatisfaction with the feudal rulers for burying the talents.

3.3 Mastering appropriate translation skills for conversion

In the process of organizing the modern text, for the omitted sentences in the text, we should add the omitted components in the omitted sentences in the conversion journal, for example, in the second paragraph of the original text, "the horse-eater did not know that he could eat for a thousand miles. For some false words in the text that have no practical meaning and only play a grammatical role can be deleted without translation: for example, in the third paragraph of the original text, the words
For example, in the third paragraph of the original text, the word "之" in the phrase "鳴之而不能通其意" plays the role of a supplementary syllable and can be left untranslated. In addition, attention should be paid to the adjustment of language order.

===Translation Principles===

Yan Fu, a modern Chinese Enlightenment thinker, introduced Western studies and at the same time put forward the standards of translation, letter, reach, and elegance". He said in the "Translation Example" in the "Theory of Heavenly Evolution": "Three difficulties in translation: letter, reach, elegance, seeking its letter has been a great difficulty, Gu letter carry on not reach, although the translation is still not translated, then reach is still absent".
The object of literary translation, specifically, is the novel prose poetry and drama works it is not equivalent to the general sense of translation, it is to convey the author's full intention that through the artistic approach to influence the reader's thoughts and feelings. Therefore, it puts forward higher requirements on the literary quality of the translator, who should, on the basis of a deep understanding of the original work, accurately grasp the author's writing style and his feelings. The translator should accurately grasp the author's writing style and the ideas to be expressed, so that the translation is neither too right nor too left, and strive to produce a translation that is not only faithful to the original text but also smooth and fluent.

The processing of adding and subtracting words in the English translation. Some sentences need to add subjects and predicates, while others need to add prepositions, conjunctions and pronouns. Other sentences need to add words that are not specified in the original text in order to make the text flow smoothly. There are many pronouns. In addition, according to the meaning of the original text, words that are not specified in the original text are added, such as "the rider', "he. in order to obtain a complete expression of the meaning of the original text.
The difference between Chinese and English syntax is very different between the two languages. Chinese (especially Ancient Chinese) is a language of meaning. Sometimes a sentence in Chinese is composed of several phrases or words placed side by side. There are no formal markers - but they are complete in meaning: unlike English sentences. If there is no connecting word in the sentence, such as a relational pronoun or an adverb, the whole sentence will become logically confused and lack of readability: therefore. Therefore, when translating from English to Chinese, we should try to find something that can better reflect the meaning of the word. We should try to find some words that can better reflect the logical relationship between the sentences so that the relationship between the sentences is reasonable.

4.1 Taking the source language culture as the source and the target language culture as the guide

There are great differences between Chinese and Western cultures, therefore, in the process of translation
Therefore, in the process of translation, translators should pay attention to the appropriate preservation and transformation of culture. The "meaning" in ancient Chinese texts is the core, and the translator should pay attention to the proper preservation and transformation of culture in the translation process.
"If the translation is blindly transformed into a western culture that is easy for foreign readers to read, then it is bound to be a mistake.
If the translation is blindly transformed into a western culture that is easy to read by foreign readers, then the original meaning will be lost. Therefore
Therefore, while retaining the core essence of the ancient text, we should adopt the strategy of forignization
The translation should retain the core essence of the ancient text, but use the strategy of dissimilation to highlight the "differences" in style and other aspects of the original text. In this way
In this way, the linguistic and cultural characteristics of the original text can be preserved in the translation, so that the readers of the translated text can feel the exotic atmosphere and
readers to feel the exotic atmosphere and the existence and uniqueness of other cultures.
The translation should also take into account the At the same time, the differences between Chinese and Western cultures and the cultural thinking of Western readers should also be taken into account.
Chinese culture is accurately presented in the eyes of the readers of the translated language, taking into account the differences between Chinese and Western cultures and the cultural thinking of Western readers.
The Chinese culture should be accurately presented to the eyes of the readers of the translation. For example, the famous lines in Han Yu's "The Way of Origin”: “博爱之谓仁，行而宜之之谓义，由是而之焉之谓道，足乎己而无待于外之谓德。” The sentence was translated into:” The universal love is called benevolence, the behaviors which are consistent with benevolence are called righteousness, moving forward from benevolence and righteousness is called Tao, something which you have and do not rely on outer environment is called virtue. ”
In ancient China, "benevolence," "righteousness," "Tao," and "virtue" are the basic concepts of Confucianism.
The basic concepts of Confucianism are extremely far-reaching. Take "ren" as an example, in
In traditional Chinese culture, "ren" is the core of Confucius' doctrine, which embodies respect for father and mother, love for brother and sibling, and respect for the sovereign.
In traditional Chinese culture, "ren" is the core of Confucius' doctrine.
In traditional Chinese culture, "ren" is the core of Confucius' doctrine, which embodies the basic moral principles of respect for father and mother, love for brothers and siblings, universal love, and the noble character of a gentleman.
In the process of translation, we should prevent assimilation and not destroy the integrity of the source language.
The translation process should prevent assimilation and not destroy the integrity of the source language. Another example is "Tao", which not only contains the meaning of reason, preaching, and the path, but also contains the ineffable meaning of the word "Tao".
It also contains the unspeakable natural laws of heaven and earth. In foreign vocabulary of foreign countries, it is difficult to express these profound meanings in a single word or a few phrases. to express these words with profound cultural meanings, therefore, it is possible to
through the phonetic translation method to preserve the essence of Chinese words, so that the western readers can feel the mystery of Chinese culture. Readers would feel the mystery of Chinese culture, and then either to elaborate on it in a separate chapter or find the right place for detailed annotations.
4.2 Making good use of naturalization

With culture as the core of the text, the means of translation should be more flexible, and when appropriate, in order to make the readers of the translated language more
In order to make the readers of the translation more aware of the Chinese cultural meanings and connotations of certain languages, it is necessary to make good use of naturalization.
Take Han Yu's famous essay "The Teacher's Discourse" as an example: "三人行，则必有我
师焉.
Translation: "Among three men who walk with me, there must be a teacher of mine."
Here, in order to reflect Chinese culture and let foreign readers better understand the meaning.
In order to reflect Chinese culture and let foreign readers better understand the meaning of this famous saying, the word "three" is translated into Chinese.
The word "three" is not a precise concept, but an imaginary or metaphorical expression.The translation is more in line with the logic of English thinking and more in line with the meaning of the original text.This way, the translation is more in line with the logic of the English language and the meaning of the original text.

4.3 Focus on interpretation and annotation

In the process of translating ancient texts into English, there are phrases that contain endless meanings beyond the language.
The charm of traditional Chinese texts is precisely this, and in order to preserve the meaning in the English translation process, it is often necessary tothe process of English translation to retain the meaning, often through the detailed explanation of key words, so as to achieve a more profound cultural
The English translation process can preserve the meaning of the key words, which often requires detailed explanation of the key words to achieve a more profound cultural impact. Take Han Yu's "The Saying of the Horse" as an example: 世有伯乐，然后有千里马。“ The sentence is translated into:” Only after Bole［1］ came into the world were there horses able to gallop one thousand li． ” ［1］ Bole: a legendary figure in the seventh century B.C，Bole was an authority on horses．
Here, "Bole" literally means a master who knows how to control horses, but by extension, it means a representative who knows people and reuses them in traditional Chinese culture.
The translation should retain the original "meaning" of the text and convey it to the Western readers. Therefore, the meaning of the key words can be added in the translation to facilitate understanding.
4.4 Appropriate sentence adjustment
The culture of a country is accumulated over time in the course of national life Different countries in different regions have different development history, different forms of life, different religious beliefs, different ethnic groups, etc. The culture of a country is the result of the process of national life. The culture of a country is the result of the process of national life. The purpose of cultural communication is to spread these personalities. The translator should make the translated culture and the source culture functionally equivalent in the translation, so that the translated text has the same effect on the readers of the translated culture as the source text has on the readers of the source culture. The translator should make the translated culture and the source culture functionally equivalent, so that the translated text has the same effect on the readers of the translated culture as the source text has on the readers of the source culture. Therefore So, when appropriate, the text and sentence structure can be modified to varying degrees in order to preserve the source language culture. The text and sentence structure can be adjusted to varying degrees when appropriate in order to preserve the culture of the source language, highlighting the cultural subject The translation of the text and sentence structure can be adjusted to varying degrees when appropriate in order to preserve the culture of the source language, highlighting the cultural subject.
《马说》中:“故虽有名马，祇辱于奴隶人之手，骈死于槽枥之间，不以千里称也。”
”Such horses are common，but a Bole is rare． So even fine steeds，if mishandled by slaves，will perish in their stables without being known as good horses． ”
In order to effectively convey the source language culture in the text, the translation changes the original the sentence structure of the original text, and the English translation process is appropriately The English translation is adjusted appropriately.

===Conclusion===

Cultural export is the intellectual acceptance by people of other countries of their own system, language, art, history, and other material and immaterial culture. They feel that the culture of their country is The culture of the country is advanced and superior, and people learn about it because they admire it. The Chinese people The Chinese nation has undergone 5,000 years of transformation and has accumulated a brilliant culture, which has left an indelible legacy in literature and philosophy. It has left indelible traces in literature and philosophy. Although mankind's wars have subsided for more than half a century century, there is still constant friction between countries and signs of resurgent imperialism. imperialism is still resurgent, and under the surface of peace, it is engaged in divisive behavior and intends to dominate. Confucianism advocates "peace is precious", and Chinese culture is the most important factor in the current complex and multifaceted The Chinese culture is urgently needed to ensure human peace and development in the current complex and multifaceted world situation. In diplomatic speeches, ancient poetry is often quoted to show the pattern of a great nation. The wisdom in Chinese ancient texts should also be like spring breeze and rain, embracing the task of world culture construction. The translation of ancient texts has become an important medium for cultural export, and whether or not the translation of ancient texts can faithfully convey their unique Whether the translation of ancient texts can faithfully convey their unique contexts becomes the key to effective cultural export.
Translation is an important bridge for cross-regional cultural transmission, and classical Chinese Chinese classical prose is another treasure of traditional Chinese culture. The very purpose of translating Chinese classic proses is to spread them to other parts of the world. So, we may stick to following rules to improve the spread of Chinese literature and culture.
Stragegies: Generally speaking, there are two ways to translate allusions, one is paraphrase and the other is direct translation with commentary. If allusions are used in the outgoing pairs of sentences, it may be better to use the Italian translation. Of course, the more common way of translation is direct translation with commentary, or Italian translation with commentary.
These annotations, which are not limited by the word count and format of the text, can explain the allusions in as much detail as possible and form another story, so they can not only increase the interest of readers, but also achieve the effect of spreading cultural knowledge.

Further efforts:

1. Cultivate local translators and absorb the translation achievements of overseas sinologists.
The lack of local translators has slowed down the pace of our traditional literature to the world. Overseas sinologists are Sinology lovers and Sinology researchers, but the cultural environment they live in is different from that of China, and the resulting way of thinking is also different. Cultivating local translators can, on the one hand, have a "filtering" effect, i.e., disseminate works that we consider excellent and can convey a positive image of the country; on the other hand, it can make translation a long-term project and prevent the phenomenon of a talent cliff from occurring. Incorporating the translation achievements of foreign sinologists can
In the process, the sparks generated by the cultural collision can also further the study of Chinese ancient proses.
2. Dividing the difficulty level of the readings according to the different Chinese levels of the audience
Considering the different learning levels of the audience, the difficulty level of the readings can be divided. The translation of the primary text can be mainly Italian translation, which focuses on explaining the content of the text clearly and conveying the author's thoughts and sentiments. The translation of the intermediate reading book can adopt a combination of Domesticating Translation and Foreignizing Translation, in which the naturalizing approach is used to look at the target language so that the reader can read it smoothly and fluently, and the foreignizing approach is used to emphasize the heterogeneity of the source language culture so as to preserve the characteristics of our traditional The combination of naturalization and alienation For example, in Dream of the Red Chamber, there is a phrase of "Manproposes, God disposes", which is translated by Hawks as "Manproposes, Heaven disposes" and by Yang Xian Yi as "Manproposes, Heaven disposes". The former is just like a translation in accordance with the Christian culture, while the latter is a communication of Chinese Buddhist thought. The combination of the two approaches can reduce the difficulty of reading on the one hand, and give readers the opportunity to understand foreign cultures on the other. The translations by Mei Weiheng and Kang Dawei are suitable as intermediate level readings. The advanced translation of the ekphrasis should no longer be limited to satisfying the general public, but should also have a certain degree of researchability, not only in terms of formal correspondence and formatting, but also in terms of wording and phrasing, striving to match the original text, and involving proprietary vocabulary and allusions that should be clearly marked in the commentary, preferably with the provenance of the canonical texts, in order to provide assistance to overseas scholars for further research.
The requirements for translators are that the translator must be deeply involved in the culture of the source language, but must also be comfortable with the incoming language. As exploring In the process, the translatability of ancient texts can certainly be achieved. And according to the idea that "the way can be transmitted and the meaning According to the idea of "the way can be transmitted and the idea can be declared", any idea can be conveyed in language, and the philosophy of translation The philosophy of translation lies in "people share the same heart, the heart shares the same reason", where the same heart shares the same reason can be connected. The philosophy of translation lies in the fact that "people have the same heart, the same mind, the same reason". Cultural differences make ancient languages show temporary Cultural differences make ancient languages show temporary untranslatability, and the creative nature of translation makes translation standards vary, but when the level of human cognition and mastery of language breaks through the present barrier, the relative the level of human cognition and mastery of language break through the current barrier, the relative untranslatability will be transformed into absolute translatability. As China's influence on the world As China's influence on the world grows, Chinese culture will gradually become the culture of the world.

===References===

Peter, F. (2004). Skopos Theory: An Ethnographic Enquiry. Routledge.

Nord, C. (2001). Translating as a Purposeful Activity: Functionalist Approaches Explained. Shanghai: Shanghai Foreign language Education Press.

Wang Zuoliang 王佐良 . 1989 翻译、思考与试笔 {Translation, reflection and test writing} 北京：外语教学与研究出版社，

Ya Se 雅瑟．(2011) 唐宋八大家散文鉴赏大全集 {The Eight Great Prose Writers of the Tang and Song Dynasties: A Complete Collection of Prose Appreciation}．北京: 新世界出版社．

Gao Fengpin 高凤平．(2005) 文化翻译观与语际翻译中的文化因素问题 {Cultural Perspectives on Translation and Cultural Factors in Interlanguage Translation}．西安外国语学院学报，

==英语笔译赵宇翔 Zhao Yuxiang 202170081609 CE==
<center>'''Research On Problems And Strategies Of Translation of Chinese Classics'''</center>

<center>Zhao Yuxiang</center>

===Abstract===
The translation of Chinese classics into foreign languages has lasted for more than a century. From the cultural exchanges along the ancient Silk Road to the "One Belt and One Road" initiative to spread Chinese classics to the West, the translation of Chinese classics into foreign languages has always played an important role in the process of Chinese culture going out. This paper analyzes the purpose of the translation of Chinese classics into foreign languages, discusses the current situation and problems of the translation of Chinese classics into foreign languages, and looks forward to the new future of the translation of Chinese classics into foreign languages under the background of the "Belt and Road" initiative in the new era. In the new century and new era, to tell Chinese stories well, it is necessary to vigorously promote the process of translation and dissemination of Chinese classics and accelerate the pace of "going out" of Chinese culture.

===Key words===
'''Chinese Classics Translation; Purpose; Situation; Future'''

===Introduction===
This paper discusses the purpose, current situation and problems of the translation of Chinese classics into foreign languages, and looks forward to the future of the translation of Chinese classics into foreign languages under the background of the "Belt and Road Initiative." Chinese cultural classics are the crystallization of the Chinese nation's inheritance and conclusion for more than 5000 years. Under the background of economic globalization and the impact of various cultures, it is necessary for citizens to have a clear understanding of Chinese cultural classics and their current situation, which is also necessary to improve the soft power of Chinese culture. The translation of Chinese classics is the main way to spread Chinese culture. Translation is an effective way to spread the excellent culture of Chinese classics. The quality of translation also determines whether Chinese classics culture can go out and be deeply understood by western readers. Similarly, it also affects China's impression and status in the eyes of all countries in the world. Therefore, the quality of translation is very important. At present, the quality of Chinese classics translation is not uniform, and there are still many problems.

===Literature Review===

===Methods and Theories===

===1.The Purpose of Translating Chinese Classics into Foreign Languages===
Although all translation activities are purposeful activities, the purposes of translation activities in different fields are different. For example, the translation of machine operation manuals is to enable the translated language operators to operate according to the chapters without accidents; Therefore, the translation of any text will be directed to specific audiences, and the translated text produced must first meet the needs of these specific audiences.
The translation of Chinese classics into foreign languages has a special purpose in contemporary China. From the introduction of western learning to the east in the late Qing Dynasty and the early Republic of China to the active participation of domestic scholars in the western spread of middle schools today, the time span has reached as long as one hundred years. It has been a hundred years since Chinese intellectuals translated a large number of western works from seeking the truth of saving the country and the people from foreign countries to today's translation of excellent Chinese literature and classics to foreigners in order to spread and carry forward Chinese culture and tell Chinese stories well.
Although the western translation of Chinese classics is the main text channel, it has a strong direction of cultural communication to the outside world, with the direct purpose of "telling a good Chinese story" and the ultimate purpose of "promoting emotion with culture, promoting emotion with culture and building trust with culture", so as to let the world understand China, let the world understand China, let the world accept China, and jointly build and maintain a peaceful and prosperous new world. But for now, it seems that there is still a long way to go to achieve this goal.
So there is such a situation: In this sense, the direct purpose of translating Chinese classics into foreign languages is probably to give priority to the translation of those parts of Chinese traditional culture that best reflect the universally recognized beauty of human nature and nature and are unique to China and easy to arouse the interest and resonance of foreign readers in ways and means easily accepted by the people of the target language countries, so as to have an impact among those readers and spread them. In other words, we need to find the greatest common divisor between Chinese culture and civilization and its evolution and western culture and civilization, and try our best to explore and translate.
===2.The Status Quo of Translation of Chinese Classics into Foreign Languages===
Cultural exchange is a two-way street. In the process of communication, the two sides are subject and object of each other, and the world culture can develop in the understanding, collision, absorption and fusion of cultures. But the two sides of the cultural exchange is not equal. This is the weak culture and strong culture. According to statistics, every year China imported from abroad as many as tens of thousands of this translation, and introduced to foreign language translation of Chinese culture is only a few hundred poor, this is the obvious cultural asymmetry.
According to the Global Survey Report 2019 of China's National Image released by the Foreign Communication Research Center of China Foreign Languages Bureau, Chinese food, traditional Chinese medicine and martial arts are still the most representative elements of Chinese culture considered by overseas respondents (55%,50% and 46% respectively); The report did not translate the classics into Chinese, which is both unexpected and understandable. Because can be called the classics of literature, mostly not ordinary people can easily accept. Its audience, especially the initial readership nature is limited. At the same time, the translation of Chinese classics is actually the reverse flow of the weak culture, resulting in the translation of our classics in China, but it is relatively calm abroad.
Taking The Analects of Confucius as an example, The Analects of Confucius is one of the Confucian classics, which mainly embodies Confucius 'political thought, moral principle and educational idea. there have been more than 60 English translation and abridged version of that analects of Confucius since the publication of the first English literal translation by Marshall in 1809. Although it started late, its English versions are numerous and have great influence. The extroversion of Chinese culture is inseparable from the spread of Confucianism, which is based on the English translation of the Analects of Confucius. Therefore, the English translation of The Analects of Confucius is like a "source of flowing water" for the outward dissemination of Chinese cultural classics. We should make full use of its "leading" effect to continuously convey Chinese cultural classics and open the door for the outward dissemination of cultural classics. However, Yin Qing ( 2020) found that the overseas sales of the English versions of The Analects of Confucius, whether as a public reading material or an academic reference, are far from satisfactory, especially the English versions of Chinese translators. The influential English translation of The Analects of Confucius has sold so much, and the situation of other Chinese classics can be imagined. The English versions of Chinese cultural classics are not widely used overseas. There are three main reasons:
Another example is the "Guan Ju" in the Book of Songs, where the interpretation of "Guan Ju" has been controversial since ancient times, and its English translation shows more obvious diversity. Li Linbo ( 2011) collected 22 representative English versions of "Guanju" for research. Through analysis of translation structure, text details, semantic differences and cultural words with Chinese characteristics, the 22 texts were divided into three types: traditional translation, modern translation and poetic creation translation. He believes that through the study of the English translation of the poem "Guan Ju," we can see some common problems in the translation of Chinese classics: This means that the translator must have a clear version of the awareness, the annotation of the text should also have a good ability to identify, which is the basis of translation. 2. Positioning: The same classic text has different values for different translators. Some translators attach importance to its cultural nature, some translators attach importance to its literary nature, and some translators have no clear orientation. Different orientation determines different translation strategies. Some translators have definite translation purpose and consistent translation strategies, while some translators choose translation strategies randomly, and the value of their versions is bound to be different. The value of a translation does not necessarily depend on whether it is based on the traditional authoritative annotated version or the modern popular annotated version, because the two versions complement each other, but it inevitably depends on whether there is a clear translation purpose and consistent translation strategies. 3, language problems: There are two kinds of language problems: Regional characteristics of the performance of the dialect, such as the "Book of Songs, Guofeng" language, its geographical characteristics have a lot of untranslatable factors, but still need the attention of the translator, a dialect lost, easy to cause differences in the interpretation of the second dialect with cultural and stylistic characteristics, even if not translated, should also consider whether some compensation. Historicity is manifested in semantic changes, changes in characters, etc. Many of the characters have different meanings from the present, such as "wife" and "civilization," which are easily ignored by translators who are not aware of the classics. The change of characters is mainly manifested in the conversion of traditional characters and simplified characters. Many traditional Chinese characters correspond to simplified yu based on their pronunciation similarity, which has semantic deviation. For the translator, only according to the simplified Chinese version, even today's translation, without studying the traditional Chinese version, mistranslation, missing translation, inadequate translation. 4, cultural issues: cultural issues, including macro and micro aspects of the problem. The difference in the origin of Chinese and Western thoughts determines the unique cultural spirit of Chinese classics, such as Lao Tzu's "Tao" and Confucius '"benevolence." These cultural terms are the core of their thoughts. Different translations of them will cause differences in their overall interpretation, which can be said to have the key to affecting the whole body by pulling one hair, which is a macro issue. Microscopic aspects of the performance of the material culture, such as the "Book of Songs,""Chu Ci" recorded in some animals, plants, clothing names, some due to species evolution or changes in time variation, or even extinct, for the translator not only need rigorous research, but also to face the problem of how to find the counterpart, or how to compensate or deal with transliteration, omission, generalization and other translation methods caused by the loss.
To sum up, through a number of researchers on the translation of Chinese classics, the author summed up the current translation of Chinese classics facing three main problems: Although there are many professional translators, few are proficient in translation.
===3.Strategies for Translating Chinese Classics into Foreign Languages ===
The translation of Chinese classics into foreign languages needs to follow some necessary principles if it wants to realize its original intention. This not only refers to the transformation of linguistic signs between the source text and the target text, but also refers to the comprehensive consideration of all aspects of the translation process. For example, how to choose the texts of classics, how to choose publishers, how to examine and approve the quality of target texts, how to select translators, how to determine the printing circulation of translated texts, how to publicize and build momentum in the target countries after publication, and whether it is necessary to carry out readers 'follow-up survey, etc., I'm afraid all need to be discussed so as to establish corresponding regulations. Should we focus on the translation of classics that we think foreigners should know and understand, or on the translation of classics in related fields that foreigners want to know? As for the above-mentioned status quo and problems of translation of Chinese classics,
According to the published catalogue of the Great China Library so far, the Great China Library has selected 21 kinds of ideological and academic classics such as the Book of Changes, Lao Zi, the Analects of Confucius and Mencius, 10 kinds of historical classics such as Shangshu, the Biography of Zuo's in the Spring and Autumn Period, Guoyu and Historical Records, and 55 kinds of literary classics such as The Book of Songs, Songs of the South, Three Hundred Tang Poems, The Romance of the West Chamber and A Dream of Red Mansions. At the same time, the second phase of the project will be carried out. The most representative 20 Chinese cultural classics will be selected and translated into 7 languages such as France, Russia, Spain, Arabia, Germany, Japan and Korea, and 9 languages will be introduced to the world.
Obviously, among the 110 kinds of literature, literature books accounted for 50%, ideological and academic books accounted for 19.09%, traditional Chinese medicine and technology books accounted for 13.63%, history books accounted for 9.09%, and military books accounted for 8.18%. This reflects the editorial board's principle of focusing on the selection of classics and documents, as well as the principle of "self-centered" in the translation of classics.
From the point of publishing library text press, all of them are China's press, and a foreign press. It now seems that when the texts of the classics are completed, they would be better if they were published in the country where the target language is the mother tongue. Therefore, in the publishing and distribution of this link, if we adopt the mode of foreign publishing or joint publishing, the way of transmission will be wider and the effect of transmission will be better. This is the principle of international cooperation in the translation and publication of classics.
From the perspective of translators, more than 90% of the 142 published classics are completed by individual translators in China alone, and there are few cooperative translations like Yang Xianyi and Gladys Yang, and even fewer translations by foreign translators. The author believes that in the field of traditional literature, history, and even thought of classics translation work by individual translator is appropriate, but in other fields of strong professional, I'm afraid to set up by the industry experts (preferably know a foreign language) and the translator team to complete. In this way, to a great extent, it can be guaranteed that the translator as a layman will avoid the omission of principles, intellectual errors and layman's words as much as possible when translating the text. This is the principle of cooperation between translators and experts in non-literary, historical and philosophical fields.
As a representative of the country's foreign translation of classics, its translation level also represents China's national image. Therefore, it is the most important task to train excellent translators who are proficient in translation, fully understand the historical and cultural characteristics of the target country and the source country (China), and understand the knowledge background of the translated classics. At the same time, in order to improve the quality and speed of translation, the cultivation of machine-assisted translation ability is also an indispensable part. At the same time, minority language talents are scarce. Nowadays, English and Chinese are more and more widely used, so we should turn the steps of translating Chinese classics into other small languages.
===Subtitle 4 A New Opportunity for Translating Chinese Classics into Foreign Languages===
The long road of cultural exchange between China and foreign countries has been continued up to now, and the translation of Chinese classics has been quietly carried out in different ways. Entering the new era of the 21st century, the Chinese government attaches more importance to cultural exchanges with other countries in the world. In 2014, the "Belt and Road" initiative was put forward, which further demonstrated the determination of Chinese culture to go global. The translation of Chinese classics is the most direct means and way for Chinese culture to go out. The Belt and Road Initiative, as a channel for cultural exchange, provides new opportunities for the translation of Chinese classics into foreign languages, and will directly promote the development of the translation of Chinese classics into foreign languages.
Buddhism and Buddhist classics were introduced to China through the ancient Silk Road, and now Chinese Confucianism and Confucian classics will be spread to the world through the "Belt and Road." First, in the construction of the Belt and Road Initiative, Chinese builders sent to various countries and regions along the route will spread Confucianism and Chinese culture in their daily exchanges with local people. In addition, China actively promotes Confucius Institutes along the "Belt and Road" route, which directly promotes the external dissemination of Confucian ideas and classics. Finally, with the help of the construction of the "Belt and Road" economic belt, Xinjiang, Tibet and Taiwan are connected in the Greater China Cultural Circle3, which can not only enhance national identity, but also increase the public's recognition of ethnic classics and promote the development of English translation of ethnic classics.
At the same time, the types of translated classics began to diversify. At the "Belt and Road" International Summit Forum, the "Action Plan for Chinese Social Organizations to Promote the" Belt and Road "People's Livelihood ( 2017 - 2020)" was released, and the "Civil Society Organization Cooperation Network along the Silk Road" and the "Belt and Road" think tank cooperation alliance project were launched. At the same time, CDB will also hold "the belt and road initiative" special multilateral exchange training and set up "the belt and road initiative" special scholarship. This has promoted the translation of excellent classics in many fields of Chinese culture. Take the "Greater China Library" project as an example. Since its formal establishment in 1995, the project has selected many most representative classics from the fields of culture, history, philosophy, economy, military affairs, science and technology from the pre-Qin period to modern times in China, translated by experts and published, which has greatly promoted the dissemination of foreign translation of Chinese classics.
===Conclusion===
The "Greater China Library"-led China Translation and Introduction Project shows us that in the new era of the new century, the pace of translation of Chinese classics has never stopped, and China's determination to make Chinese culture go abroad has never wavered. Although there are still many problems in translating Chinese classics into foreign languages, I believe all these problems will be solved in the near future.
===References===
*[1]Wang Keming. A Study on the Purposes and Strategies of Translating China Classics into Foreign Languages [J].Translation and Communication,2021(01): 9-16.
*[2]Zhang Huimin. New Opportunities and Challenges in the Translation of China Scientific and Technological Classics [J].Campus English,2020(43): 255-256.
*[3]Yin Qing. Translation of China Classics and Cultural Extroversion from the Sales Volume of English Versions of The Analects of Confucius [J].Shandong Foreign Language Teaching,2020,41(05): 120-130.DOI: 10.16482/j.sdwy37-1026.2020-05-013.
*[4]Wang Zongqiang. Translation of China Cultural Classics and Its Problems [J].Science and Education Wenhui (last ten-day issue),2019(06): 179-181.DOI: 10.16871/j.cnki.kjwha.2019.06.080.
*[5]Yu Qing. Problems and Strategies in the Process of Translating China Classics into Foreign Languages [J].Campus English,2018(41): 246.
*[6]Yang Junjun, Liu Ziyue."One Belt and One Road"-New Opportunities for Foreign Translation of China Classics [J]. Journal of Jilin Radio and TV University,2016(08): 90-91.
*[7] Zhou Xinkai, Xu Jun. China Cultural Values and Translation of Chinese Cultural Classics [J]. Foreign Language and Foreign Language Teaching,2015(05): 70-74.DOI:10.13458/j.cnki.flatt.004173.
*[8] Li Linbo. From the "Guan Ju" of the multi-English translation of China classics translation status and problems [J]. Foreign Language Teaching, 2011, 32 (05:90-95.DOI:10.16362/j.cnki.cn61-1023/h.2011.05.025.
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==英语笔译郑冬琴 Zheng Dongqin 202170081610 MW==

<center>'''The Development and Spread of Chinese Network Novels'''</center>

<center>Zheng Dongqin</center>

===Abstract===
Chinese online literature has had a history of more than 20 years of development, and it has gradually formed a mature development system. In recent years, with the rapid development and popularity of the Internet, online literature has played an increasingly large role in people's daily lives. Among them, online novels play a particularly important role in people's lives. Moreover, the development and dissemination of Chinese online novels overseas has also achieved great success. However, there are still some problems and shortcomings in the field of online fiction that need to be addressed. Therefore, in order to better promote Chinese cultural exports, we need to create our own cultural calling cards and promote Chinese network novels "go globle". In this paper, I will discuss five aspects of Chinese online fiction: definition, development, pros and cons, current situation and overseas dissemination.

===Key words===
Chinese Network Novels; Development; Dissemination; Value; Adaptation

===Introduction===
This paper focuses on the history of the development of Chinese online novels and the current state of their dissemination overseas. This essay is divided into five main parts. In the first part , it mainly gives a brief introduction to online novels, which includes three aspects of the definition, creative characteristics and main classifications of online novels. In the second part, it gives a brief overview of the history of the development of Chinese online novels, which includes the exploration stage, the transition stage and the maturity stage. In the third part, it discusses the pros and cons of Chinese online fiction in a dialectical manner. It mainly mentions the influence of online fiction on the younger generation, especially teenagers. In the fourth part, it analyses the current situation and trends of Chinese online novels, and it highlights the phenomenon of product homogenisation and the film and drama adaptations of popular novels. In the fifth part, it introduces the achievements of Chinese online novels in their overseas distribution by discussing two examples, namely The Legend of Zhen Huan and Ten Miles of Peach Blossoms. Finally, the paper provides a brief summary of the issues explored, with a view to offering some suggestions and help for Chinese culture to go global.

===1.A Brief Introduction to Network Novels===
1.1 Definition of network novels

Network novels are novels published by online writers relying on the web-based platform. It is a new genre of fiction that has emerged with the rapid development of the Internet. It is characterised by a wide variety of styles, unlimited genres, and simple publication and reading methods. Its main genres are fantasy and romance. The language of online novels is more colloquial and full of Internet buzzwords.(Cui Feng 2010) Besides, in addition to differences in textual content, network novels also make use of variations in symbols, patterns and typography compared to general novels. Online fiction is the main form of online literature.
Generally speaking, there is a broad and narrow definition of online fiction. Broadly speaking, it can include all fiction published and circulated on the Internet. However, on the narrower level of the origins of online fiction, it mainly refers to forms of fiction written by online writers and first published online, and then circulated.
Online novels fall into two main categories. One category is novels read by boys, which are generically referred to as male channel novels(男频), and the other category is novels read by girls, which are generically referred to as female channel novels(女频). Most novels read by boys seek to be powerful from body to power, while most novels read by girls are from the perspective of love. And the influence of these two types of novels depends on the ratio of males to females on the internet.

1.2 Creative characteristics of network novels

There is no doubt that online literature still belongs to the category of literature. Therefore, online novels naturally have the basic characteristics of all literary works. However, due to some characteristics of the Internet and the influence of the commercial model of literary websites, online literature has gradually formed its unique creative and artistic characteristics. The characteristics of online novels are mainly manifested in the following four aspects:
Firstly, the length of the network novel is very long. Because an online novel is usually formed in a long serial mode, it has a considerable number of words. Among them, long female channel novels are at least 600,000 words, while long male channel novels are up to millions of words.Secondly, online fiction is highly interactive. Because of the instantaneous nature of the Internet, authors and readers communicate online far more quickly than the previous correspondence. This makes online works naturally a little more interactive. What really determines the interactivity of an online novel, however, is its serial nature. Because online novels are often divided into chapters and sections, presented and completed gradually over a long period of serialisation, readers are able to express their views on the work at any point in its creation, expressing their appreciation or dissatisfaction, and offering suggestions and expectations for subsequent content. These comments will be seen by the author in the first instance. They can then influence the creation of the work to a large extent.Thirdly, the threshold for the creation of online novels is low. Generally speaking, the threshold for the creation of traditional literature is very high, and not any work can be published. However, the editorial and vetting standards for online literature are very low. Anyone who is literate and can tell a story has the opportunity to become an online writer, or even an online author. In other words, in the realm of online fiction, anyone who publishes and gets a certain number of readers can generate income. As a result, more and more people are becoming online writers and the creation of online novels is gradually becoming a way to earn an income.Fourth, online fiction is like a kind of fast food literature. The evaluation criteria of traditional literature are mainly reflected in values, outlook on life, and the author's writing skills. However, the focus of online novels is on entertainment and the reader's pleasure in reading them. In order to cater to the needs of readers, most online writers overly pursue the quantity of novels at the expense of quality. They over-express the reader's desires in their works, which makes them lack artistic and emotional value. Internet novels are like a kind of fast-food literature, which lacks nutrition and is difficult to be remembered and loved in the long run.

1.3 Classification of network novels

Online novels can be broadly classified into the following genres: fantasy novels, martial arts novels, immortal novels, science fiction, urban novels, romantic novels, supernatural novels, historical novels, mystery novels, military novels, sports novels, game novels, fan fiction, boy’s love novels, two-dimensional space novels and etc.According to online reader statistics, the ten most popular online novels are：

1、The Legend of Goku - Now Where 《悟空传》- 今何在

2、Ghost Blows Out the Light - Blogging site 《鬼吹灯》- 天下霸唱

3、Purple River - Old Pig 《紫川》- 老猪

4、Blasphemy - South of the Smoke 《亵渎》- 烟雨江南

5、Nebulous Journey - Potential Flute 《缥缈之旅》- 萧潜

6、How Bad Men Are Made - Six Paths 《坏蛋是怎样炼成的》- 六道

7、Time Raiders - Uncle Three of Southern School 《盗墓笔记》- 南派三叔

8、Kill the Immortals - Pot Flute 《诛仙》- 萧鼎

9、Fights Break Sphere - Silkworm Potato 《斗破苍穹》- 天蚕土豆

10、AutoFull - Wind Blow Strong 《傲风》- 风行烈

===2.The Development History of Chinese Network Novels===
Chinese online literature has had a history of over 20 years of development. Throughout the history of the development of online literature, we can divide it into three development stages: the exploration stage, the transition stage and the mature stage.

2.1 Exploration stage

During this period, online novels were mainly carried on computers and the payment model was established. In 1998, Riffraff Cai's The First Intimate Contact 《第一次亲密接触》was published on the Bulletin Board System(BBS), which opened the era of Chinese online novels. For the next 10 years, the computer served as the main vehicle for users to disseminate and read online literature. In October 2003, the business model of online literature became clear when the Starting Point Chinese Network Fiction(起点中文网)pioneered the paid online reading model. Some of the so-called "gods" of online fiction began to appear, and online fiction had its own stable, youth-centred and relatively small reading group. Annie Baby, Li Xunhuan and Xing Yusen were also representative online writers of that period.

2.2 Transition stage

From 2008 to 2014, online literature entered a transitional period, when reading behaviour began to penetrate into mobile smart devices. Around 2011, the proportion of users who read online literature on computers declined year by year, while the number of users on mobile smart devices grew rapidly. At the same time, reading platforms in the form of apps also sprang up, and mobile bookstores such as QQ Reading and Palm Reader became increasingly popular. After 2014, smartphones, tablets and other mobile smart devices became popular in China, making mobile phones the largest reading channel for online literature users. Novels in genres such as tomb raiding, mystery and romance have seen rapid development. Representative works of this period include Time Raiders, Tomb of the Gods and Fights Break Sphere.

2.3 Mature stage

As the scale of the online literature market continues to expand, Internet giants have become involved in online literature, and online literature enterprises have embarked on a stage of large-scale group operations. (Zhang Hainan,Han Lei 2021:79-83)In 2013, Tencent and the core team of the former Starting Point Chinese website (起点中文网)cooperated to establish Genesis Chinese Website(创世中文网); Baidu acquired 100% of the equity of Zongheng Chinese Website (纵横中文网)for 191.5 million; In 2014, Zongheng Chinese Website, 91 Panda Book (91熊猫看书)and Baidu Book City (百度书城)merged to form Baidu Literature(百度文学). In 2015, Chinese Online (17K Novel Website) was listed on the A-share GEM board with a $2 billion capital increase to build a pan-entertainment ecology. After Tencent's $5 billion acquisition of Shanda Literature Limited(盛大文学), it merged with Tencent Literature to form China Reading Limited(阅文集团); Ali acquired Shuqi Novel (书旗小说)and UC Book City (UC书城)and merged them with its own mobile reading business to form Ali Literature. At this point, the industry pattern of domestic online literature has basically taken shape.Since 2018, online literature has entered an era of convergence. The IP operation of online literature has gradually matured, film and television dramas and games adapted from online literature are favoured by the market, and free reading has gradually emerged, creating a new model of "free + advertising". Internet literature has established its own unique literary system and has received widespread attention from society. It has also become an important source for film and television adaptations. Nowadays, it seems that many important film and television works have come from online literature, and these super IPs have had a huge impact on the development of film and television culture. Representative works from this period include The Legend of Zhen Huan《甄嬛传》, The Legend of Mi Yue《芈月传》, The Journey of Flower《花千骨》, and Nirvana in Fire《琅琊榜》.

Nowadays, Chinese online literature has become an important literary phenomenon that cannot be ignored and has become an indispensable cultural resource for the younger generation. At the same time, from the perspective of world literature, China-centred online literature written in Chinese can be considered a unique phenomenon. Its unique creative characteristics and mode of operation are incomparable. It now seems that Chinese online literature has also gained its own unique status and significance in the development of literature across the globe. The wide distribution of The Three Bodies overseas in recent years is a good example of this.

===3.The Pros and Cons of Chinese Network Novels===
As a new form of literature, online literature has had a huge impact on people's daily lives. Like a double-edged sword, online fiction has its unique value and significance, but also has many problems and shortcomings. Therefore, we should adopt the right attitude towards it and take the essence and remove the dross.

3.1 The Pros of Chinese Online Fiction

3.1.1 Reading online novels can develop literary literacy

Firstly, there are many excellent works in online fiction that deserve to be read and appreciated with care. Outstanding online novels are characterised by their dramatic storylines, superb writing skills and meaningful themes. By learning from the authors' writing methods, we can develop our imagination and creativity, and thus improve our own writing skills.(Li Xin 2016:172) At the same time, by reading excellent works, we can increase our knowledge, broaden our horizons and improve our literary skills.

3.1.2 Reading online novels can improve reading skills

Secondly, because the online novel is serialized, it is updated very quickly and in very large numbers of words. Readers have something new to read almost every day. This means that in order to keep up with the author's updates, the reader needs to be able to read very quickly. If the reader is reading several online novels at the same time, then he needs to be able to read faster. Thus, by exercising over time, the reader can develop a good habit of reading every day and can improve his or her reading skills and abilities to a great extent.

3.1.3 Reading online novels can relieve stress

Thirdly, online novels can help readers to vent their negative emotions and relieve stress to a certain extent. In today's highly developed economic, political and cultural world, people face a variety of challenges and pressures in their daily lives, such as the pressure of marriage, interpersonal relationships, mortgage repayments, further education and job promotions, and so on. They are reluctant to face the cruelty of reality and need a space where they can forget their worries and keep their mood happy. Therefore, the beautiful virtual worlds created by online novels have gradually become a place for people to vent their emotions, express their desires and seek solace. Moreover, with the rapid development of the Internet, mobile communication devices have become widely popular. Nowadays, almost everyone, young and old, has their own mobile phone, which makes it possible for people to read online novels through various mobile apps and websites anytime and anywhere. We have found that the majority of readers of online novels in China find themselves relieving their stress and gaining a great deal of pleasure from reading online novels. For female readers, they tend to read romance novels and urban novels. For male readers, they prefer to read mystery novels and tomb raiding novels. In short, for those devoted novel lovers, the virtual world constructed by online novels is a perfect, utopian ideal society. As the characters and storylines portrayed in online novels are very close to life, such a setting easily arouses readers' emotional resonance, thus giving them a strong sense of vicariousness. In this virtual world, they can relieve the stress and worries brought about by the real world, allowing them to relax their long-tightened nerves. This is also a form of stress relief for the young generation of today.

3.2 The Cons of Chinese Online Fiction

3.2.1 Adverse effects on people's daily habits

In this highly developed society with the Internet, people can use mobile phone apps to read online novels anytime and anywhere. It is because of this convenience that online novels are having an increasing impact on people's daily lives. Online fiction is like a drug that makes people addicted to them. For adult readers who are addicted to online novels, they read all day and night and do not even feel hungry. As a result of staring at their mobile phone screens for long hours, some suffer from myopia, while others are so addicted to the pleasure and thrill of reading online novels that they miss work. Faced with online novels, they lack self-control and self-discipline, which makes them break the regular routine of life. When reading online novels, they see themselves as the protagonists in the novels, causing them to be unable to distinguish between real life and the virtual world. Over time, this group of people who are obsessed with online novels may suffer from severe procrastination, which then puts their lives in a vicious cycle.
While for young readers, the dangers posed by online novels seem to be even more serious. Some online novels are not suitable for teenagers. If young readers are exposed to these novels, it is inevitable that they will become too precocious and may even lead them astray. For example, one of the most iconic Internet classics, The First Intimate Contact, is very popular among secondary school students. The author tells a poignant love story that expresses a common ideal in metropolitan life, namely the desire to make romantic love denied in reality a reality in the virtual world. (Li Xin 2016:172) Many teenagers have admitted that they have imagined or even actually experienced online romance after reading The First Intimate Contact. In addition, many urban and romance novels such as Laugh Slightly Very Bend City, The Left Ear and Fleet of Time also have had an impact on teenagers.

3.2.2 Causing distortion of values

Because of the low threshold for the creation of online novels and the lax regulation of the market, there are many low-quality works on the Internet that contain unhealthy information. These vulgar novels are filled with many contents that are not conducive to the healthy physical and mental development of young people, such as violence, cruelty, pornography, selfishness and so on. In the process of reading online novels, readers will unconsciously accept these wrong values. As the main force of the online novel reading group, teenagers are often more susceptible to the influence of bad values. On the one hand, as the minds and hearts of teenagers are not yet mature, they lack the ability to select works and self-discipline. On the other hand, as teenagers are more curious about the unknown, they are more likely to be attracted to the characters portrayed in online novels and develop a stronger sense of immersion. Moreover, as teenagers are in the process of forming their values and worldview, the harmful information in online novels can have a huge negative impact on their values, and may even cause distortion of values. For example, some reported cases of school bullying, murder and rape are related to the harm caused by vulgar online novels.

3.2.3 Fast food novels waste time

Many online novels are fast food novels. It would be a mistake for people to devote too much time and energy to these online novels. Due to the low threshold for the creation of online novels and the lax regulation of the market, various genres of online novels are springing up in the world today, which makes many online writers see their creation as a way to make profit only, and they devote more time and energy to the quantity rather than the quality of their novels. As a result, most online novels are written with a tumultuous plot to capture the reader's attention and interest. These novels often lack depth of thoughtfulness, and some even contain frequent misspellings, misuse of idioms and grammatical errors. If we fail to spot these errors in time, this can inadvertently deepen our impression of the wrong usage to the extent that these errors may appear in our own writing.
In addition, readers tend to read online novels at a very fast pace. Some can even finish reading several online novels in a day. However, these fast-food novels, which lack nutrition and value, do not give readers a great deal to gain. When people are reading these online novels, the content of the novels hardly cause the readers to think. As a result, readers are not impressed with the content of the novels after reading them. This kind of reading behaviour without value and meaning is in essence a waste of time. Instead of wasting our time and energy on these unproductive online novels, it would be better for us to choose a classic work of literature to read and appreciate its connotations and meanings by heart. By reading and appreciating the classics, we can communicate with great souls across time and space. In this way, our literary skills can be improved, our minds can be sublimated and our souls can be purified. So, from now on, please take the time to develop a good habit of reading classics again, which will benefit you for the rest of your life.

===4.The Status and Trend of Chinese Network Novels===
4.1 Homogenization of products

Although the market is flooded with online novels of various genres and themes, only truly outstanding works are accepted and loved by the public. As a result, there is serious vicious competition in the field of online fiction, which has led to the homogenisation of products in the current online fiction market. When a work becomes successful, there will be many imitations. Many novels have highly similar themes, motifs and plots, and even have very similar backgrounds, characterisations and life settings. Once these popular characterisations have formed a fixed format, they become as similar as industrially produced products. As a result, these similar novels will cause aesthetic fatigue among the audience and their dissemination will be greatly reduced. (Qin Junxiang,Li Ting 2017:38-42)For example, online novelist Qiong Yao publicly reported on Weibo that Yu Zheng's Palace 3:The Lost Daughter《宫锁连城》had copied several plots from her work The Plum Blossoms《梅花烙》. In addition, when the TV series Jade Palace Lock Heart《宫》 started to make a splash on TV screens in 2011, there were many other similarly titled dramas. Some authors ignored historical facts and made a mess of historical adaptations in order to cater to the taste of their audience, which reduced the literary, artistic and aesthetic value of the work itself. Some authors even deliberately make up all sorts of fascinating but unethical plots in order to gain high click-through rates, which has caused a distortion of the values of some works. This series of homogenisation and vicious competition has not only led to infringement and plagiarism, but has also led to monotonous content of works, aesthetic fatigue among readers and an impact on the market order. In short, homogenisation and plagiarism are not conducive to the innovation and development of online literature.The relevant government departments should strengthen the supervision and regulation of the online literature market. They should establish a sound copyright protection mechanism, improve the professionalism and aesthetic level of online authors and film producers, and raise audiences' awareness of copyright protection, so as to promote the healthy and benign development of the online literature market and the film industry.(Liu Yang 2017:95)

4.2 Adaptation of novels into film and TV series

The emergence of film and television adaptations of online novels can be traced back to The First Intimate Contact , an adaptation of the novel of the same name by Chinese Taiwanese author Tsai Chi-hang. This novel was made into a film in 2000 and adapted into a TV series in 2004. This was the first time in the history of Chinese film and television that an online novel was adapted into a film or television production. (Xiao Yudi,Ouyang Changlin 2021:33-38)However, the audience response at the time was poor, with fans who had read the original novel not liking the format and content presented in the TV series very much. Although the audience response did not meet expectations, it made the novel an instant hit. The first trial of a web novel adaptation showed its potential and problems, drawing the attention of some film and television producers. After six years of hibernation, the adaptation of web novels for film and television finally made its official entry onto the television screen in 2010. The first wave of Chinese online novels adapted for film and television was marked by the TV series Beauty's Rival in Palace《美人心计》.Subsequently, costume dramas such as The Legend of Zhen Huan《甄嬛传》, Startling by Each Step《步步惊心》, Princess Dumping World《倾世皇妃》and Jade Palace Lock Heart《宫锁心玉》received high ratings and were unanimously praised and recommended by the public. Soon, with the rise and development of online video platforms, China ushered in a second wave of web novel adaptation dramas. In 2015, there were a number of web novel adaptations represented by The Journey of Flower《花千骨》 and Nirvana in Fire《琅琊榜》, which not only achieved high ratings during their television broadcast, but also reaped superb viewership and buzz on major video platforms. In 2017, the online novel adaptation television series Ten Miles of Peach Blossoms《三生三世十里桃花》began to dominate the public's attention, marking the arrival of the third wave of adaptation boom. The drama took over Weibo's top searches and headlines almost every day, and its original novel, plot, cast, headgear, make-up, costumes and soundtrack became a daily topic of conversation for the public at their leisure. In recent years, popular costume dramas such as East Palace《东宫》, Qing Yu Nian《庆余年》 and The Untamed《陈情令》have brought the craze for web novel adaptations to a peak.In terms of film and TV drama adaptations of novels, costume and romance novels have become the main trends in Chinese online novels.

===5.The Overseas Dissemination of Chinese Network Novels===
In recent years, Chinese costume novels have become very popular overseas. There are websites dedicated to Chinese novels such as "Wuxia World"(武侠世界) and "Webnovel"(起点国际). There are even people overseas who read serialised novels to kick drug addiction and treat depression. This shows the huge influence of our online novels overseas.

For example, in recent years, Legend of Concubine Zhen Huan has become popular in Japan, South Korea and some countries and regions in Southeast Asia. In addition, the cast of The Legend of Concubine Zhen Huan has joined forces with the American television station HBO to edit the original 76-episode series into six short episodes (each 90 minutes long) for broadcast overseas. The release of Legend of Concubine Zhen Huan on the US pay platform Netflix a few years ago also created a national sensation, and Legend of Chu Qiao《楚乔传》and Ten Miles of Peach Blossoms have long been officially synchronised on Youtube at the time of its launch. This marked the successful spread of Chinese costume novels overseas.

Take Ten Miles of Peach Blossoms as an example, the translator of Ten Miles of Peach Blossoms, Poppy Toland, is a British freelance translator who studied Chinese at the University of Leeds and lived in Beijing, China for four years. She was commissioned by Amazon.com, the copyright holder of the novel, to translate Ten Miles of Peach Blossoms into English before the TV series hit the airwaves.(Ma Xiaoxing,Zhao Mengyuan 2020:59-62) In order to ensure that the translation does not lose the flavour of the original, she insists on using the translation strategy of domestication to deal with the linguistic forms. However, for the cultural elements in the original work (such as mythology, religion and other cultural factors), she introduces Chinese culture directly to Western readers through the method of foreignization. On 23 August 2016, To the Sky Kingdom, the English translation of Ten Miles of Peach Blossoms, was released on Amazon in the United States. Upon its release, the translation reached number three on Amazon's Asian Literature bestseller list and number one in the Asian Literature section of the Kindle Edition bestseller list. The translation was recommended to foreign readers on Amazon.com, along with other famous novels such as Three Bodies《三体》and Wolf Totem《狼图腾》, and was once ranked the third best-selling Chinese novel on Amazon.com.It shows that Chinese online novels have achieved great success in overseas distribution.

===Conclusion===
After more than two decades of development, Chinese online novels have developed a relatively mature industry system, not only in terms of accumulation in the domestic market, but also in terms of expansion in overseas markets. However, there are still some problems and shortcomings in the process of its domestic development and overseas distribution. Therefore, we need to further improve the quality and value of Chinese online novels and strive to build a unique international cultural brand of our own. We need to help Chinese culture go overseas through cultural branding so that more foreign friends can understand and enjoy traditional Chinese culture. In short, it is the duty of every Chinese to strengthen our cultural soft power and enhance the cultural confidence of the Chinese nation.

===References===
*Cui Feng 崔冯.(2010).网络小说的文体特征研究[Research on the Genre Characteristics of Online Novels].重庆师范大学Chongqing Normal University.
*Li Xin 李昕.(2016).网络小说利弊纵横谈[The Pros and Cons of Online Novels].西部皮革Western Leather(12):172.
*Liu Yang 刘杨.(2017).中国网络小说改编剧的困境与建议[The Dilemma and Suggestions of Chinese Online Novel Adaptations].参花Participation Flowers(16):95.
*Ma Xiaoxing, Zhao Mengyuan 马孝幸,赵梦源.(2020).中国文化“走出去”背景下的网文出海研究——以《三生三世十里桃花》外译为例[A Study on the Overseas Translation of Chinese Culture in the Context of "Going Global"--The Foreign Translation of "Ten Miles of Peach Blossoms].新阅读New Reading(08):59-62.
*Qin Junxiang,Li Ting 秦俊香,李婷.(2017).网络小说改编剧的同质化现象批评——以权谋宫斗题材古装剧为例[Criticism of the Homogenization Phenomenon of Online Novel Adaptations - Taking Ancient Costume Dramas on the Theme of Power and Palace Combat as An Example].中国电视China TV(06):38-42.
*Xiao Yudi, Ouyang Changlin 肖雨笛,欧阳常林.(2021).网络小说改编剧的狂欢与思考[The Carnival and Reflection on the Adaptation of Online Novels].肇庆学院学报Journal of Zhaoqing College(03):33-38.
*Zhang Hainan, Han Lei 张海楠,韩磊.(2021).网络小说创作主体迅猛发展成因探析[An Analysis of the Causes of the Rapid Development of the Main Body of Network Novel Creation].兰州文理学院学报(社会科学版)Journal of Lanzhou College of Arts and Sciences (Social Science Edition)(03):79-83.

===Terms and expressions===
*The Legend of Goku 《悟空传》
*Ghost Blows Out the Light 《鬼吹灯》
*Purple River 《紫川》
*Blasphemy 《亵渎》
*Nebulous Journey 《缥缈之旅》
*How Bad Men Are Made 《坏蛋是怎样炼成的》
*Time Raiders 《盗墓笔记》
*Kill the Immortals 《诛仙》
*Fights Break Sphere 《斗破苍穹》
*AutoFull 《傲风》
*Wolf Totem《狼图腾》
*Nirvana in Fire《琅琊榜》
*The Legend of Zhen Huan《甄嬛传》
*The Plum Blossoms《梅花烙》
*Jade Palace Lock Heart《宫》
*Laugh Slightly Very Bend City 《微微一笑很倾城》
*The Left Ear 《左耳》
*Fleet of Time 《匆匆那年》
*Startling by Each Step《步步惊心》
*The Journey of Flower《花千骨》
*East Palace《东宫》
*The Untamed《陈情令》
*Qing Yu Nian《庆余年》
*Legend of Chu Qiao《楚乔传》
*To the Sky Kingdom《三生三世十里桃花》
*The First Intimate Contact 《第一次亲密接触》
*The Legend of Mi Yue《芈月传》
*Palace 3:The Lost Daughter《宫锁连城》
*Princess Dumping World《倾世皇妃》
*Beauty's Rival in Palace《美人心计》
*Men's Channel 男频，即男生频道，是网络小说网中对男生爱看的网络小说的一种称呼。男频以玄幻、推理、盗墓等题材的小说为主。
*Women's Channel 女频，即女生频道，是网络小说网中对女生爱看的网络小说的一种称呼。女频以都市、言情和穿越等题材的小说为主。

===Questions===
1.Which of the following is a common genre of male channel fiction?

A.Time Travel Fiction

B.Fantasy Novels

C.Romance Fiction

D.Urban Soap Novels

2.When was the online novel The First Intimate Contact published?

A.In 1996

B.In 1997

C.In 1998

D.In 1999

3.How many stages does the author of this article divide the history of Chinese online fiction into?

A.2

B.3

C.4

D.5

4.Which of the following is not a work by Yu Zheng?

A.Jade Palace Lock Heart

B.Palace 3:The Lost Daughter

C.Beauty's Rival in Palace

D.The Plum Blossoms

5.Which of the following novels is a work of transition stage?

A.The First Intimate Contact

B.Nirvana in Fire

C.Time Raiders

D.The Untamed

===Answers===
1.B

2.C

3.B

4.D

5.C

==英语笔译钟青 Zhong Qing 202170081611 CE==
On the Translation and Spread of Three Kingdoms

==英语笔译周皓熙 Zhou Haoxi 202170081612 MW==
On the Translation and Spread of Guanzi

==英语笔译周哲 Zhou Zhe 202170081613 CE==
<center>'''On the Translation of Peony Pavilion'''</center>

<center>周哲 Zhou Zhe</center>

===Abstract===
The Peony Pavilion, also known as "The Return of the Soul", is a masterpiece by Tang Xianzu (1550-1616), an outstanding Chinese opera singer of the 16th century. Compared with the script, The Peony Pavilion has not only been greatly changed in terms of plot and description, it has also improved greatly in terms of theme and thought. The Peony Pavilion has also reached an unparalleled artistic level in terms of diction, singing, music, stance and performance. In this essay, the full translations by Wang Rongpei, Cyril Birch, and Zhang Guangqian are selected for analysis and comparison, and their translations are abbreviated as follows: Wang's translation, Birch's translation, and Zhang's translation.

===Key words===
conveying the meaning in its full flavor; The Peony Pavillion;

===Introduction===
''The Peony Pavilion'', with its dizzying plot and magnificent structure, is especially good at portraying characters. With more than 160 characters, the play is a living panorama of the times. The artistic and literary value of ''The Peony Pavilion'' has been highly praised in both China and the West. The ''Drama 100: A Ranking of the Greatest Plays of All Time'' (2008) by Daniel S. Burt ranks ''The Peony Pavilion'' at number 32, and he (2008:184) comments that Tang Xianzu's ''The Peony Pavilion'' is the first great work to feature a female protagonist, and from it the reader can enter the tradition of Chinese classical literature.As you can see, this is still a very high opinion.

The earliest English translation of ''The Peony Pavilion'' is Acton's hybridity of translation "Ch'un-hsiang Nao Hsüeh" in Tian Hsia Monthly, vol. 8, no. 4, 1939. Cyril Birch translated some scenes of The Peony Pavilion in 1965 in Selected Readings in Chinese Literature, and published a full translation in 1980 at Indiana University Press; Zhang Guangqian's full English translation was published by Beijing Foreign Language Press in 2001; and Wang Rongpei's full English rhyming translation was first published by Shanghai Foreign Language Education Press in 2000. In 1999, an English version of the novel ''The Peony Pavilion'' was published. One adaptation, by Chen Meilin, was published by New World Press, and another adaptation was published by Seahorse Books, New Jersey, USA.

===Translator Introduction===
1. Wang Rongpei's Translation

Professor Wang Rongpei began his translation of The Peony Pavilion in 1996, which lasted for more than three years. In order to get a sense of Tang Xianzu's life and writing, he visited Tang's hometown of Fuzhou, Jiangxi Province, which was called Linchuan in the old times, in March 1999. In the preface to his translation, Professor Wang said that he set the goal of "conveying the meaning in its full flavor" for his translation. Specifically speaking, first, the translation should creatively and accurately reproduce the style of the original. In the process of translation, he tried to recreate the original in English to reflect the beauty of the original text, so he translated the prose dialogues or monologues into understandable English as much as possible. For example, he translated “吾今年已二八,未逢折桂之夫” as "I've turned sixteen now, but no one has come to ask for my hand". At the same time, when translating the lyrics and verses, the original imagery of the author is kept as much as possible without affecting the understanding of the English readers, otherwise it is rather sacrificed and replaced by corresponding expressions in English. Second, for the poetic and lyric parts of the original text, some forms of traditional English metrical poetry are adopted in translation. In addition, the lyrics of Tang Xianzu's The Peony Pavilion follows a strict tune, and the poetic part is also in the form of metrical poetry. Therefore, Professor Wang uses the iambic pentameter as the basic format and adopts a variety of different rhyme schemes when translating them.

2. Birch’s Translation

Birch was born in Lancaster, England, in 1925. He studied Chinese at the Institute of Oriental and African Studies at the University of London, where he received his Ph.D. in Chinese literature in 1954, taught Chinese at his alma mater from 1948 to 1960, taught in the Department of Oriental Languages at Berkeley University in 1960, and later became Professor of Chinese and Comparative Literature and Head of the Department, retiring from Berkeley University in 1991 as Professor Emeritus. Birch 's writings cover traditional Chinese fiction and drama as well as modern Chinese literature, and he is best known for his translations of Ming dynasty plays and stories. His translations of The Peony Pavilion (Acts 1-5, 7, 9, and 10) were published in the third issues of The Translation Series, respectively. Although Birch had edited many anthologies of Chinese literature in verse and verse, his favorite of all literary genres was classical drama. Bai's translation of The Peony Pavilion was published by Indiana University Press in 1980. Birch is a leading contemporary American sinologist who, in addition to his translation of The Peony Pavilion, has translated works such as Chinese Gods and Monsters, Selected Stories of the Ming Dynasty, and Selected Plays of the Chinese Ming Dynasty, and has edited books such as Selected Readings in Chinese Literature and Studies in Chinese Literary Genres. His essays on The Peony Pavilion include "(The Peony Pavilion) or (The Return of the Soul)," "The Structure of The Peony Pavilion," and "The Winter's Tale> and The Peony Pavilion.

Birch 's English translation reproduces the original in fluent modern English and is generally faithful to the original text, with free verse in both the choral and poetic sections (Wang Rongpei, 2000:33). This is evidence of his rigorous academic attitude. It took at least seven or eight years from the earliest translation to the final revision of the text. In general, Birch's translation was a success, and all performances of The Peony Pavilion in the West were based on Birch 's translation, but his translation was not immune to the errors of understanding that are common among Western translators.

3. Zhang Xianqian’s Translation

Zhang Guangqian's translation of The Peony Pavilion was published by the Travel Education Press in 1994 and reprinted by the Beijing Foreign Language Press in 2001, the first full English translation done independently by a Chinese translator.

In his preface to The Peony Pavilion, Professor Wang Rongpei (2000:35-36) also comments on Zhang's translation, arguing that, compared to Birch's translation, Zhang's translation has the greatest advantage of being more accurate in conveying the meaning of the original, which is a clear strength of Chinese translators in translating Chinese classical masterpieces. It is clear from the translation that Zhang's mastery of ancient literary knowledge is very solid. In his translations of the lyrics and verses, he uses the format of sung poetry on most occasions, with iambic pentameter as the basic rhythm, and occasional rhymes that follow their nature. On the whole, Zhang Guangqian's translation is successful, and in many places it is more accurate and refined than Birch's translation.

===Examples and Analysis===
Example 1:（柳梦梅）：谩说书中能富贵，颜如玉，和黄金那里?

Wang: The saying goes that studies bring the wealth, but where is pretty lady and

where is gold?

Birch: "In books lie fame and fortune," they say—then tell me, where are the jade-smooth cheeks, the room of yellow gold?

Zhang: Some say that books will provide you with what you need, Yet, where is the promised beauty, where the gold?

The Peony Pavilion is a masterpiece of Tang Xianzu. Tang Xianzu is good at quoting scriptures and references, and there are countless allusions and proverbs in the book, which gives the text a deep cultural connotation. From the perspective of "reaching the meaning", when translating this kind of text, we should not only pay attention to the semantic meaning of the language, but also pay more attention to the semantic meaning and cognitive meaning. Specifically. This is reflected in the translation of words with profound cultural connotations. In this sense, it is not easy to translate classical operas to "reach the meaning", but it is even more difficult to "convey the spirit".

For the understanding of "In books lie fame and fortune", there is a problem with the translation of Birch, which does not mean that books themselves can give people wealth, but that they can create wealth only after learning and mastering knowledge. And Zhang's translation "Some say that books will provide you with what you need" does not clearly translate what "wealth" is. The chorus also contains two words with cultural connotations: "Yan Ru Yu" and "House of Gold". Birch's translation literally translates "the jade-smooth checks" and "the room of yellow gold," but not the true meaning of these two words. On the issue of cultural treatment, Prof. Wang's strategy is to reflect his own understanding directly into the translation, as his translation is intended for a general Western audience, and therefore does not add additional notes on the words that contain cultural connotations. The strategy adopted by the Zhang translation is consistent with that of the Wang translation.

Example 2:（柳梦梅）：敢甚处里杨曾系马?

Wang: Are you an old acquaintance to see me now?

Birch: In some former time and place, did we "tie our steeds beneath green aspen"?

Zhang: Or, is it because your horse was once attached to my tree?

This is the phrase that Liu Mengmei asked Du Liniang, who guessed where they had met before? The phrase "敢甚处里杨曾系马" is a cultural phrase related to the times. In feudal China, unmarried girls could only stay in their boudoir. Therefore, it is not logical to translate it as "met somewhere". However, the literal translation

The literal translation does not reflect the cultural connotation of the sentence, so the paraphrase is used. Both Bai and Zhang translate literally, which may not be understood by readers of the target language and may even cause misunderstanding. Wang's translation is more appropriate and better conveys the connotation of the original text, achieving a high level of "reaching the meaning" at the linguistic and cognitive levels.

Example 3:（陈最良）： "玉不琢，不成器；人不学，不知道。"

Wang: As The Book of Rites says, "Uncarved jade is unfit for use; uneducated men

are unaware of Tao."

Birch: "Jade unsculpted unfit for use; person untutored unaware of the Way."

Zhang: It's said, "Unpolished jade has little worth; untutored man has little wit."

The phrase "If jade is not cut, it does not become a tool; if a man does not learn, he does not know" is from the Book of Rites, and for Western readers who do not know Chinese culture, they do not know the context of the phrase, so Wang adds "The Book of Rites" in the translation to make it clear to readers at a glance, and it is easier for them to understand the context after understanding the cultural background of the phrase. Although Zhang's translation adds "It" to indicate that this is a well-known thing, it does not specify the specific source, so the reader still cannot understand it. If we look at this sentence from the perspective of "conveying the meaning", its "conveying the spirit" lies mainly in its simplicity and neat syntax. If we look at these three translations only from the perspective of "conveying the meaning", they are indeed comparable, but a careful reader will find that Wang's choice of words is actually very careful. Normally, "Uncarved", "unsculpted" and "Unpolished" seem to have the same meaning, but when they are placed in the whole sentence, the difference appears. If the word "Uncarved" in Wang's translation is replaced by "unsculpted" or "Unpolished", the rhythm of the whole sentence will be incongruous, and it will be awkward to read. This is the same reason why Wang used "islet" instead of "isle" in his translation of the Book of Psalms. Obviously, Wang's translation has paid attention to the problem of rhyme, so it reads with a particularly strong sense of rhythm.

Example 4:（杜丽娘）：先生万福。

（春香）：先生万福。

Wang: I wish you happiness, respected tutor.

I wish you kindness, respected tutor.

Birch: Our best respects, esteemed sir.

We hope you're not vexed, esteemed sir.

Zhang: Boundless happiness to my teacher.

Boundless kindness to your pupils.

These are the words spoken by Du Liniang and Chunxiang as they salute Chen Milliang. Although the words spoken by the maids are the same as those spoken by the ladies, the translation should be different to show their different linguistic characteristics. Wang and Zhang did notice this point, but from the point of view of "expressing the meaning", it is Birch's translation that is more accurate. Since they are late in entering the school, the teacher is already a little upset, so Chunxiang says "Don't be angry, teacher!" when greeting her. This accurately conveys the quick-talking character of Chunxiang, a maid, and also fits the situation at that time.

The author keeps emphasizing that the parameters of "conveyance" are analyzed for expository reasons, but in specific texts, many of them are integrated with each other, as in this case. The previous paragraph is analyzed on a pragmatic level, but it does not reflect the "transmission"! The wording, tone, and inflection of Duliniang and Chunxiang's speech all reflect the translation's grasp of the style and emotion of the original text. Still, "convey the spirit and meaning" should be grasped as a whole, as can be seen from this example.

Example 5:（杜丽娘）：以后不敢了。

（春香）：知道了。今夜不睡了，三更时分，请老师上书。

Wang: I won't be late from now on.

I see, I won't go to the bed tonight and I shall ask you to give me lessons at midnight.

Birch: We shall not be late again.

We understand. Tonight we won't go to bed so that we can present ourselves for our lesson in the middle of the night.

Zhang: I won't be late again.

I see. Tonight I won't go to bed at all so that teacher can start the lessons at midnight.

Du Liniang and Chunxiang both bowed to the gentleman, Chen Miliang said: "Girls, you should get up immediately after the rooster crows and greet your parents first. After eating breakfast, you should do whatever you want to do. If you are studying, you should get up early" (Zhao Shanlin, 2002:11). These two lines are their response to Chen Milliang's rebuke, in which Chunxiang's reply is relatively sharp, which on the one hand reflects Chunxiang's quick-talking character, and on the other hand, reveals On the one hand, this reflects Chunxiang's quick-talking character, but on the other hand, it also reveals her attitude of not being convinced by Chen Miliang's words.

Looking at the three translations from the perspective of "expressing the meaning", Wang and Zhang have no problem with their translations, but Birch has a deviation in his understanding. The deviation of Birch's translation does not occur at the semantic level, but at the pragmatic and cognitive level, which is reflected in Birch's insufficient understanding of traditional Chinese culture. According to the old rituals and customs, the rich and noble families had a very strict hierarchy of respect, and the young lady and the maid had to take into account their status and position when they spoke, so the "We" in Birch's translation is inappropriate, and in addition, Birch's translation of the latter paragraph does not express the meaning of "asking the teacher to write a letter".

In terms of "evocative", Wang's translation is better overall. The mischievous Chunxiang hates reading the boring Confucian classics and deliberately messes with Chen Mingliang, while Duliniang originally shares Chunxiang's feelings, but she still acts serious in front of Chen Mingliang due to the constraints of ritual. Compared with the Birch translation, the Wang translation pays more attention to observing the psychological changes of the characters, especially highlighting the word "please" in the original text, which accurately conveys the characteristics of Chunxiang's sharp tongue and her defiant state of mind at that time, and well captures the change of emotions in the "transmission".

Example 6:（杜丽娘）（作恼介）：劣丫头那里去?

（春香）：溺尿去也。原来有座大花园。花明柳绿，好耍子哩。

Wang: Where have you been, nasty maid?

I've been to the toilet. I went by a big garden overgrown with flowers and willows. It's fun over there.

Birch: (annoyed)： What have you been doing, silly creature?

Peeing. But I found a lovely big garden full of pretty flowers and willows, lots of fun.

Zhang: Naughty girl, where have you been?

Pissing. I happened to have discovered a huge garden, with lush trees and bright flowers. A very nice place indeed.

After Chen Miliang finished explaining the "Poetry", he asked Du Liniang to write again. Chunxiang stayed at one side really impatient, excuse to go to the toilet to sneak out to play. After a long time, when Du Liniang saw that Chunxiang had not come back, she said, "Why hasn't Chunxiang come back yet? Du Liniang scolded: "Bad girl, where did you go"? Chunxiang replied: "I went to pee. There is a big garden behind the house, with red flowers and green willows, which is very interesting!" (Zhao Shanlin, 2002:12).

This play is called "Make Trouble in School", and this "trouble" is mainly manifested in Chunxiang's body, but of course, it is only with Du Liniang's tacit approval. The difference between the two of them in status, position and upbringing is so great that it is not possible for Du Liniang to make a scene like Chunxiang, but Du Liniang's "scene" is in the dark, elegant and clever. In fact, this is Du Liniang in front of Chen most Liang fake anger at Chunxiang, but in fact full of pity for her; and Chunxiang also know Du Liniang will not really blame her. Chunxiang's mischievousness is also obvious.

The above three translations are more accurate in terms of "conveying the meaning", but the subtle differences are reflected in "conveying the spirit", which is also expressed in the transmission of "emotion". Reading through the context, we know that Chunxiang's answer of "peeing" is actually an excuse, not really going to "pee", but the transitive word "But" in the Birch translation gives the impression that Chunxiang really went to pee, but happened to find a garden when she returned. Wang and Zhang are more accurate in handling this detail, and they are in the middle of the pack.

From the above examples, we can see that there are many factors to be considered in the translation process, such as character characteristics, tone of voice, psychological state, language characteristics, etc., but it is not easy to take into account the overall situation, which is a test of the translator's language mastery and skills.

Example 6:（柳梦梅）：好一座宝殿哩。怎生左边这牌位上写着＂杜小姐神王＂，是那位女王

（石道姑）：是没人题主哩。杜小姐。

Wang: What a magnificent hall! On the memorial tablet on the left is the inscription "The Spiri of Miss Du". What's the meaning of "spiri"? To complete the service, we need someone to add the final letter. It's "The Spirit of Miss Du" .

Birch: What a majestic temple! By the way, which queen is that memorial tablet

Oh, it's Miss Du's memorial tablet. The last stroke hasn't been added onto it yet.

Zhang: What a magnificent shrine! But I don't understand the inscription on this tablet: "The Ruler, Miss Du." Which "ruler" was this? The character that looks like "ruler" needs an extra dot on top to make it read “host”, that is to say, “tablet lodging the spirit of Miss Du.” We are waiting for some person of distinction to inscribe the dot.

This dialogue is from the 33rd episode of The Peony Pavilion, "Secret Discussion". Liu Mengmei was entrusted by Du Liniang to dig a grave for her, but he was a scholar, so he had to follow Du Liniang's suggestion and come to Shi Dao Gu for discussion (Zhao Shanlin, 2002:127). Then Shi Dao Gu leads Liu Mengmei to visit the temple, and Liu Mengmei exclaims: What a precious temple. Why does the tablet on the left say "Miss Du, God King"? Shi Daoist nun replied: "No one is the subject. Miss Du." In the olden days, when the deceased was given the sign of the gods, a point was deliberately missing from the 'main' and a prestigious person was asked to put a dot on it with a vermilion pen on a certain day, and this ceremony was called "dotting the main" or "inscribing the main" (ibid., 2002:128).

From the translations of the three translators, they all have a certain understanding of the ancient customary ritual of "inscription of the Lord", among which Wang and Zhang express the meaning more clearly, while Birch omits the phrase "How can the left side of this tablet have Miss Du's divine king written on it", which is unknown whether it is a mistake of the translator or some other reason, and cannot be verified.

This is particularly evident in Wang's translation, where "convey the spirit" is the sublimation of "reach the meaning". Zhang's translation basically conveys the meaning, and the language is more plain. The treatment of Shan in the Qian translation is very impressive. It can be said. The words "stem" and "main" in the text are word games. This is a difficult point in translation. It is very tricky. But at the same time. If handled properly, it will add an unexpected effect to the translation. Wang's translation is very creative, as he creates his own word "Spiri" and "Spirit" to echo each other, bringing out the effect of "王" and "主" in the original text.

Example 7:

（杜丽娘）：晓妆台圆梦鹊声高，

闲把金钗带笑破。

博山秋影飘，

盼泥金俺明香暗焦。

Wang: When magpies greet me for my happy dream,

I tap my golden hairpins with a smile.

The incense smoke coils in autumn breeze

And makes me anxious for news all the while.

Birch: Noisy magpies greeted my rising

Presage of dream's fulfilment;

With happy smile I set my gold hair ornaments.

Fragrant smoke mingled with autumn haze,

Hopes of gilded placard of success Burned bright as incense glow.

Zhang: The chirping magpies are discussing last night's dream;

Smile creeps on my lips as I tap the golden pins.

Autumn wavers in incense smoke.

Yearning for word of success,

My heart burns like the incense sticks.

On the day of Liu Mengmei's examination, Du Liniang was at home waiting for the result of the examination. When Du Liniang got up early in the morning to do her make-up in the mirror, the sound of magpies reported the good news, which was in accordance with the auspicious omen in her dream, so she was in a particularly good mood. Among them, "博山" refers to the Boshan stove, a kind of incense burner; "泥金" refers to the mud gold post, which is used to report the joy of the new entry into the earth and the enrolment in the university; "焦" is a semantic double meaning: one refers to the incense burning into ashes, and the other refers to the anxiety in Du Liniang's heart.

Double meaning refers to the use of speech, a word, or a sentence in a certain linguistic environment, while associating two different things, expressing double meaning, and the words in this meaning in the other, also known as "multiple meaning association". The literal meaning of double meaning is clear; the implicit meaning is implied. From the point of view of "expressing the meaning", the three translations are inaccurate: first, the use of "Noisy" to describe the magpie's cry is inaccurate, as we know from the above analysis that the magpie's cry here means "announcing good news". The second is that the phrase "盼泥金俺明香暗焦" is inaccurate, not like "hope for good news is burning", but that Du Liniang's heart is very anxious.

From the point of view of "conveyance of spirit". Let's look at the problem of form first. It is obvious that the original text has only four lines, but Zhang's translation has one more line; Wang's translation is relatively concise and clear, and while paying attention to rhyme, it also uses the rhyme scheme of xava without losing time, which has a strong sense of rhythm. In terms of conveying emotions, Wang and Zhang are comparable in that they both express the anxious mood of Duliniang, but the difference between them lies in the fact that Wang uses implicit metaphors while Zhang uses explicit ones.

Example 8:（杜丽娘）：可知我一生儿爱好是天然。

Wang: （DuLiniang）：But love of beauty is my natural design.

Birch: （Du）：Always my nature to love fine things.

Zhang: （Du）： My love of beauty is of natural build.

This is one of the more famous lines in The Peony Pavilion, which is usually widely recited as a clear and beautiful phrase. However, there are two ways to interpret these two lines: First, it can be seen that my lifelong hobby is "天然", that is, I like things in their natural color; second, it can be seen that my lifelong love of "好" is natural, that is, the love of beauty is my nature. In the absence of context, both understandings are fine. However, the difference will be obvious. The difference will be obvious. This has to be inferred from the context of the chant. This is the tenth play "dream" in the singing words. It was a beautiful day. In the morning, the sound of birds and swallows woke up Du Liniang from her sleep, and Chunxiang brought Du Liniang dressing clothes, and Du Liniang dressed up in the mirror. Chunxiang saw the beauty of the lady, could not help but say: "today’s dressing is really good"! This immediately resonated with Du Liniang. With this context, the meaning of this line is obvious: "It is my nature to love beauty". Among the above three translations, Wang's and Zhang's are accurate, while Birch's does not match the original. This shows that reasonable logical reasoning in context is also necessary in translation.

Example 9:（杜丽娘）：原来姹紫嫣红开遍，似这般都付与断井颓垣。良辰美景奈何天，赏心乐事谁家院!

Wang: (Du Liniang)：The flowers glitter brightly in the air,

Around the wells and walls deserted here and there Where is the "pleasant day and pretty sight"? Who can enjoy the "contentment and delight"?

Birch: (Du)： See how deepest purple, brightest scarlet Open their beauty only to dry dwell crumbling. "Bright the morn, lovely the scene," Listless and lost the heart—where is the garden "gay with joyous cries"?

Zhang: (Du)： So the garden is all abloom in pink and red, yet all abandoned to dry wells and crumbling walls. The best of seasons won't forever last; can any household claim undying joy?

These are the four most famous lines of the Peony Pavilion. When Du Liniang finished dressing, Chunxiang reminded Du Liniang that it was time for breakfast, so they walked out of the room and came to the garden with spring colors. Looking at such a beautiful scenery in front of her. Du Liniang could not help but exclaim: "the original flowers bloom so bright and beautiful". But at the same time see the dilapidated walls, wells, can not help but be sad: "Such a beautiful scenery, how is in such a dilapidated courtyard it? This is just like their beautiful youth is buried? As the old saying goes, ''It is difficult to combine the four: good time, beautiful scenery, pleasure and joy. (Zhao Shanlin, 2002:29-30).

From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".

The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Khan's translation. First of all, the "spirit" of Khan's translation is reflected in the form. The original rhymes with "abab", while the Wang translation rhymes with "aabb", and what is even more remarkable is that the Wang translation also takes into account the rhythm of the translation while rhyming, which gives a sense of intonation and staccato. Secondly, Wang's translation is very good at conveying emotions. The lyrics make one feel the faint sorrow of Du Liniang: she is enchanted by the beauty in front of her, and on the other hand, she is saddened by the spring sorrow she has nowhere else to go. The lyrics include "姹紫嫣红" and "断井颓垣", "良辰美景奈何天" and "赏心乐事谁家院!" One happy and one sad corresponding to the state of mind of Du Liniang depicted to the fullest, sad! It must be admitted that the words are emotionally charged. The words used by the translator indicate the kind of emotion he wants to express. The words "pleasant", "pretty", "contentment" and "bright" in Wang's translation are all words that mean "beautiful", but the addition of a "?" at the end of the sentence has the opposite effect. The effect is the opposite after adding a "?" at the end of the sentence, and the use of two "?" in a row in the third and fourth sentences to enhance the effect. It can be seen that Wang's translation conveys the emotion in a very clever way, so that people can appreciate the meaning of the original text without realizing it.

===Conclusion===
From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Wang Peirong's translation.

===References===
*Wang Rongpei (2000). The Peony Pavilion. Changsha: Hunan People's Press
*Zhao Shanlin. Selected Reviews on The Peony Pavilion. Shanghai: Shanghai Ancient Books Press

==英语笔译朱丽娟 Zhu Lijuan 202170081614 MW==
The Sinicization of Religion And its Development in China

==英语口译段小蝶 Duan Xiaodie 202170081615 CE==

<center>'''Difficulties and Countermeasures in the Translation of Chinese Classics'''</center>

<center>Duan Xiaodie</center>

===Abstract===
The translation of Chinese classics is an important part of the external transmission of Chinese culture. However,the translation of China classics into foreign languages faces many difficulties and problems. This paper aims to analyze the current situation of Chinese cultural transmission to the outside world, explain the causes of the above obstacles, and put forward several personal thoughts trying to overcome these obstacles like using diversified media, flexible presentation means and flexible cooperation with foreign companies, changing the way of the training translation talents in colleges and universities in order to achieve better Chinese culture transmission.

===Key words===
Chinese Classics; Translation and Transmission; Difficulties and Countermeasures

======The Definition of the Chinese Classics===
Chinese culture is a general term for the spiritual accumulation and material creation of the 56 ethnic groups in China. I don't know when, once chinese cultural classics are discussed, scholars must say that ancient classics such as the "Four Books" and "Five Classics" will invisibly weaken the works outside the central members of this family category, which in fact confuses the boundaries between Chinese cultural classics and their lower categories——— the boundaries between Chinese cultural classics. In fact, the category of Chinese cultural classics includes not only Chinese cultural classics, but also derivative and deductive works of traditional Chinese classics, because they also contain cultural contents such as "Red Sorghum," "Wolf Totem," "Ordinary World," and "Old Children," as well as epic poems, poems, religious doctrines, witchcraft, oral literature, and songs created by ethnic minorities. Therefore, this is because the Chinese nation is composed of 56 ethnic groups, and the cultural crystallization of each ethnic group constitutes the Chinese cultural classics; Moreover, ethnic minority epics, poems, religious doctrines, and other works have naturally become indispensable members of Chinese cultural classics, some of which have been disseminated abroad, and some of their works also have a certain overseas audience. Therefore, Chinese cultural classics should not only include classics dominated by the Han nationality, but also classics of other nationalities, and more importantly, other non-classic works with national characteristics and identified as excellent works (including academic works, journal papers, conference papers, etc.) with certain influence.

===The Significance of Translating Chinese Classics into Foreign Languages===
The Chinese nation is a nation with a long history and profound tradition. For thousands of years, it has left behind unparalleled cultural classics, mainly based on language and written texts.These books constitute the spiritual level and value core of the history of Chinese civilization, which is a heritage worth inheriting and spreading.Therefore, in the modern society, the information is developed, the communication is frequent, the need for a foreign translation promotion process.Such a process and the resulting results, that is, translated and published text, not only allows the Chinese people to review the history and tradition, change the status quo and progress, but also for the development and progress of other nations in the world, there is also a certain reference value. Of course, in this translation process and products, China's original cultural traditions will also experience a change from ancient times to the present, from the inside out changes, and modern society, modern ideas, relationships and collisions. And thus become a part of modern civilization and ideological values, or as a basis, or as a cultural form, to be retained and continued, development and progress. This is our current translation of Chinese cultural classics of cultural history, but also have to change China and the world, as well as the relationship between China and the world of modern academic significance.

===Current Situation of Chinese Classics Translation===
As the carrier of China history and culture, the translation of Chinese classics further promotes the cultural exchange between China and the world. In the late 20th century, the National Library of China (NCLC) was established. The "Great China Library" is a major publishing project listed in the national plan and supported by the national finance. This project is officially regarded as the first major cultural project in the history of our country to systematically and comprehensively introduce the collation and translation of China ancient books to the world. It is also a basic project to carry forward the excellent traditional culture of the Chinese nation.In recent years, the academic attention to the translation of classics has increased significantly, and the publication rate of relevant articles has also increased. Although these articles have different intentions, emphases and academic contents, they reflect that the translation of Chinese classics has become a hot topic in the translation circle in China. With the continuous development of the depth and breadth of Chinese classics translation studies, new progress and trends have emerged in terms of scope and perspective. According to Chen Li (2014), this new progress is mainly reflected in two aspects: (1) The number of papers has increased steadily, especially in recent three years, compared with previous years, the number of papers published has increased significantly; (2) The relevant research of domestic scholars mainly focuses on the English translation of Chinese classics, the time of translation of Chinese classics by applying translation theory, and the standards, principles and strategies of English translation of Chinese classics. However, in fact, Chinese cultural classics are still rarely known to the world. "Statistics show that there are about 35,000 kinds of classical books in China, but only about two thousandths of them have been translated into foreign languages." Thus, it is not easy to make Chinese cultural classics go out. The translation of classics into foreign languages still faces great challenges. The research of Ye Huijun and Chen Shuangxin (2015) shows that in the process of translating classics into foreign languages, there is an imbalance in the translation of terms in classics and related studies, which is mainly reflected in the following aspects: (1) the imbalance between the translation of cultural terms and the translation of classics, the former's attention and research results are much less than the latter; (2) that selection of term source is unbalanced; (3) imbalance of target language; (4) cultural terms translation study itself is not balanced. Therefore, the relevant departments need to develop practical and specific measures to implement, to carry out a full range of multi-angle study, to achieve China cultural classics "going out," there is still a lot of work to do.
With the implementation and promotion of China's book promotion plan, Chinese culture going global, Chinese cultural works translation and publishing project, Chinese literature overseas dissemination project, China National Knowledge Network international publishing project, National Social Science Fund Chinese academic translation project, Chinese ideological and cultural terminology dissemination project, the belt and road initiative and other strategies, the State Administration of Press, Publication, Radio, Film and Television recently joined forces with the central and state organs, the Propaganda Bureau of the Political Work Department of the Central Military Commission, the competent units of various publishing units, The publishing group launched the Classic China International Publishing Project, Silk Road Book Fragrance Project and Chinese Contemporary Works Translation Project, aiming to "launch more export-oriented fine books that tell Chinese stories, spread Chinese voices and explain Chinese characteristics, so that overseas readers can know, understand and understand China through Chinese books, and effectively improve the soft power of national culture"(State Administration of Press, Publication, Radio, Film and Television 2017).Later, the General Office of the CPC Central Committee and the General Office of the State Council issued the Opinions on Implementing the Project of Inheriting and Developing Excellent Traditional Chinese Culture, which aims to "adhere to the position of Chinese culture, absorb Chinese wisdom, inherit Chinese cultural genes, carry forward Chinese spirit, spread Chinese values, and continuously enhance the vitality and influence of excellent traditional Chinese culture" and "safeguard national cultural security and enhance national cultural soft power"(General Office of the CPC Central Committee and General Office of the State Council 2017).Therefore, the translation of Chinese cultural classics is facing an excellent opportunity for great development.

===Difficulties in the Translation of Chinese Cultural Classics ===
It is difficult to ensure the quality of translation of Chinese cultural classics because some translators do not have the relevant knowledge of cultural transmission and translation, and blindly pursue speed. Many people think that they can engage in translation activities if they know and understand a foreign language, so the return is not proportional to the government's investment, and at the same time, it has not reached the original intention and established goal of the state to publicize Chinese culture to the world by translating Chinese classics into foreign languages. As Qian Dingping evaluation zhi-wei feng's "the history and present situation of Chinese characters"(1994) of the Greek translation: "The traditional culture of our country is the most important part of our national culture."But to observe, the effort to the great and the effect to the small.All in all, the translation of Chinese cultural classics exist the following problems: (1) inadequate preparatory work for translation of Chinese classic: first, did not grasp in what circumstances what works by whom translation, accept how, what works to be translated; Second, they failed to identify the "tastes" and needs of the target audience, so the former Soviet Union, Russia and South America Paraguay ignored Chinese and foreign translation works and abandoned them on the pile of waste paper. This is an important lack of mapping work. If they still blindly choose their own intentions to translate and introduce, the result is likely to repeat the same mistakes. (2) no full and comprehensive understanding of the objective reality of the current translation work: the scale of foreign language training in China has been greatly improved compared with the past, but the foreign language ability and level of the current "talents" cannot meet the requirements of conveying Chinese culture. Not only can they not read through ancient books, but they also do not have the basic knowledge of national culture. What's more, some people are not familiar with the languages of ethnic minorities, nor understand the cultural traditions of ethnic minorities, so they are forced to do secondary translation through Chinese translation. However, the total number of ethnic minority books and records exceeds 8,000. The Chinese translation of less than 1000, even if the interests of the meter is feasible, it can not complete all the ethnic minority classics translation of this arduous task. (3) no understanding of the target audience's recognition and identity issues: even if the translation of classics can reach the same level as foreign scholars, the target readers do not trust Chinese publishing institutions and hold prejudice against the level of Chinese translators, which inevitably doomed the fate of translation of classics into foreign languages. Moreover, due to the limitation of subjective and objective factors, most of the translations are planned to be published and distributed by relevant domestic publishing houses, which makes it difficult to enter the foreign target group market. As Yang Junfeng said at the 5th International Forum on Language, Literature and Translation in Northeast Asia: In the United States in northern Illinois, all libraries, in possession of English translation of Chinese cultural classics, the proportion of less than one-third, and on these are mostly Chinese or English native speakers of the translation, which to some extent also reflects the Chinese cultural classics English translation of recognition with the problem. (4) unfavorable publishing and marketing: good translation works also benefit from feasible and effective sales channels in many ways. At present, the foreign translation of Confucian classics mainly relies on domestic publishers for active export, the sales channels are limited, and no time, energy and financial resources are not spent on publishing and marketing, or the work in this area is not enough, resulting in the target readers in the translation and language culture system have little understanding of the translation and introduction literature exported in China, and cannot build an effective communication and connection between the translation literature and the translation language culture system. Translated literature in a marginal position must move away from its weak position and move closer to the central position, except that it depends on translation. In addition to the unchangeable state of the language and culture system itself, it is also necessary to rely on certain external forces, such as increasing the interaction between translated literature and internal factors of the translation language culture system, and enhancing the understanding and recognition of translated literature by translated readers, which can be completed with the help of effective marketing means. At present, the foreign translation of Confucian cultural classics only follows the old traditional translation and introduction method: topic selection - translation - publication and distribution, and insufficient efforts have been made in effective publication marketing, resulting in the low awareness of the Translated Confucian cultural classics in the target culture, which is not conducive to the other party's understanding and acceptance of our translation works. In the future process of foreign translation of Confucian cultural classics, multi-channel marketing and publicity means can be adopted, such as making full use of the network platform and adopting various forms of interactive activities to enable target readers to further understand the Confucian classic cultural works exported by China, so as to expand the awareness of the cultural classics exported by China in the translation language and culture system.In view of these practical problems, we may refer to the Indian Buddhist scriptures into the experience, as well as the late Ming Dynasty and foreign missionaries translated Chinese cultural classics lessons learned. This paper trys to provide some useful promoting and teaching suggestions for the translation of Chinese cultural classics.

===Reasonable Approaches to Promote the Translation of Chinese Cultural Classics ===
At the beginning of the introduction of Buddhist scriptures, the mode of interpretation and oral interpretation by Buddhist monks and written records by Chinese people were adopted, and the concepts and terms of Confucian and Taoist classics were used to convey Buddhist scriptures, so as to close the distance between Chinese Buddhist scriptures and Chinese audiences psychologically and achieve the purpose and goal of Buddhist dissemination.Foreign missionaries also adopted the mode of translating Buddhist scriptures into Chinese, first oral by missionaries and written down by China believers, then learning Chinese and translating the Bible in person.Missionaries translation of the bible, follow the experience of buddhist scriptures using Confucianism and Taoism classic words, first use buddhist terms convey the bible thought, the result is not very ideal, hence to Confucianism, Taoism words convey the bible thought, achieve the purpose of han missionary.(Xu Guangtai 2008:20) The success of the translation of Buddhist scriptures and the translation of the Bible borrowed the resources and talents of the target audience countries, which was not only of great reference at that time, but also of some inspiration today. In The translation of China language of literature (The Language and Literature of China: Two Lectures) (1875), the pen is found: Both James Legge's translation of The Sacred Books of The East (1879) and The Orphans of Zhao, the first to be put on the European stage, were translated by native speakers or by native speakers and Chinese scholars.In addition, there are three "meta-hybrid anthologies" published in the United States States between 2010 and 2014, which are translated into English by native speakers and co-translated by Chinese and native speakers. These works are highly recognized in the United States and have been widely disseminated.Therefore, the author of Buddhist translation and missionary translation of 'Bible' lessons learned and related overseas Sinology is made as a reference to make the following reference recommendations: (1) The modes of carrying and disseminating the translated works of classics can adopt flexible modes according to the time, people and circumstances. We should not only adhere to the traditional print media as the means, but also adopt non-traditional media-self media, mobile phone network, cultural exhibitions, cultural relics exhibitions, expositions, book fairs, film festivals, populist performances, sports activities, tourism promotion and brand activities organized by overseas China cultural centers, Confucius Institutes and other governmental and non-governmental organizations. It is also necessary to expand the target audience with the variation mode based on ancient books, such as songs, songs, dances, dramas, plays and other popular literary and artistic forms. (2) The contents of the translated classics can be based on the original classics, but in order to achieve the purpose of easy acceptance by the audience and obtain the greatest impact, the translator can be flexible and flexible, and does not have to adhere to the faithful translation, but can change, compile and extract the translation, which also follows and embodies Deng Xiaoping's concept of economic governance,"No matter whether the cat is black or white, it is a good cat that catches mice." (3) The mode of cooperation between the government and non-governmental organizations and individuals as well as Chinese and foreign subjects can be adopted for the translation of classics into foreign languages: First, adhere to the government-led model, the Chinese and overseas Chinese as the main body of the non-governmental organizations to unite in, at the same time to achieve constant and moderate monitoring; Second, will be dominated by China publishing agency, to sino-foreign cooperation as the leading, government agencies responsible for the audit and supervision work; Third, unite sinologists, publishers, middlemen (such as copyright agents) and overseas students, change the main body of China translators to the composite body of Chinese and foreign translators, and use the trust and influence of overseas people to invite them to be the voice of Chinese culture so as to better serve Chinese culture. For example, the Germany Sinologist Gu Bin wrote the German version of the History of China Literature in the 20th Century, which was published in the Chinese translation by East China Normal University Press in 2008. United States professor mulberry mission to China (Sabina Knight) and Jin Kaijun (Karen Kingsbury) writing "essence of Chinese Literature theory"(Chinese Literature: A Very Short Introduction), etc.Overseas sinologists can read China cultural classics, read thousands of modern literary works, write works of Chinese literary history, and publish them in various countries at home and abroad. The reading level of sinologists can be seen, which is just the external force that can be relied on for the translation of Chinese cultural classics and the going out of Chinese culture.As stated in the Opinions (2017):"Promote international sinology exchanges and cooperation between Chinese and foreign think tanks, strengthen the international promotion and dissemination of China publications, support sinologists and overseas publishing institutions to translate and publish Chinese pictures and books, and rely on overseas Chinese, cultural and sports celebrities, and outbound personnel from all walks of life, relying on China's overseas institutions, Chinese-funded enterprises, friendly and cooperative institutions with China, and Chinese restaurants around the world to tell Chinese stories, spread Chinese voices, and explain Chinese characteristics well. Specifically, the China-foreign cooperation model can invite overseas translators, overseas Chinese, humanities and social researchers who do not understand Chinese culture, especially overseas sinologists, to cooperate. The Chinese are responsible for interpreting classic works, and the sinologists are responsible for transcribing the translation, jointly refining the translation, and submitting it to the relevant government departments for final review; Invite overseas Chinese culture lovers, researchers and Chinese cooperation, Chinese scholars responsible for the classic content, foreign scholars responsible for the transcript of the translation, and then by the Sinologist scrutiny translation, submitted to the relevant government departments audit; Scholars in foreign language circles should refer to existing materials to translate relevant classics and submit them to foreign scholars or relevant China departments for examination and approval. In addition, overseas sinologists (such as Du Bin of Germany, Fu Yunbo of Canada, Du Boni Australia, etc.), Chinese culture lovers, overseas Chinese (such as Shen Guowei Japan), high-level Chinese translators (such as Mr. Xu Yuanchong of Peking University, Professor Yue Feng of Fujian Normal University, China academy of social sciences professor zhu hong, etc.) separate translation, the Chinese government funding, at the same time held the work before publication audit; Encourage the establishment and improvement of international copyright dealers and agents system; Encourage overseas publishing institutions such as Colombia University Press to come to China to solicit foreign translation business, and boost the international publishing, sales and cooperation path of China publishing institutions; Strengthen and enhance the translation and introduction of China cultural centers, Confucius Institutes, non-governmental organizations, Chinese students, visiting scholars, students and visiting scholars in China. For the translation and introduction of Chinese students and visiting scholars and related activities, the government can provide financial support, assign collaborators who are familiar with the contents of the works, and assist them in publishing translated works. Finally, it can also cooperate and cooperate with famous foreign journals by professors with international reputation. We should set up special columns on the translation of China classics into foreign languages, the study of Chinese classics, and the study of overseas Sinology to promote the strategy of Chinese culture going global. No matter which model is adopted, the government departments must keep a close watch on the examination and approval. Therefore, it is suggested that the government set up a Chinese classics translation examination committee composed of experts from foreign languages and Chinese languages in the China Foreign Languages Bureau or other relevant departments to be responsible for the examination and revision of the translations of Chinese classics and make professional evaluations of the translated texts. Provide professional advice and guidance on issues arising from the translation.
Among the above-mentioned main cooperation modes, the first one is the best way for ancient classics to go out. Overseas scholars, especially sinologists, can be invited to visit China. The additional condition is that cooperation with China scholars to translate classics can not only enrich the scientific research strength of universities or relevant institutions, but also find foreign well-known publishing houses to publish translations with the help of joint translators and their relations, so as to promote the translation of classics with their influence. The purpose of publicizing Chinese culture to the world is achieved; Article 2 is due to cost and various subjective and objective factors, Sinologist cannot come to China, the record of the translation work by the China foreign language scholars do, the Sinologist is responsible for the embellish color translation, can be attached to the revision of names, in an attempt to use its influence, looking for a well-known publishing house translation, expand the sales of translation, and achieve the purpose of promoting Chinese culture; The third is the last resort. If the translation is successful and the relevant foreign publishing houses are selected, the purpose of promoting China culture can also be achieved, but the effect will not be as good as the first two.It can be seen that sinologists and overseas lovers of China culture are effective resources worth using to let Chinese cultural classics go abroad.finally, that translation of China cultural classic should learn from the experience and lessons of the translation and publication of classic after 1949, take into full consideration the autonomy of the target readers, the readers 'read psychology and language habits, and pay more attention to the correspondence of terms in the classics, or make up their own terms. or use that inherent term of the target culture to supplement the relevant knowledge in the form of annotation.
In addition, we can also focus on the reader's needs, the characteristics of the translation, the translator's identity, the style of translation, the way of presentation, the way of promotion and other related factors.1)Readers 'needs.Because the reader identity background, education background, reading habits is not 86 figure 4 classics translation dissemination elements analysis, the demand is quite different.The translation of classics into foreign languages shall give consideration to the integrity of information and the acceptance of readers. While providing full-text translation, it shall also provide versions with low reading difficulty, such as section translation, selected translation, excerpt translation and translation compilation, so as to provide readers with a short time to get a full picture.For example, the book Chinese Wisdom (Zhang Zheng 2019) selects famous sayings from Chinese classics and publishes them in both Chinese and English, with pinyin, interpretation and provenance, so that English-speaking readers can quickly understand the essence of Chinese studies and the general appearance of classics.Both the "desk book" and the "pillow book" are indispensable carriers of classics, and the full translation and the verse translation are in parallel, providing readers with more choices.2)the characteristic of that translation.The selection of the completed translation to promote, not only to pay attention to the Chinese nation's literature and philosophy books, but also to pay attention to ethnic minorities and other disciplines books, constitute a complete system of Chinese classics translation promotion.At the same time, we should pay attention to the choice of translation to match the latest research results of scholars at home and abroad, so as to realize the synchronization of academic achievements and the promotion of classics translation.3)The translator.Translators can be overseas sinologists, Chinese translators with overseas living and working backgrounds, or China scholars and translators. Chinese-foreign cooperative translation mode or Internet crowd translation mode, which has become increasingly popular in recent years, can be adopted.In the process of translation promotion, the promotion plan can be formulated according to the characteristics of the translator.4)Translation style. In the translation of the text to promote the process, should pay full attention to the differences in translation style. Such as 'On the language' of the most influential English translation, James Legge (Legge 1861) version of the academic is stronger, and waley (Waley 1938 edition is more inclined to popular books. Two United Kingdom Sinologist, but because of different goals, translation strategies reflect the greater differences. Targeted to recommend to the reader community to achieve the exact match between the translation and the reader. 5) Presentation. Classics translation of the presentation is not limited to the traditional paper media, but also can use electronic publishing model, easy to carry and spread, To provide more convenience for readers. Social networking platforms can also be used to provide elite versions of Chinese classics for foreign translation to meet the needs of fast-paced and fragmented reading. 6) Promotion methods. Try to combine various modes such as official promotion, publishing house promotion, education institution promotion and celebrity recommendation promotion, and grasp the prominent characteristics and interrelations of various modes, which can provide new ideas for the combination and implementation of communication methods. Introduce the "agenda setting" theory into the translation and communication of Chinese classics. Instead of setting a universal model applicable to all classics and readers of all countries, it emphasizes the clarity of communication purposes and the diversification of realization methods, actively looking for communication opportunities and flexibly configuring the above factors to achieve the best effect.

===Thoughts the Teaching in the Translation of Chinese Cultural Classics===
The discussion of the translation of classics into foreign languages is naturally closely related to translation studies.In the field of translation, most foreign scholars pay attention to the direction of "foreign language-mother language," because foreign scholars subconsciously believe that they can fully grasp the quality and quantity of translation by relying on their mother tongue ability.Before the Republic of China, China scholars, like foreign scholars, paid attention to the observation and elucidation of the phenomenon of foreign translation, such as Yan Fu, Lin Shu, etc.dure that period of the republic of China, Zhang Shizhao, Hu Yilu, etc. all considered translation problem from the perspective of translating Chinese into foreign languages.since 1949, foreign language talent strategy and foreign propaganda have become important issues of national security, so we pay attention to the phenomena and problems of Chinese-foreign translation, strengthen the teaching of Chinese-foreign translation, and gradually form a modern teaching mode of Chinese-foreign translation with disciplinary significance. As far as the relationship between the demand for C-E translation and C-E translation teaching is concerned, the content, mode and quality of C-E translation teaching cannot keep up with the demand of C-E translation market, which means that C-E translation teaching in colleges and universities should gradually move towards marketization.In order to make Chinese-foreign translation teaching in universities market-oriented, it is necessary to take the road of "government-school-enterprise-school-inter-school" joint training, which is slightly similar to the current MTI training spirit.to break the single teaching content, can not be limited to literary genres, and reference translation can not be limited to domestic publications or famous examples, but to choose moderate difficulty of political economy, science and technology, military equipment, social history, folk customs and other aspects of the material, or directly with the translation market materials, so that students early understanding and adaptation to the translation market.The author argues that translation activities and teaching should be practical in nature, and that translation workshops should be set up to enable students to deal with the translation market. Teachers should play the role of guidance, assistance and supervision, and help students develop their independent abilities in project management, technology application and literature reference. Therefore, it can only be improved through practice. Finally, the college translation teaching teachers must face the ability and professionalism. Translation teachers must have the ability to understand the cultural classics, especially the China traditional cultural classics, not only to understand the allusions and technological inventions, but also a wealth of encyclopedic knowledge, that translation teachers must be a man of letters. In addition, the translation of foreign teachers need to have good skills, Third, China of C-E translation should be able to arouse students 'enthusiasm, assist students in consulting materials, and guide, evaluate and revise their translations.

===Conclusion===
The translation of classics into foreign languages is an act of cultural communication. It plays an important role in enhancing national cohesion, maintaining national unity, maintaining national cultural diversity, building up the Chinese nation community, and enhancing the soft power of Chinese culture ... It is an important means of "cross-border minority languages and cultures" protection, development and cultural communication in the "Belt and Road" language paving.At the same time, the translation and communication of classics have the multi-disciplinary attributes of ethnology, classicism, translatology and communication, and the relevant research and practical operation are complex, important and urgent, which deserve more attention and attention. It is hoped that more experts and scholars will participate in the research, carry out continuous research from multiple angles and create a new situation for the translation and communication of classics.
Based on the previous translation of Chinese cultural classics facing a variety of difficulties, this paper attempts to put forward the translation of Chinese cultural classics into a variety of paths, such as: Promotion of an international copyright dealer and agent system for domestic publishers and individuals; Promote the international publishing and sales path of domestic publishing institutions; Promote the translation and introduction activities of Chinese culture China cultural centers, Confucius Institutes, cultural departments of overseas institutions and non-governmental organizations, especially the dissemination of Chinese culture through various media, at multiple levels and in various forms; Promote Chinese cultural translation and related activities for China students, visiting scholars, students coming to China, visiting scholars and investors; Encourage multiple forms of translation, such as China translators and overseas translators, especially overseas sinologists, Chinese translators and overseas publishing agencies, overseas Chinese and native speakers, overseas Chinese, native speakers, Chinese high-level translator's cooperation, collaboration and independent interpretation; Finally, in the path of the translation of Chinese culture, I hope this paper can play a role in attracting more and more complete research results.

===References===
·Wang Yun, Zhou Jinyou.王贇,周今由. 中华典籍外译现状及数字化改进模式研究[Research on the Status Quo of Chinese Classics Translation and Digital Improvement Mode ]. 外文研究 Foreign Language Study,2021,9(01):82-88+109.

·Huang Xin.黄信. 民族典籍外译传播的价值、困境与新思考[The Value, Dilemma and New Thinking of the Translation and Communication of Ethnic Classics]. 四川民族学院学报 Journal of Sichuan University for Nationalities,2021,30(03):61-65.

·Jia Hongwei.贾洪伟. 中华文化典籍外译的推进路径研究[A Study on the Promotion Path of Translation of Chinese Cultural Classics]. 外语学刊 Journal of Foreign Language,2017(04):110-114.

·Huang Xinyan, Wu Di.黄新炎,吴迪. 中国优秀典籍外译的传播与思考——以上海外语教育出版社汉英对照版四大名著为例[The Dissemination and Reflection on the Translation of China Excellent Classics-A Case Study of the Four Great Classics in the Chinese-English Edition of Shanghai Foreign Language Education Press]. 出版广角Publication Wide Angle,2018(21):64-66.

·Chen Zhongwei, Wang Fuyin.陈仲伟,王富银. 中华文化典籍外译传播障碍研究[A Study on the Barriers to the Translation of Chinese Cultural Classics]. 海外英语Overseas English,2019(01):90-92.

·Wang Xueqiang.王学强. 中华优秀文化典籍外译何以“走出去”[How Can the Chinese Excellent Cultural Classics Translation "Go Out"]. 人民论坛 People's Forum,2019(09):132-133.

==比较文学与跨文化研究 MAHZAD SADAT HEYDARIAN 202021080004 MW==
'''
Academies of Classical Learning

The Shūyuàn (书院), usually known in English as Academies or Academies of Classical Learning, were private research and educational institutions in ancient China. They were built as early as the eighth century and flourished during the tenth and eleventh centuries with the support of various Emperors. The Shuyuan were not only centers for the compilation and study of classical literature, but were crucial for the development of Confucianism and Neo-Confucianism; notable Confucian thinkers such as Zhu Xi and Wang Yangming developed their ideas and taught at the Shuyuan.

==外国语言文学 Muhammad Numan 202121080002 CE==

==英语语言文学 TOURE MARIAM 202021080005 MW==

==外国语言文学 UDDIN NIZAM 202121080007 CE==

Chinese Classics in World Literature: The Viewpoints of the West towards the Four Famous Chinese Novels

==翻译学 201911080004 SAGARA SEYDOU MW==

Chinese Classics in World literature . Anthologies and World Literary History Book

Chinese Classics Translation 2022 LIST OF FINAL EXAM PAPERS

2022-06-25T09:45:41Z

Xiong Jialing: /* 英语笔译熊嘉玲 Xiong Jialing 202170081602 CE */

[https://bou.de/u/wiki/Chinese_Language_and_Culture_2022|Back to course homepage]

This is the overview page of the topics. For the actual papers, please refer to: [[20220630_Culture]]

Every student needs to find a topic which is not yet in the textbook and has not been presented in class. Please check your topic for this. All topics are ok except from those which are marked red. If your topic is marked red, please find
a new topic and leave the red mark there, so that the teacher can check again.

==Tips for writing your final exam paper: How to indicate your references==
*You can use the existing book chapters here as an example.
*Please write the text and indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17. And then, you need to add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Do '''not''' write any references like in one of the sample chapters:

[1] dsalkfkdsa

[2] adsfadsfag

But only the following way:

(Liu Miqing 2010, 17) in the text

and then

'''References'''
*Jin Wenlu 靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学.

Also, please avoid using the three apostrophes like ' ' ' (without spaces). Use the equal signs to mark headers and subheaders instead. If your paper topic has two equal signs at the beginning and end of your topic, then use three equal signs for your sub headers. Example (without spaces):
= = Topic = =
< c e n t e r > Student Name, Student no. < / c e n t e r >
= = = Abstract = = =
This chapter is on ....
= = = Key Words = = =
Egg, Hen
= = = 题目 = = =
= = = 摘要 = = =
= = = 关键词 = = =
= = = Introduction = = =
Here starts the normal text of the chapter. Please remember to indicate the source of EACH PARAGRAPH, sometimes even of single sentences. You can indicate it like this. (Woesler 2020, 345) And don't forget to mention the full bibliographical entry beneath under ''References''.
= = = The Egg = = =
Bla, bla, bla
= = = The Hen = = =
Bla, bla, bla
= = = Conclusion = = =
Bla, bla, bla
= = = References = = =
Woesler, Martin. (2020). Responsibility and Ethics in Times of Corona. Woesler, Martin and Hans-Martin Sass eds. ''Medicine and Ethics in Times of Corona'' Muenster: LIT

==Sample papers==
You can find the full papers also on the Webpage [[History of Translation Studies]]). They are marked with "Sample paper".
* A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories
* An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications
* Comparative Study on Functional Equivalence Theory and Skopos Theroy
* Comparison of Derrida’s and Benjamin’s Translation View
* Impacts of Western Translation Theories on The Translator’s Guide to Chinglish
* On the Comparison between "Sublimation" an "Functonal Equivalence" Theories
* Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics
* The Translation of Culture-loaded Words in Chinese-English Communication
* Translators' Views on Translation Influence Their Translation Behavior

==Websites to write your final exam paper on==
The website where everybody wrote their final exam paper on became too big and produced a database error. Therefore we split the website into 10 small websites. They are sorted like the chapters in the book. Please look for your name and find the right of the 10 small websites to edit your book chapter. Everybody also needs to help to improve other book chapters (copy a paragraph, paste it beneath, make your corrections in the paragraph and sign it).

==Here you can write your Final Exam Papers==

==英语笔译卞王倩 Bian Wangqian 202170081563 CE==

<center>'''Chinese Classics Translation from a Perspective of Translational Communication Studies'''</center>

<center>Bian Wangqian</center>

===Abstract===
A relatively massive Chinese classics translation can be back to the period during the late Ming dynasty and the early Qing dynasty, when excellent bilingual foreign missionaries in China introduced Chinese Classics abroad and brought them on a world stage, which can be seen as the individual translation activities that brought some Chinese Classics some popularity and fame among foreign countries, especially western ones. In the new era, China has made every effort to promote the “going-out” of Chinese culture with a focus on Chinese classics while strengthening its cultural soft power to build a modernized strong country, in which translational communication is no doubt playing an important role. Translational communication comes out of the application of communication theories to translation research and is an emerging subject that involves many specific fields for further research. And translational communication is a science of researching translational communication phenomena and their laws. A complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, the receiver of target language message, communication channels and translation effect, of which the initiator of communication and translator will be specifically illustrated here to deal with the issues of Chinese Classics Translation.

===Key words===
'''Chinese Classics Translation; Translational Communication; Initiator of Communication; Translator'''

===Introduction===
This paper includes five parts. The first part is the literature review, telling the relationship between translation and communication, the overview of translational communication studies and current studies from the perspective of translational communication. The second part is about methods and theories, that is, the introduction of translational communication and its six elements, especially the initiator of translational communication and translator. The third part is a detailed introduction of the initiator of translational communication, which has been divided into three types: the subject of the source language, the subject of the target language and the cooperation between the subject of the source language and the subject of the target language, and their application in real life and their aspiration for Chinese classics translation. The fourth part is the introduction of the translator and its subjectivity in different stages of translation in translational communication and their aspiration for Chinese classics translation. The last part is about the conclusion.

===Literature Review===
To meet the needs of rising translational communication practices, some theories and concepts of the science of communication have been introduced to apply to translation studies. As a result, translational communication studies are emerging. Lu Jun put forward that “the essence of translation is communication” (1997, 39). Xie Ke and Liao Xueru also defined: “in terms of the definition of translation and the nature of communication, communication is the essence of translation” (2016, 15). Tang Weihua franked: “Translation is communication” (2004, 48). And Zhang Shengxiang proposed that “translation and communication are symbionts” (2013, 117). All these have offered inspiration for furthering translational communication studies.

And the overview of translational communication studies is as follows: media, also communication channel or vehicle in translational communication, is the hot subject, and it includes new media, traditional media, mass media, social media and We media. This is in accordance with such an era of “media”. And then it’s translation strategies studies and communication effect. And cultural communication, as one of the types of translational communication, is closely related to a nation’s ideology and the purpose of building a positive international image. And Chinese classics translation and news translation are also playing a major role in foreign publicity. Translation publishing is also an important part, as it relates to the initiator of translational communication or the communication channels. In conclusion, translational communication studies cover not only the essential elements of translational communication but also the basic directions of translation, such as translation strategies and techniques, various text types and so on.

With the keywords “Chinese Classics translation from the perspective of translational communication studies” guided, according to data from CNKI, the most-involved theme is the studies of the strategies of Chinese Classics translation, which is exactly why this paper starts here, but from the perspective of translational communication studies. The rest majority covers external communication of such Chinese culture and classics as A Dream of Red Mansions and The Analects, translators and sinologists, such as English missionary James Legge, and publishing houses. So we can conclude that Chinese classics translation from the perspective of translational communication mainly deals with the object, translator and communication channel or vehicle, these three elements of translational communication. Besides, the papers involved are emerging like spring bamboo over the past five years, totaling five times that of ten years ago, just a single digit. This also proves the rapid development of translational communication studies as a new subject.

However, while “the subject or translator in translational communication” is searched as a subject, there is a few papers related unfolding or a few papers that directly relate to translational communication, but a lot about translation. So we can see that when translational communication is studied, translation from the perspective of communication is actually studied, which is indeed different from what we categorize as a translation but offers us a new direction. Just as Yin Feizhou, Yu Chengfa and Deng Yingling refer to in their co-authored book Ten Chapters of Translational Communication Studies: “The study of the interaction of the six elements of translational communication in translation communication studies can be found in the corresponding or correlated research patterns under translation studies” (2021: 17). That’s how the main body parts are organized here.

===Methods and Theories===
Let’s first get to communication before taking translational communication as the theoretical basis. In 1948, Harold Lasswell, an American communication scientist, put forward the 5W model of communication, that is, through what communication channel (In Which Channel), what communicating message (Says what) is communicated by the communication subject (the initiator of communication) to the communication target (To Whom), and what effect is achieved (With What Effect). But there is no clear definition of communication. In the 1970s, Wilbur Schramm, another American communication scientist reputed as “the father of communication studies”, gave an implicit definition: “Communication serves as a tool. That’s why our society exists.” Until now, there has been a simple definition of communication in the communication circle: the so-called “communication” is to convey the societal message or the operation of the societal message system (Guo Qingguang, 2011: 04). Or communication is the process of message flow (Hu Zhengrong，2017:19).

As for translation, according to Eugene. A. Nida, translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message. And Peter Newmark also gave his definition: “translation is rendering the meaning of a text into another language in the way the author intended the text”. And we can see that communication and translation both involve the exchange or transmission of the message.

From the perspective of language involved in communication, only a kind of language is used in the process of communication, which is called “intralingual communication”, also the general communication, and is the most seen in our daily life, such as the talk between two persons or groups who speak the same language. For another, such a process of communication deals with two or more kinds of language and can only be realized by means of translation or interpretation, which is exactly what we further study “interlingual communication”, and is also how we get translational communication.

So here is the difference between general communication and translational communication: translational communication carries the general characteristics of general communication, and also has a unique characteristic: language shift, which both constitute the essentials of translational communication. At the same time, translational communication studies and translation studies are different, more specifically, translation communication is the result of the development of translation studies towards a more refined and systematic direction. (Zhang Shengxiang, 2013：116). Differing from translation studies, see translation, as mentioned before, is an integral part of the process of translational communication, which is also regarded as an organic whole whose elements are interactive and interdependent.

We can conclude that translation is one of the forms of communication. And translational communication belongs to interlingual communication and can also be categorized as translation. It serves as the bridge for message communication among people. And based on Harold Lasswell’s 5W model of communication, the translator is introduced as one of the six elements of translational communication. As a result, a complete process of translational communication depends on six elements: the initiator of communication, source language message, translator, receptor of target language message, vehicle\communicating channels and translation effect, and they engage in four links respectively, that is, initiation, translation, vehicle and reception, and message and translation effect are covering the whole process of translational communication.

In terms of six elements that contribute to a complete process of translational communication, six elements of translational communication jointly tell how translational communication is unfolding.

As the gatekeeper of translational communication, the subject of translational communication is also the initiator of the translational communication, who determines the communication message, the form of message presentation, translator, communication media and the vehicle, selects the wanted qualified translator and offers necessary material support to ensure the smooth operation of translational communication as well as partly affects the communication effect. This is the subjectivity of the initiator of translational communication. The initiator of translational communication can be an individual, a group, an organization, mass media or a country, which shows its diversity.

As an element that distinguishes translational communication from general communication, the translator is playing an important role in translational communication, that is, translators translate the source language message into the target language message and ensure the quality of the communication message. There will not be translational communication if there is no translator. In translational communication, a translator is a person, a machine, or a combination of both, who performs translation activities in the translational communication process (Yin Feizhou &Yu Chengfa, 2020：170-176). The translator affects the communication effect from two aspects: for one hand, the translator serves as the cooperation partner or stakeholder of the initiator of translational communication or even the initiator himself, along with the initiator or himself alone, exerts influence over the effect; for another, as the gatekeeper of message shift, translator determines the final effect of translational communication by selecting certain kinds of translation strategies or techniques and interacting with other elements of translational communication which deals with the quality of target language message. This is also an illustration of the subjectivity of translators in translational communication.

Source language message and target language message are both the object of translational communication, the object for the subject or initiator and translator of translational communication to recognize and perform and for the receptor to accept and understand. All activities of translational communication start from the perception, understanding and selection of the source language message and result in the target language message. There are three kinds of relationships between source language message and target language message: substitution, symbiosis and competition (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 112).

Communication channels refer to those media involved in translational communication, including newspaper offices, journals and magazines, book publishing houses, radio and television stations, film studios and networks and so on. In terms of message communication direction, these activities of translational communication can be classified into two types: internal translation communication and external translation communication. There are three main characteristics of communication channels: first, there is a translation link involved; second, communication media must be authorized; third, cross-region or -country cooperation will be made to better communicate.

The receptor of the target language message, the terminal of translational communication activities, accepts the heterogeneous culture from the source language, which means that receptor has to go through a cross-language understanding and cross-cultural reception. There are four characteristics of receptors in translational communication: absorb the heterogeneous culture, transform cognition, witness an impacted social culture and personal philosophy.

Like the effect of general communication, the effect of translational communication can be classified into two types: psychological, attitude and behavioral changes on the target receptor caused by the persuasive translational communication; the other is an intentional or unintentional, direct or indirect, implicit or explicit effect or influence on the general receptor and the society caused by all kinds of translational communication activities, especially those initiated by international radios and televisions, foreign language learning platforms and international message websites and We media.

===Section One The Initiator of Translational Communication===
As has been mentioned before, the initiator of translational communication is the gatekeeper of translational communication. It monitors other elements of translational communication and the whole process of communication, thus affecting the final effect of communication. According to the language environment, the subject or initiator of translational communication can be divided into the subject of the source language and the subject of the target language, and its control of the communication process can be in the form of control by the subject of the source language, control by the subject of the target language, and joint control by the source language subject and the target language subject. (Yin Feizhou & Li Ying, 2021: 76).

(1) The Subject of Source Language

The subject of source language refers to those individuals or organizations in the source language environment and their advantages in communicating their native or national culture lie in their deep understanding of and great appreciation for the message itself and the quality of Chinese classic works.

China International Literature Press and Foreign Language Press, the publishers of the Panda Books, are the subjects of the source language. As a member of the China International Publishing Group, Foreign Language Press has the responsibility of “introducing China in foreign languages and communicating with the world through books”. And its Panda Books includes a wide range of contemporary Chinese literary works, including masterpieces or collections of famous contemporary Chinese writers such as Wang Meng, Wang Zengqi, Liang Xiaosheng, Jia Pingwa, Feng Jicai, Tie Ning and Wang Anyi and so on, and their works reflect the true spiritual world and daily life of the Chinese people and resonate widely with their changing spiritual life and social environments. As a result, Panda Books has been a great success and has received widespread attention from the literary and Chinese communities in foreign countries such as the United Kingdom and the United States, thus becoming a publishing brand for translating and interpreting contemporary Chinese literature.

This is indeed an excellent example of Chinese classics translation and promotion abroad. Chinese classics such as the Taoist classics represented by Laozi or Tao Te Ching and the Confucian classics represented by the Analects, poems in the Tang, Song and Yuan dynasties, as well as the Ming and Qing novels represented by the Four Great Masterpieces of China have everlasting value and their significance goes beyond the contemporary era, and have gotten popularity in foreign countries during different periods. Therefore, their translation and promotion entail more attention and efforts from national publishers like Foreign Language Press so that Chinese classics can be brought back to life in the modern world.

Some famous Chinese and foreign experts and top-notch translators have worked with the FLP at one time or another, such as Israel Epstein, Sidney Shapiro, Gladys Yang, Denise Ly-Lebreton, and Tatsuko Yokokawa, Betty Chandler, Xiao Qian, Ye Junjian, and Yang Xianyi. Of them, A Dream of Red Mansions, co-translated by Yang Xianyi and his wife Gladys Yang and published by FLP, along with The Story of the Stone by Hawks, the two major English translations of A Dream of the Red Mansions, have been popular in the English-speaking world for nearly half a century, each with its own distinctive features, and have an authoritative status not only in the mainstream book market but also in the international sinology and redology circles. This also offers another solution to Chinese classics translation for China’s publishing houses: to absorb in excellent translation talents and masters and join hands to lay a solid foundation for Chinese classics’ communication with a foreign culture and foreign readers.

(2) The Subject of Target Language

The subject of target language refers to those individuals or organizations in the target language environment and their advantages of communicating with foreign or alien cultures lie in that they have an in-depth understanding of the target receptors and good control of the means of communication in the target language environment. For the subject of the target language, the content of translational communication is often determined by the cultural needs of the environment.

Mai Jia's ''Decoded'' is a typical example of a contemporary Chinese literary work that has “gone global” thanks to the subject of the target language. After the work won the Sixth National Book Award and was nominated for the Sixth Mao Dun Award, it was translated into English by a British sinologist Olivia Milburn and Christopher Payne, and co-published by Penguin Publishing Group in the UK and Elite Publishing Group in the US on the recommendation of the sinologist Julia Lovell. Due to their rich experience in marketing, the two publishing groups have made the English version of ''Decoded'' an enduring bestseller through various marketing channels, including the production of promotional videos, media coverage, book reviews, and global lecture tours by the author, and has been selected as the only contemporary Chinese literature work in the Penguin Classics.

As the target language subject--the publishing bodies act as the subject of translational communication, their access to the introduced works is mainly through translators and copyright agents, and the works recommended by these two groups are mostly classics from the source language country or region. Chinese classics are classical enough, plus enough exposure and strong publicity, all these make them enter the vision of the subjects of the target language and become their choice. Therefore, from the perspective of translational communication, the translation of Chinese classics depends not only on the discerning eyes of sinologists and subjects of the target language, but also on the classical atmosphere created by the Chinese government, the Chinese media and the Chinese people as the source language subjects. That’s the truth: Blooming flowers will always attract butterflies.

(3) the Subject of Source Language and the Subject of Target Language

Joint control by the source language subject and the target language subject means that two communication subjects in the source language environment and the target language environment are jointly responsible for a translational communication project. In the publishing industry, two publishing houses in the source language and the target language cooperate to complete the whole process of publishing and distribution, including the granting of translation rights, translation, publication, marketing and market feedback. The publication of the English translation of the famous science fiction ''The Three-Body Problem'', written by the Chinese writer Li Cixin, is a typical example of this model.

In 2012, China Educational Publication Import & Export Corporation and Science Fiction World signed a book copyright agreement with Liu Cixin, the author of ''Three Bodies'' for the translation rights of its English version, and chose Chinese-American science fiction writer Ken Liu as the translator of the first book. In 2014, the company licensed the English version of ''Three Bodies'' to Thor Press in the U.S. for worldwide publication, and in 2015, Thor Press granted back the rights to the company for the English version in Greater China, and thus it was released in mainland China, Hong Kong, Macau, and Taiwan. So we can see that the English version of ''Three Bodies'' was jointly published and distributed by Chinese and American publishers who fully captured the content of this masterpiece and made good use of the local distribution advantages of British and American publishers, and finally gained a great success.

So what can Chinese classics translation learn from it? There is no denying that the subject of the source language or Chinese is monitoring the whole process of translational communication. But it will never be a way out while holding excellent classic works in the bosom as it will be difficult for us to have the advantages that the subject of target language does: identify the target receptors, understand their cultural psychology and select the types of classics that will interest the target receptors as well as find the best form of communication. So cooperation will be a win-win choice, especially today when Sino-foreign exchange has been increasingly close.

===Section Two Translator in Translational Communication ===
Translator distinguishes translational communication from general communication, and they have the qualities of general translators and proficient ability to manage cross-cultural issues and, more importantly, the flexibility to interact with other elements to ensure the quality of translation and the communication effect, which are all examples of the subjectivity of translators. In the specific process of translational communication, the subjectivity of translations can be divided into two kinds: intra-translational subjectivity and extra-translational subjectivity (Yin Feizhou & Yu Chengfa & Deng Yingling, 2021: 88). Extra-translational subjectivity refers to the translator's activeness and passivity in interacting with other elements of translational communication beyond language conversion, and it runs through the process of pre-translation negotiation and post-translation coordination. Intra-translational subjectivity refers to the translator's activeness and passivity in language conversion under the influence of other translational communication elements, and it runs through the process of translation.

(1) Pre-translation Negotiation

In translational communication of books, translators’ pre-translation negotiation subject is mainly the initiator of translational communication. This means that the translator needs to translate according to the expectations or instructions of the initiator, such as identifying the content of the translation, determining the purpose of translational communication, and proposing specific translation standards or strategies. The translator accepts the commission, agrees on the translation plan and signs a translation contract, and should of course translate according to the subject or initiator’s requirements, and the translation should try to meet his expectations, which reflects its passivity. For another, the translator can also make suggestions to the initiator, communicate and modify the translated text, standards or strategies based on his or her understanding of target readers and target society and culture, which in turn reflects the translator’s activeness.

Before the First China-Africa Economic and Trade Expo, the Secretariat of the Organizing Committee, as the main body of translational communication, commissioned a translation committee composed of experts including Jiang Hongxin and Yin Feizhou from Hunan Normal University to translate the official documents of the Expo. The translation committee initially advised that the Chinese expression “经贸合作” in the title of the book could be translated as “business cooperation”, but the secretariat, taking into account the opinions of the experts, considered that its translation should be “economic and trade cooperation”, and the translation of “经贸” should be “economy and trade”. In fact, the translation committee quoted the official English translation of “China-Europe business cooperation” from Li Keqiang’s keynote speech at the sixth session of the China-Europe Forum Hamburg Summit, stating that the term “economic and trade cooperation” is actually the equivalent of “business cooperation”, which does not need to be translated as the lengthy “economic and trade cooperation”. Despite that, the Secretariat emphasized that the translation of the book title should be consistent with the official English translation of the China-Africa Economic and Trade Expo, and insisted on the version of “economic and trade cooperation”. After understanding the intention of the organizing committee secretariat, the translators expressed their understanding and adopted this translation (Yin Feizhou, 2021: 88).

(2) While-translation Control

It’s what translators must do to timely communicate with the author of the source text or some experts while facing some difficulties or some professional problems in translating. The famous American sinologist Howard Goldblatt once said in an interview: The dialects in Jia Pingwa’s novels are so many that sometimes I fail to understand them while translating and have to communicate with him. Besides, I have translated eleven of Mo Yan’s novels, and we have had many discussions and even arguments about various details in them. Some of the artifacts and cultural backgrounds in Mo Yan's novels have posed considerable challenges for me. There is an artifact in (si shi yi pao) ''Pow!'' that I never understood, so I turned to him for help, and Mo Yan made a sketch and sent it to me by fax (Meng Xiangchun, 2014: 26). As a result, under the joint efforts of the translator and the author of the source text, Mo Yan’s works with Chinese characteristics has been a hit in the western and American markets and eventually Mo Yan won the Nobel Prize for Literature thanks to Howard Goldblatt’s translation.

The translator is the most competent and literate member in terms of interlingual communication during the entire translational communication activity (Yin Feizhou, Li Ying: 77). This means that translators should give full play to their roles and be more creative while being loyal to the source text and responsible for the author. As far as the role of translators is concerned, translators should be more creative in their translations to enhance the readability of Chinese classics. The famous translator of ''A Dream of Red Mansions'' Gladys Yang once said: “We (she and her husband Yang Xianyi) are not flexible enough. There is one translator whom we admire very much, David Hawks (another famous translator of ''The Story of The Stone''). He was much more creative than we were. We are too rigid and readers don’t like it because we are adopting literal translation wholly. In fact, we should be more creative. Translators should be more or less that way. However, we have been restricted by our past working environment for a long time, and thus more stuck to the source text” (Wang Zuoliang, 1989). As Zhuang Yichuan (2015: 76) has said, the more creative the translator is, the closer his translation will be to the original. And vice versa.

(3) Post-translation Coordination

After the translation is finished, the translated text has to be read and examined by the translator herself and others. Others include readers of the target language, who are responsible for pointing out those expressions that are not accurate, fluent and standard, and initiator of translational communication, who aims to find wherever it is inappropriate for publishing. For the former, as Howard Goldblatt translated Yang Jiang’s ''Six Chapters from My Life: Downunder'', Joseph Lau, a young teacher at the University of Wisconsin at the time, was invited as a reader and offered valuable suggestions for the treatment of background knowledge in the translation (Xu Shiyan, 2016: 90). For the latter, in his translations of Chinese classics, Howard Goldblatt has to abridge some of his translations at the request of editors and publishers, because literary translational communication cannot take place in a vacuum. (Liu Yunhong, 2019: 76) Readers’ acceptance is one of the factors that are necessarily taken into consideration.

In a word, at the stage when the foreign translation of Chinese literature was not yet in full swing, Howard Goldblatt gave full play to his initiative, actively communicated with editors, publishers and scholars, and jointly made suggestions for the translation, publication and promotion of the works, thus achieving the success of foreign translation of Chinese literature. This is exactly the kind of translator that Chinese classics translation asks for. In fact, Howard Goldblatt came into sight of Chinese and became the hot subject of the research of Chinese translation circles after Mo Yan’s winning the prize. That’s the reality: the translator is often invisible. But for Chinese classics translation, translators are increasingly visible. This inspires us in terms of two aspects. One is such translation masters as Howard Goldblatt who makes great contributions to Chinese literature and Chinese culture deserves Chinese attention and recognition when the Chinese government or the initiator of Chinese classics translation should be open and clever enough to cooperate with such talents to serve this event. Second, Chinese translators should never be excluded, although it is always a better choice for a target language translator to have this job. But the ability speaks aloud.

So what can Chinese classics translation learn from the translator with subjectivity and creativity from the perspective of translational communication? It must be a lot to learn from.

First, Chinese classics translation needs modern excellent translators as inheritors to inject them with new vitality. This needs translators’ activeness. For example, although the version of ''Roman of Three Kingdoms'' translated by the English sinologist C.H. Brewitt Taylor is no longer popular now because of the passage of time, it is still very influential in sinological circles. For example, the American sinologist Moss Roberts referred to his version when he re-translated this classic in 1983. The Australian sinologist Rafe de Crespigny became interested in Chinese history when he saw Taylor’s translation and later wrote at least five full-length monographs on the late Han and Three Kingdoms periods, and a 500-page biography of Cao Cao, which is perhaps the only biography of Cao Cao in the English-speaking world. This is exactly where the charming of excellent translation lies in: despite being difficult to translate due to its rich content and impressive cultural marks, real responsible translators should be rising to challenges, trying to challenge their predecessors and be creative to re-illustrate the Chinese classics while standing on the shoulders of those who came before us.

Second, the cultivation of translation talents for Chinese classics translation should be valued at a national level. In the past, the training of foreign language talents and translators focused on learning foreign literature, language and culture, and a certain degree of Chinese cultural aphasia has occurred. That is, Chinese translation talents may be familiar with English and American literature and its popular culture, but know little about ''the Four Books and Five Classics'' and the national culture. Here the problem comes: if they do not know their own cultural traditions and ideology, how can they take up the important task of translating and interpreting China? Therefore, in the current training of translation talents, it is urgent to make up for the shortage of local cultural nourishment and strengthen the education of local history, culture and intellectual concepts. Throughout the twentieth century, China was good at translating from foreign culture but poor at translating Chinese culture abroad, but there was a translation master in Chinese cultural promotion abroad, and it was Lin Yutang, one of the best-known Chinese writers of the twentieth century in the world. His ''Moment in Peking, My Country and My People, and The Importance of Living'' and so on all tells China and Chinese culture to the world. At this time when Chinese culture is being exported on a large scale, and when Chinese culture has to go out and is going to have benign communication with other cultures, Lin Yutang, who is undoubtedly a model of cultural communication, is worth studying and emulating both at present and in the future.

===Conclusion===
The significance of Chinese classics translation from the perspective of translational communication studies lies in the fact that it’s the right time for the strategies of Chinese cultural communication to upgrade while facing a lingering pandemic. At the same time, from translating the world to translating China, China itself has been increasingly stressing the foreign communication of our culture, so translational communication as a new subject will be a good approach to related studies. As has been illustrated above, the initiator of translational communication and translator, as two of the six elements of translational communication, are playing an important role in this process and this importance can be seen everywhere in book publication and promotion worldwide or by means of other media. In conclusion, translational communication studies indeed provide the theory and methodology for promoting Chinese classics abroad and “telling the Chinese story well”.

===References===
*Guo Qingguang郭庆光. (2011). ''传播学教程（第二版）''[Communication Studies Course (2nd Edition]. 北京：中国人民大学出版社Beijing: China Renmin University Press, Page 4.

*Hu Zhengrong.胡正荣.(2017).''传播学概论''[Introduction to Communication Studies]. 北京：高等教育出版社Beijing: Higher Education Press, Page 19.

*Liu Yunhong.刘云虹.(2019).''葛浩文翻译研究''[Studies on Howard Goldblatt’s Translations].南京大学出版社 Nanjing University Press, Page 76.

*Meng Xiangchun.孟祥春.(2014).葛浩文论译者——基于葛浩文讲座与访谈的批评性阐释[Howard Goldblatt on Translators--A Critical Interpretation Based on Howard Goldblatt’s Lectures and Interviews].中国翻译Chinese Translators Journal, (03): 26.

*Wang Zuoliang. 王佐良.(1989).''翻译：思考与试笔''[Thinking and Practice on Translation].北京：外语教学与研究出版社Beijing: Foreign Language Teaching and Research Press, Page 84.

*Yin Feizhou, Li Ying.尹飞舟、李颖. (2021).翻译传播主体控制效应解析———以当代中国文学作品英译出版为例[An Analysis of the Control Effect of Translational Communication Subjects---The Case of English Translation and Publication of Contemporary Chinese Literature]. 湖南师范大学社会科学学报 Journal of Social Science of Hunan Normal University, Page 76.

*Yin Feizhou, Yu Chengfa.尹飞舟、余承法. (2020).''翻译传播学论纲''[Outline of Translation Communication Studies]. 湘潭大学学报（哲学社会科学版），Journal of Xiangtan University(Philosophy and Social Science)2020(05)：170-176.

*Yin Feihzhou, Yu Chengfa and Deng Yingling.尹飞舟、余承法、邓颖玲. (2021).''翻译传播学十讲''[Ten Chapters of Translational Communication Studies]. 长沙：湖南师范大学出版社 Changsha: Hunan Normal University Press, Page 17 and 88.

*Zhang Shengxiang.张生祥.(2013).翻译传播学:理论建构与学科空间[Translation Communication: Theoretical Constructions and Disciplinary Space]. 湛江师范学院学报 Journal of Zhanjiang Normal College, (01):116.

*Zhuang Yichuan.庄绎传.(2015).''翻译漫谈''[On Translation].北京：商务印书馆Beijing: The Commercial Press, Page 76.

==英语笔译曹姣 Cao Jiao 202170081564 MW==

<center>'''The Dissemination of ''The Compendium of Materia Medica'' Abroad'''</center>

<center>曹姣CaoJiao</center>

===Abstract===

===Introduction===
The ''Compendium of Materia Medica'' is one of the pharmaceutical classics of China [elaborate].

Since the outbreak of coronavirus pandemic, traditional Chinese medicine has demonstrated its curative effect [evidence based medical study double blind randomized] in prevention and other respects by means of early intervention and 'full participation' [explain], and traditional Chinese medicine has thus re-[do you really mean it?]entered the international visibility [really?].

===Structure===
This paper takes the overseas dissemination of the ''Compendium of Materia Medica'' (Chinese characters) as an example: the first part is about the spread and development of its original text, the second part is about the overseas dissemination of its translation, the third part is about the current acceptance of the book, and the fourth part is about the summary and further analysis of the dissemination of this pharmaceutical classic. The research on the dissemination of Chinese medical classics abroad will better help the Chinese medical classics to go abroad and promote the internationalization of TCM.

===Key words===
'''''the Compendium of Materia Medica''; overseas dissemination; Chinese medical classics;'''

===Introduction===
'''1. On the original'''

The original classic ''Compendium of Materia Medica'' consists of 52 volumes, including 16 parts and 60 categories, which recorded 1892 kinds of herbs, 11096 prescriptions and 1110 attached drawings. Based on traditional Chinese medicine, this book integrated mass disciplines encompassing basic theories of traditional Chinese medicine, medicament, prescription, and clinical application which almost involve all the contents of traditional Chinese medicine, reflecting the comprehensiveness of herbal knowledge and marking the extraordinary significance to the development of traditional Chinese medicine.

'''2. On the author of the original'''

Li Shizhen (courtesy name: Li Dongbi, assumed name: Li Binhu; 1518-1593) was from Qizhou (present Qichun County, Hubei Province). He came from a family lineage of physicians. His grandfather, an itinerant healer usually walked the streets to give treatment to poor people, and his father was a famous physician in his hometown. He was brought up and nurtured by his family tradition and he expressed keen interest in medicine.(Min Li, Yongxuan Liang 2015, 215-216)

===Literature Review===

===Methods and Theories===

===The original edition and the other three popular editions===
'''1. Jinling Edition'''
Li Shizhen has represented a great interest in medicine since he was young. He read previous works extensively, and when he had got some perceptions he would make notes and in this way he accumulated a large amount of knowledge. Meanwhile, he did not stick to the saying of the ancient people and adhered to “seeing is believing”.
From the age of 35, that is, the thirty-first year of Jiajing of the Ming Dynasty, Li began to write the''Compendium of Materia Medica'', and until the age of 62, that is, the sixth year of Wanli of Ming Dynasty, it was completed without manuscript. During this 27 years, after arduous efforts, Compendium of Materia Medica was finally written successfully in 1578. Because this book encompassed the content of the anti-taoist belief of immortals, its publishing process necessitated painstaking efforts. Finally, with the help of Wang Shizhen, a literary giant of that period, it was about to be published. However, Li passed away just as the engraving of his work was complete and was about to be printed. In 1596, the epoch-making ''Compendium of Materia Medica'' was published in Nanjing, known as the Jinling Edition.

'''2. Jiangxi Edition'''

'''3. Hangzhou Edition'''

'''4. Hefei Edition'''

===Dissemination in different regions ===
'''1. In Japan'''

'''2. In Korea'''

'''3. In Europea'''

'''4. In America'''

===Reception in contemporary foreign market===

===Analysis and enlightment===

===Conclusion===

===References===
*Min Li, Yongxuan Liang(2015). Li Shizhen and The Grand Compendium of Materia Medica. Journal of Traditional Chinese Medical Sciences 2, 215-216
*
*
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==英语笔译陈路瑶 Chen Luyao 202170081565 CE==

<center>A Study on the Popularity of Tie Ning's ''The Bathing Women'' Abroad</center>

<center>Chen Luyao</center>

===Abstract===
Tie Ning is an important writer in the history of modern Chinese literature. Her literary creation almost started in the period of reform and opening up. In 1983, her novel ''Ah, Xiangxue'' won the national excellent short story award, and Tie Ning quickly entered the center of contemporary literature. The overseas translation and introduction of Tie Ning's novels began in the mid and late 1980s. At first, the number of translations and introductions was small. Then, in the 21st century, relying on the background of China's rise, the scale and volume of overseas communication of Chinese contemporary literature have expanded rapidly. The number and attention of the overseas translation and introduction of Tie Ning's novels have also increased significantly, and the communication area has been expanding. However, the degree of acceptance has always been low, and the overseas research is relatively weak. Compared with its domestic influence Status is not commensurate. It is worth mentioning that Tie Ning's novel ''the Bathing Women'' has attracted more attention overseas, especially in the English world. Due to the differences in culture, politics and focus of attention between China and foreign countries, as well as the different understanding of his works abroad and at home, there are both positive praise and frank and sharp criticism of his works. The overseas translation and research of Tie Ning's novels provide reference and reflection for Chinese literature to go abroad and enter the world literature.

===Key Words===
Tie Ning; ''The Bathing Women''; World Literature

===Introduction===
This paper consists of five parts. The first part is a literature review, which introduces the dissemination of Tie Ning and her works in China and abroad, as well as the research status of experts at home and abroad on Tie Ning's works. The second part is the introduction of Tie Ning's life experience and ''the Bathing Women''. The third part analyzes in detail the popularity of Tie Ning's ''the Bathing Women'' abroad, taking the United States and Japan as examples. The fourth part discusses the reasons for the popularity of ''the Bathing Women'' abroad. The fifth part talks about the enlightenment brought by the popularity of Tie Ning's works abroad. The last part is the conclusion based on the above phenomenon analysis and enlightenment.

===Literature Review===
Tie Ning is a unique existence in the contemporary literary world. She is the third chairman of China Writers' Association after Mao Dun and Bajin. She integrates political identity, writer identity and female identity. With the continuous maturity of Tie Ning's works, the research on Tie Ning has also entered a period of in-depth excavation and comprehensive integration.

At present, the overall research results of Tie Ning can be roughly divided into the following two categories: the first category is research monographs. The table works are interpreted subtly. In 1990, Chen Yingshi's ''Tie Ning and Her Novel Art'' was the first monograph to study Tie Ning and her creation. In 2005, He Shaojun's ''Tie Ning Critical Biography'' is the first review book that comprehensively combs Tiening's literary path and growth track. In the same year, Shen Hongfang's ''Commonness and Individuality of Female Narration: A Comparative Study of Wang Anyi's and Tie Ning's Novel Creation'' compared the similarities and differences between Wang Anyi's and Tie Ning's creation from the four themes of love and marriage, social history, desire and its expression and narrative discourse individuality. Fan Chuanfeng's book ''where the Mermaid's Fishing Net Comes from: A Study of Tie Ning's Novels'' gives a subtle interpretation of many of Tie Ning's representative works. In 2007, Liang Huijuan, Wang Sufang and Li Suzhen co-wrote ''the Cool and Warm Colors - Research on Tie Ning's Creation'', which is a insightful and high-level research work, and makes a penetrating analysis of Tie Ning's creative ideas and creative methods. In 2009, ''the Research Materials on Tie Ning'' edited by Wu Yiqin included many research materials and comments on Tie Ning in the past 30 years, which is of great reference value. In the same year, Zhou Xuehua's ''Eternal Moment - A Narrative Study of Tie Ning's Novels'' is the first work on narratology in Tie Ning's research. It makes a multi-dimensional evaluation of Tie Ning's works from the perspectives of time and space, structure, perspective, language and so on. In 2012, Liu Li's ''Chinese Women in the Rose Door - Tie Ning and the Gender Identity of Contemporary Female Writers'' is the research result of Tie Ning's female writing, which investigates the female self-identity and the identity of female writers in the new era. In 2014, ''Tie Ning's Literary Almanac'', compiled by Zhang Guangming and Wang Dongmei, carefully combs Tie Ning's creative experience and activities, outlines the development track of Tie Ning's creation and makes simple comments. It is a material that can not be missed in the study of Tie Ning. In 2015, Wang Zhihua's ''Dance of Soul and the Beauty of Neutralization - On Tie Ning's Novels'' and in 2016, Xu Qingsheng's ''On the Art of Tie Ning's Novels'' gave artistic explanations to many of Tie Ning's important works.

The second category is research review papers. In 2005, Chu Hongmin's ''Review of Research on Tie Ning's Novels'', in 2009, Si Zhenzhen's ''Review of Research on Tie Ning's Works'', in 2010, Wang Lijun's ''Review of Research on Tie Ning's Novels'', and in 2017, Wang Jingjing's ''Review of Research on Tie Ning's Novels'' all summarized and analyzed the characteristics of Tie Ning's research stages, research subjects, research priorities and research deficiencies to varying degrees in the form of a review, which can restore the outline of Tie Ning's research over a period of time, Probably due to the limited space, most of them stay at the level of collation, and the research needs to be further expanded. There are also many phased research achievements. For example, in 2007, Tang Xin's ''Review of Tie Ning's Creative Research in the Past Ten Years'' summarized the ten years after Tie Ning's research entered the mature stage. In 2009, Wang Xiaoyu's ''Review of Tie Ning's Early Novels'' combed Tie Ning's early works. In 2015, He Shaojun's ''Falling in Love with Things That Human Hearts Can Feel Together -- On Tie Ning's Recent Literary Creation'', Wang Binbin's ''Understanding of the Depths of Human Nature'' in 2017, Shen Bin's ''Creation of Earthly Spirit -- Review of Tie Ning's Recent Novels'' and other papers commented on Tie Ning's creation since the new century, mainly the short story collection ''Flying Winemaker''.

Based on the research status of Tie Ning in the past 40 years, it can be seen that Tie Ning's research path has gone from the outside of literature to the inside of literature, and then to the integration of inside and outside. The research angle has changed from single to multiple, and the research method has changed from closed to open. Based on the background of the canonization of modern and contemporary Chinese literature and the historical materials of theoretical criticism in the contemporary literary world, it is time to comprehensively discuss Tie Ning, a typical representative contemporary writer.

===Methods and Theories===
Although Tie Ning's works are unique and thought-provoking, and many people have studied and analyzed them, with the advance of time, the popularity of Tie Ning's works is decreasing, and the opportunity of exposure is also decreasing. Although the previous research results on Tie Ning and her works are commendable, most of them are analyzed from the perspective of the whole, connecting Tie Ning's life experience with each work. Only a few of them start with a detailed analysis of one of her works, and make in-depth analysis and Reflection on the popularity of Tie Ning's works abroad. In the current context, it is more necessary to analyze the popularity of her works overseas, so as to learn from experience and help Chinese literature go abroad. This paper adopts the methods of literature analysis and cultural research. Literature analysis refers to the analysis of Tie Ning's specific text, taking time as the clue and text as the texture to sort out Tie Ning's creative process. The cultural research method is to explore how the external political, historical, cultural, commercial and other factors of literature interact with Tie Ning's creation and research beyond the internal laws of literature.

===Introduction===

1.Introduction of Tie Ning

Tie Ning was born in Beijing in 1957. Her father was a painter and her mother was a vocal music professor. When she grew up, she became a writer.

In 1975, Tie Ning, who graduated from high school, was influenced by the political trend of thought and the idea of accumulating creative materials in the countryside, but gave up the opportunity to stay in the city and chose to jump the queue in ZhangYue village, Boye County, Baoding. This rural life not only made Tie Ning accumulate a lot of writing materials, but also prompted her to create a series of novels reflecting rural life, such as the Night Passage. Although these works are not heavy, Tie Ning has attracted the attention of writers Ru Zhijuan and Sun Li, who have given her encouragement and support.

In 1979, Tie Ning was transferred to the editorial department of Huashan, a literary journal of Baoding Federation of literary and art circles as an editor. In 1982, Tie Ning published the short story Ah, Xiangxue. Sun Li praised this work and thought it was as pure as a poem. This work was reprinted in magazines such as Novel monthly, Selected Novels and Xinhua Digest. Subsequently, this work won the "National Excellent Short Story Award" in 1982 and won a wide reputation for Tie Ning.

In 1988, Tie Ning's first novel, ''the Rose Door''，was published by the writers' publishing house. This work marked the change of Tie Ning's creative style. The innocent Xiang Xue disappeared and was replaced by Si Qi Wen, who was full of "evil". After the publication of the Rose Door, it attracted wide attention. The following year, ''the Rose Door'' seminar was held in Beijing. Writers such as Wang Meng, Wang Zengqi and radar affirmed Tie Ning's work at the meeting. The female consciousness shown in the novel also attracted the attention of some participants. Writers such as Li Tuo thought that this work provided a feminist perspective, Some researchers also believe that this work cannot be classified as a female literary work.

In 2000, Tie Ning's novel ''the Bathing Women'' was published by Chunfeng Literature and Art Publishing House. Although the title and sexual description of Cezanne's famous works caused some criticism, Professor Wang Yichuan of Peking University pointedly pointed out that this work is "an elegant or serious literary work that greatly depends on the reader's reading patience and high understanding". In November2006, Tie Ning was elected chairman of the Chinese writers' Association and published the novel Stupid flower. This work no longer only focuses on women, but closely combines personal destiny with historical background, composing a love between family and country with a profound sense of history. During this period, the characters in Tie Ning's works became more three-dimensional, and the creative theme became more profound.

[[File:Tie Ning.jpg]]

With her excellent ability, she served as the chairman of Hebei writers' Association and the vice chairman of China Writers' Association. In 2006, she was elected chairman of the Chinese writers' Association. In 1975, he began to publish literary works. His main works include novels such as ''the Rose Door'',''the Bathing Women'', ''Stupid Flower'', and more than 100 short stories such as ''Ah, Xiangxue'', ''the Twelfth Night'', ''the Red Shirt without Buttons'', and ''How Far Is It Forever'', with a total of more than 4 million words. In 1996, she published five volumes of Tie Ning's works, and in 2007, the people's Literature Publishing House published nine volumes of Tie Ning's works. Her works have won six National Literature Awards including the "Lu Xun Literature Award"; In addition, novels and essays have won more than 30 awards for major academic journals in China. The film ''Ah,Xiangxue'' written by Tie Ning won the grand prize of the 41st Berlin International Film Festival, as well as the Golden Rooster Award and Hundred Flowers Award of Chinese films. Some of his works have been translated into English, Russian, German, French, Japanese, Korean, Spanish, Danish, Norwegian, Vietnamese and other languages.

Tie Ning's writing has been wandering between warmth and cruelty, tradition and Avantgarde. Although her writing has been greatly welcomed by mainstream culture and ideology at the beginning, she is always trying to escape the naming and classification of her creations from all sides in the literary world. The pursuit and reflection of true self constitutes an important theme of Tie Ning's creation; On the other hand, the warmth, love and consideration for the little people living at the bottom of the society are also carried out throughout the writer's creative process. Tie Ning's early works describe ordinary people and things in life, especially the characters' hearts, which reflect people's ideals and pursuit, contradictions and pain, and the language is soft and fresh. In 1986 and 1988, she successively published two novelettes, Haystacks and Cotton Stack,which reflected on the ancient history and culture and paid attention to the survival of women, marking that Tie Ning entered a new period of literary creation. In 1988, she also wrote his first novel, ''the Rose Door'', which changed Tie Ning's poetic realm of harmony and ideal in the past, and completely tore open the ugly and bloody side of life through the competition among generations of women.

2.Introduction of ''The Bathing Women

''The Bathing Women'' was originally the name of an oil painting. Tie Ning's novel named after it naturally has a unique moral. The protagonists of the novel are a group of contemporary women centered on Yin Xiaotiao. Their painful growth process under the bath of social and times is the main focus of the writer.''The Bathing Women'' reveals how hard and painful it is to grow up. The enemy of the self comes not only from the outside, but also from the inside. Women's own weaknesses and limitations have become the main object of reflection in this novel. Yin Xiaotiao, the main character in the novel, is a successful intellectual woman. The plot unfolds in her relationship with her two younger sisters, her parents, her lover, and her girlfriend tang Fei. ''The Bathing Women'' describes the heroine Yin Xiaotiao's arduous growth and emotional journey: because of her mother's red apricot coming out of the wall and her little sister's fall and death, she bears the spiritual burden of students and alienates her relationship with her mother; Younger sister Yin Xiaofan competes with her in everything. She is not so much a relative as an opponent; Yin Xiaotiao is a strong woman. She is very successful in her career, but she is proud and lonely in her heart. Fang Jing, the big star she was infatuated with, approached and found that she was a big layman who only wanted to possess but was unwilling to pay. Of course, he is really smart and talented. He caught up with the tide of the times and became a contemporary hero and public figure in the cultural context of the 1980s. Just like many "successful people" today, having a large number of women has become an important goal of his life. Yin Xiaotiao is just one of his many trophies.

=== An Analysis of the Overseas Popularity of ''the Bathing Women'''''===

Tie Ning is one of the most influential female writers in the contemporary literary world. Her works are famous for their distinctive female consciousness. In her numerous novels, she is always full of deep humanistic care for the living conditions and the ups and downs of the destiny of Chinese women. With poetic and perceptual strokes, she carefully describes the moral and emotional shocks and ripples that contemporary Chinese women encounter.The Bathing Women is one of her representative works. In 2000,the Bathing Women became an eye-catching sight in the literary book market in that year: as one of the famous brands, Cloth Tiger Series, it topped the list with a brilliant performance of 200000 copies at the spring ordering meeting of the national literary and art book group. It can be seen that the Chinese readers' expectation and love for this novel.

[[File:The Bathing Women.jpg]]

Tie Ning's works have always been loved by Chinese readers. Her works have also been widely spread in other languages in the world, and the English world is one of them. After the Bathing Women was published by the people's Literature Publishing House in 2006, it was not until 2012 that Scribner's published the English translation of ''the Bathing Women'', which was jointly translated by Zhang Hongling and Jason Sommer. On the back cover of the translation, the publishing house introduced Tie Ning and ''the Bathing Women'' as follows: in 2006, Tie Ning, 49, became the youngest president of the Chinese writers' Association. Her works have been translated into Russian, German, French, Japanese, Korean and other languages.

1.Analysis on the Popularity of Tie Ning's ''the Bathing Women'' in the United States

''The Bathing Women'' is Tie Ning's first novel translated into English. Therefore, it is of great practical significance and academic value to study the English translation and overseas popularity of Tie Ning's representative work the Bathing Women. By discussing the unique content of ''the Bathing Women'' and its acceptance in the English world after its publication, we can have a glimpse of the process and mirror image of Chinese contemporary female literature spreading abroad.

At present, the Chinese versions of Tie Ning's four novels, such as ''the Rose Door'', ''the City without Rain'', ''the Bathing Women'', ''Stupid flower'', and the short stories, such as ''Haystacks'', ''How Far Is It Forever'' are collected in American libraries. The following is the collection of Tie Ning's main works in the United States.

[[File:Chart.png]]

It can be seen from the table that Tie Ning's Chinese works with the largest number of Libraries in the United States are ''Stupid Flower'' published by the people's Literature Publishing House in 2006, followed by ''the Bathing Women'' published by Chunfeng Literature and Art Publishing House in 2000, and ''the Chocolate Fingerprint'' published by the people's Literature Publishing House in 2006. American libraries usually select the books to be purchased by designating several core publishers in a certain field. Among the 26 works collected by more than 20 libraries, 11 are published by the people's Literature Press, In the ''Series of Contemporary Chinese Writers:Tie Ning'' published by the agency in 2006, several works, including ''Chocolate Fingerprints'', ''As Clear As Paper Cutting'', ''A Walking Dream'', ''the Bathing Women'', ''the City without Rain'', have been collected by American libraries, which shows the recognition of the people's Literature Publishing House and Tie Ning's works by the American library community.

In the 1980s, Tie Ning's works began to be translated into English. From the perspective of the form of expression, these English translated works can be divided into three types: one is the long novel single edition and the short and medium story album, that is, only the English translation of Tie Ning's works is included; The second is a collection of Tie Ning's works, that is, a collection of the works of many writers; The third is the English translation published in magazines. The only single edition of Tie Ning's works that have been translated and published in English is the novel ''the Bathing Women''. Tie Ning's works albums mainly include ''Haystacks'' and ''How Far Is It Forever''. Several libraries have collected ''the Bathing Women'', and few American libraries have collected the other two works.

Number English name Translator Press Series of books Year of publication Number of American collection Libraries

1 Haystacks Wang Mingjie,Mei Danli Chinese Literature Press Panda Books 1990 53

2 Haystacks Mei Danli Foreign Languages Press Panda Books 2005 22

3 How long is forever Qiu Maoru,Wu Yanting Reader's Digest / 2010 20

4 The Bathing women Zhang Hongjun,Jason Sommer Scribner / 2012 16

The first edition of the independent edition of ''the Bathing Women'' was published in 2012. In that year, Scribner and Thorndike Press published this work. Scribner press is subordinate to simon&schuster, Inc., which is one of the largest book publishing companies in the United States. Together with Random House, Inc., Penguin Group and Harper Collins publishers, Scribner press is known as the world's four major English publishing groups. This publishing company publishes a wide range of books, Scribner is a publishing house under Scribner that specializes in publishing literary works. It has published the works of Annie Proulx and other well-known writers, and has strong strength. The great bathing woman was copyrighted by Simon & Schuster and published by Scribner publishing house. It can be said that the publication of Tie Ning's works in the United States has stood at a high starting point from the very beginning.

2.An Analysis of the Popularity of Tie Ning's ''the Bathing Women'' in Japan

In foreign countries, Japan is one of the first countries to pay attention to Tie Ning, and the number of translations of Tie Ning's works ranks first. In december 2007, the Journal of Japan-China Contemporary Literature Research Association, No. 21, published A list of Japanese translations of Chinese literature in the new era, which counted all works of contemporary Chinese literature published in Japan from the end of the cultural revolution in 1976 to June 2007. A total of 2652 works by 486 contemporary Chinese writers were collected. Among them, the top five writers in the number of Japanese translations are Mo Yan (54), Can Xue (46), Wang Meng (41), Tie Ning (35) and Shi Tiesheng (25). From 1984 to 2010, Tie Ning has translated 48 works into Japanese.

Tie Ning was noticed when she appeared in the literary world. In 1982, Tie Ning's famous work ''Ah,Xiangxue'' was published in the fifth issue of youth literature. Sun Li spoke highly of this novel is a poem from beginning to end, which has been reprinted in Novel Monthly, Selected Novels and Xinhua Digest. In 1984, the work won the National Award for excellent short stories. In the same year, The magazine Chinese language published Ah,Xiangxue translated by Hiroko Matsui, which is the earliest Japanese translation of Tie Ning's works.

After the publication of the Japanese translation of ''the Bathing Women'', literary critic Song Shanyan published a book review, Insight into the Nuances of Modern China.His characterization of the novel is that it tells the story of a young girl growing up in a local city, feeling guilty when she was young, falling in love and becoming mature. He pointed out that the work did not fall into the stereotype of telling the story of a woman who was teased by fate. The women in the book are indomitable, not afraid of betraying others, but also desperately seize happiness. What impressed him was the scene of Yin Xiaotiao, Tang Fei and Meng Youyou secretly making delicious food during the cultural revolution. He pointed out that even in the dark ages, they also crave food and dress up. After sexual awakening, they look for love, compete with each other, envy and desire glory. However, after the cultural revolution ended and the world became rich, they became more and more dysfunctional.He said that after reading ''the Bathing Women'', the impression of the Chinese people will take on a new look, as if they were around. The author has insight into the most subtle aspects of contemporary China and superb writing ability.Song Shanyan's major has nothing to do with Chinese language and literature. Before he sawthe ''the Bathing Women'', China and Chinese people were foreign and strange to him. However, after reading ''the Bathing Women'', his impression of the Chinese people has taken on a new look and he can feel the most subtle scene of Chinese society. This is the embodiment of the unique role of excellent contemporary Chinese literary works such as the Bathing Women in conveying the true image of China and the Chinese people by telling good Chinese stories in the cultural exchange between China and Japan.

===An Analysis of the Reasons for the Overseas Popularity of ''the Bathing Women''===

As one of the Chinese literary works that have entered the world literature and won the favor of overseas readers, Tie Ning's ''the Bathing Women'' has been praised by many writers and writers, and also provides a reference for Chinese works to go to the world. In this context, the popularity of ''the Bathing Women'' abroad has also become a hot issue for discussion and analysis.

1.In Depth Analysis of Women

Historically, women have been ruled and ignored for a long time.Men are the main body and absolute, while women are the other. In ancient China, the concept of feudal ethics deeply constrained the development of women. The three cardinal guides and the five constant virtues as specified in the feudal ethical code made women take their husband as their priority at home, consciously attached to men, and eventually became male appendages without independent consciousness. The story of Adam and Eve in the western book of Genesis also has symbolic meaning of different status of men and women: according to the traditional saying, Eve was extracted from Adam's superfluous bones. The human world is male. Men define women not from women themselves, but from the inherent male perspective. Women are not regarded as an independent existence. Whether it is Yin Xiaotiao's fascination with each other in the early stage, or Zhang Wan's cosmetic surgery to find Yin Yixun happy, it is a kind of female unconsciousness and voluntarily becomes a vassal in the male discourse world. Tang Fei is even more ups and downs in the male world. She likes men, and she likes to let men like her. Captain wearing white shoes , dancer, master Qi, Xiao Cui and Yu Shengli are all self exiled among them. She was playing with men and being played with by selling her body, but finally she was alone in the hospital bed, unattended, which became a tragedy.

In addition, Tie Ning's thinking on women's survival is not limited to exposing the oppression of women by the patriarchal society. She pays more attention to the real female world and their conscious awakening, As she mentioned in the creation of the Rose Door: When dealing with female subjects, I have always tried to get rid of the eyes of pure women. I am eager to obtain a two-way perspective or a third sexual perspective, which will help me more accurately grasp the real living conditions of women. In China, not most women have a clear concept of themselves. It is not men who really enslave and suppress women's hearts, but women themselves. Out of this thinking, Tie Ning shows a deeper perspective to examine the fate of women, revealing that women hurt women in ''the Bathing Women'' and women's heavy consciousness of introspection. The female world has a dual nature, which is not simply good or evil or angels and evil women in the male discourse. They have the complexity of being born human. The women in the bathing women are more likely to hurt each other. Yin Xiaotiao asks Tang Fei to sell her body in exchange for her favorite job. Yin Xiaofan and Yin Xiaotiao, the sisters, are fighting each other because of the shadow left by Yin Xiaoquan's death. Yin Xiaofan always approaches and vies for Yin Xiaotiao's clothing accessories and even suitors. Tie Ning's questioning about family and friendship shows her deeper reflection on the path of women's self-growth.

2.Facing Male Chauvinism Bravely

In addition to analyzing women, Tie Ning also uses the concern of female writers to force and torture the patriarchal rule, striving to break the restrictions of male discourse on women and restore the true female image.

When analyzing Tie Ning's novels, many critics point out that her works have a strong sense of examining mother. This kind of mother trial consciousness is one of the ways Tie Ning breaks away from male discourse. Under the tradition of male discourse, mother is selfless dedication and a glorious image of following her husband and taking care of her children. However, Zhang Wu, the mother in ''the Bathing Women'', was the embodiment of desire. She cheated on Doctor Tang and stayed up all night on the night when Yin Xiaofan had a high fever, As Beauvoir said, maternal love has been distorted since the religion of motherhood preached that mothers are sacred. Because maternal dedication may be very pure, but in fact it is not. Motherhood often contains factors such as self intoxication, serving others, lazy daydreaming, sincerity, bad intentions, concentration or ridicule, which is a strange mixture. Tie Ning restored the image of mother to an objective person full of desires and self needs. To a certain extent, she rebelled against the definition of mother in the male tradition, separated the aura and sacred color imposed on the word mother by the male discourse, and rewritten the traditional maternal myth.

At the same time, in ''the Bathing Women'', Tie Ning also wrote a new image of men. Yin Yixun, the head of a family, is so hypocritical.The way Yin Yixun found to express his feelings made him a victim all his life. He vented what he wanted to vent, but it didn't seem cruel. He used his' unknown truth 'to maintain the normal operation of a decent family and his own dignity. So far, he has also mastered Zhang Wu's eternal guilt for him.. Yin Xiaotiao hates his father's inaction in cheating on his mother. The weak Yin Yixun doesn't think so. He uses his own trap to deceive Zhang Wu's uneasiness and his dignity as a husband.

3.Acknowledging the Evil of Human Nature

There are many expressions of sin in ancient Greek. Hamartia is often used to express the crime of crime, while parabasis is more used to express the violation of laws and regulations. Anomia is often translated into injustice in Chinese translation, which is opposite to righteousness. Therefore, the meaning of sin is not only external behavior, but also internal attitude. Under the constraints of laws and regulations, it is also under the control of soul conscience. Vertically, it shows that the relationship between its own value origin is broken, that is, crime; And the rupture of the relationship between people caused by this deviation is evil. The so-called guilt refers to an individual's deep-seated recognition of a crime. This sense of guilt is manifested in the synchronic aspect of guilt for people and things, and in the diachronic aspect of repentance for society, history and the whole mankind. Everyone is guilty, but not everyone knows, confesses and repents.Taking Yin Xiaotiao, Yin Xiaofan and other individuals as the center, the writing of the crime in the Bathing Women spreads from struggling individuals to the outside, not only analyzing the crime of innocence in personal desires; It discloses and interrogates the social crimes of the characters in the paradoxical survival dilemma; It also explores and reflects on the unspeakable crime of existence.

The evil discussed in ''the Bathing Women'' is not composed of evil characters. It is just some ordinary people who restrict each other in social relations. They are in an opposite position in the ordinary environment. Their position makes them knowingly commit crimes, and none of them is completely wrong. With Yin Xiaoquan as the center, these figures show the relationship between examination and being examined: when Yin Xiaoquan was alive, she and Zhang Yun became the focus of Tang Fei, Yin Xiaotiao and Yin Yixun's examination. Facing Zhang Wu's cheating behavior, Yin Xiaotiao is eager to intervene in the adult world as an adult in the absence of his father, so as to examine his mother and sister Yin Xiaoquan. When she heard that Dr. Tang was going to be a guest at home, she looked at her busy mother with a hazy adult consciousness. When Zhang was dressing up in front of the mirror and asking her how her hair was, she obviously smelled the smell of lampblack on Zhang's hair, but was not busy expressing her position. Instead, she asked Zhang is Dr. Tang a man or a woman. This cross-border vision is always accompanied by anxiety and uneasiness that are difficult to dispel. When Tang Fei confirmed that Yin Xiaoquan may be Dr. Tang's daughter, she acted as an ethical judge of her mother's infidelity. In her childhood when she should have enjoyed childlike innocence, she intervened in the adult world early with a precocious attitude, peeping into the adult world with bad deeds in the subtle clues. However, facts have proved that this way of crossing the border is not recognized. Her sensitivity and precocity make her a reviewer of her mother's words and deeds, which evolves into the separation between her and her family, and falls into the struggle of ethics and moral emotion prematurely. In the face of Yin Xiaoquan, who looks like Doctor Tang, Yin Yixun is unable to face the outside world and has no courage to accept Zhang Yun's infidelity. Tang Fei could not accept such a life like her own. Yin Xiaoquan was like an invisible torture instrument to her, which brought her more painful torture than the actual torture instruments. The death of Yin Xiaoquan not only did not weaken the scrutiny between Yin Xiaotiao and Yin Yixun, but also aggravated the gap between them. Yin Xiaotiao, Yin Xiaofan and Yin Yixun closed themselves to each other, tried to seek their own liberation from Yin Xiaoquan's death, and in turn tried to control each other. They "torture" each other, and everyone is always in the "eyes of others" and is supervised and examined. Yin Xiaofan tries to avoid the ugliness in his heart, whitewashes himself with his imagined positive image, and examines and supervises yiYn Xiaotiao from his own perspective. Yin Xiaotiao examines the hypocrisy of Yin Yixun. She feels sorry for Yin Yixun's experience, but resents Yin Yixun's disguised punishment of Zhang Yun. Yin Xiaotiao, Yin Xiaofan and others have formed a distorted family relationship. They can not get rid of the state of being influenced by the eyes of others, and lack a correct understanding of themselves. Therefore, the relationship between them can only be mutual pursuit and mutual exclusion. Everyone is looking at others, but they are also being looked at by others, and fall into a difficult survival dilemma.

[[File:Stage Photo.jpg]]

4.Exploring the Path of Redemption

The sense of guilt brought about by the death of Yin Xiaoquan is the cause of the character's spiritual struggle, and the necessary condition to eliminate the plight of survival is the realization and redemption of sin thus evolved the development track of confession - confession - atonement. The heavy sense of guilt in the works and the suffering created by the times show that the mutual derivation of crime and suffering has caused the plight of the characters. Writing about sin and suffering is not the ultimate goal. Guilt is the image state of being prayed to be saved and the spiritual image of Redemption. Ultimately, it is necessary to restore the meaning connection in the vertical and horizontal directions and rediscover the pure, real and eternal value meaning in one's own life. Therefore, the fundamental purpose of this work is to take the initiative to bear the sin, to confess the soul devoutly, to find an effective way to solve the survival dilemma and to explore the individual redemption. Many researchers are exploring the theme of Redemption in the Bathing Women, focusing on the two sisters of the Yin family, realizing the importance of self-examination of the soul in the redemption of the characters in the work, and finally affirming the completion of the redemption of the characters. However, no matter from what point of view, the people in the work are still suppressed by an unknown crime and cannot be really released, It has always been in the attempt and expectation of Redemption after all. As Liu Xiaofeng discussed, sin is not evil, and its opposite is not good. Therefore, seeking to cover up good deeds and good thoughts does not mean that sin has been redeemed.

''The Bathing Women'' focuses on the characters' choice of controlling and indulging in lust. In the exploration of redemption, it actively seeks ways to eliminate the plight of existence. The Redemption in the work tends to be comfortable with the original life, and is more reflected under the influence of the concept of redemption in the sense of Chinese traditional culture. Through the display of three different redemption in the works, we will further explore the deep motivation of the character's redemption, and then deeply explain the results of redemption and the possibility of dilemma resolution.

5.Focusing on the Influence of Family on Children's Growth

Western Bildungsroman is mainly to shape social people, so they often throw people into the social environment. This kind of novel also inherits some characteristics of picaresque and quest. Almost all the protagonists are on the road and on the journey, and have obtained enlightenment and growth in life. For Chinese people, family is very important and the first environment for teenagers' growth. Its role in teenagers' growth can not be ignored. Maslow believes that family plays a leading role in shaping personality. It is not only people's safe belonging, but also meets people's need for love. Chinese teenagers may not have the opportunity to travel far, but their family environment has a great impact on their personal temperament and personality types.

As the foundation of human morality, family contains the embryo and bud of the continuous development and evolution of human morality. The continuous evolution and change of family indicates the continuous enrichment and development of human morality. The traditional Chinese family stresses the order of the young and the old, which plays an important role in cultivating individual moral concepts. Therefore, most novels will describe the family in a harmonious and beautiful way to affirm the positive impact of the family on the growth of the protagonists. However, Tie Ning did the opposite. In ''the Rose Gate'' and ''the Bathing Women'',She focuses on the moral imbalance within the family, so that the growing protagonists face a relatively bad family environment before they set foot in the society.
'''
6.A Bold Depiction of Sex

Since the late 20th century, body writing has increasingly become an important means of female writing. This situation is obviously influenced by Elena Sisu's concept of using milk as ink to show the female body, a huge field beyond the control of male discourse in Medusa's laughter. In the era when male discourse dominates everything, only the female body can not be experienced by men, so it can become a field for women to escape male power. In their body descriptions, female writers not only fight back against the male's fictions about women, but also gain subjectivity by re exploring their own bodies. In the late twentieth century, there were two views on the description of the body in female writing: one was to describe the body, but subconsciously, they still thought that the body was an irrational factor and held an obvious attitude of exclusion; The other is infatuated with the display of the body and indulges the desire, resulting in the absence of the soul.

''The Bathing Women'' rarely realizes the blending of soul and flesh in the real sense. In Yin Xiaotiao's life, sex acts as a ladder for her to mature and release herself. Although her first night was dedicated to the hypocritical Fang Jing, she finally transcended this frustration in her life experience. And her feelings with Mike let her know that she loves Chen Zai. The long-term emotional accumulation and soul coordination with Chen Zai make her sex with Chen Zai come naturally without affectation. That's why we can sigh that everything is so harmonious and so good. At the same time, the perfect sexual experience with Chen Zai finally opened Yin Xiaotiao's heart knot. The guilt that Tang Fei and Yin Xiaoquan imposed on her has been dispelled, and Xiaotiao feels that "she seems to have no fear anymore. The simultaneous liberation of the soul and the body has created a harmonious relationship between them. This fusion of soul and flesh should also be the natural direction of body writing. Only when soul and body are present at the same time can the meaning of body writing be truly displayed.

===Enlightenment for Chinese Works to Go Global===

The spread and acceptance of Tie Ning's works abroad also urges us to think about how to make contemporary literary works spread more widely and further overseas from the perspectives of translation, publication and promotion. Next, I will talk about the Enlightenment of Tie Ning's ''the Bathing Women'' to Chinese works' going global from the internal and external factors.

1.Internal factors

The theme of the work concerns the female world. Chinese literature has entered the world through translation and introduction, which involves more than a simple bilingual transformation of words or literature. The choice of translated text, the construction of translation process, the communication path and communication mode after the production of the translation, and the acceptance and formation influence after entering the target language countries constitute the complete picture and research focus of Chinese literature translation. As far as text selection is concerned, generally speaking, the Western reading of contemporary Chinese literature is often driven by curiosity. The rapid development of China since the cultural revolution, the economic take-off, the changes of cities and even the differences in daily life have brought new cultural experiences to the West. Among them, the realistic literary works from the female perspective are full of direct writing of women's personal experience, showing a distinctive urban culture and the flavor of the times, coupled with the rendering of sexual and political elements, so it is particularly easy to arouse the interest of Western readers.

The book has a special background. ''The Bathing Women'' is set in the cultural revolution. In order to return to the countryside and stay in the city all the time, Zhang Wu had a relationship with Dr. Tang and got a false note. She cheated many times and later gave birth to Yin Xiaoquan. Zhang's daughters Yin Xiaotiao and Yin Xiaofan don't like the child. They see that she has an accident but they don't rescue her. Many years later, when several girls grew up, Yin Xiaotiao became entangled between Fang Jing and Chen Zai. Dr. Tang's niece Tang Fei sold her body again and again in exchange for what she wanted. Zhang Wu's inner pain did not disappear with the end of the cultural revolution. The love disputes between men and women are integrated with the special political background. ''The Bathing Women'' directly satisfies the American readers' desire to spy on the Chinese people under the background of the cultural revolution, so it has also been recognized by the publisher.

2.External factors

Adopt the mode of co-translation between Chinese and foreign translators. From Chinese literature to world literature, translation plays a vital role. Excellent translation can promote the canonization of a literary work in different languages and cultures. On the contrary, poor translation may make the excellent works that have been included in the classics pale in another language and culture or even be excluded from the classics.The English translation of bathing girl was completed by Zhang Hongling and Jensen Sommer. The cooperation between the two translators ensures that the translation is not only faithful and accurate, but also readable and literary.

===Conclusion===

Therefore, through the above analysis, we draw the following inspiration from the popularity of Tie Ning's works overseas.

First,pay attention to the translation of female writers' works. Chinese female writers are a neglected group in the English world. In terms of the English translation and dissemination of the author's personal works, the dissemination and acceptance in the United States of Tie Ning's ''the Bathing Women'' has shown the possibility of Chinese female writers being recognized in the United States. The commonality of human emotions is the basis for the overseas spread of literature, and the experience and perception of Chinese women have also been resonated in foreign countries. In addition to these similarities, the unique features and temperament of Chinese women have yet to be shown to the world. Therefore, the translation of female writers' works should not be ignored.

Second,improve translation quality. Translation is not only the transformation between Chinese and English, but also has the function of interpretation and communication. There are great differences in language, historical traditions and values between China and the United States. Excellent translation can bridge the gap between the original and overseas readers, while unqualified translation may bury an excellent original.

Third,adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. Adapt to and understand the rules of the international publishing industry, and establish corresponding mechanisms and systems. At present, the copyright agency system is widely implemented in the United States. Copyright agencies and copyright agents play an important role in book publishing, translation and promotion. However, there are not many copyright agencies in China, especially those with good relations with American Publishers. In addition, the copyright departments of many publishing institutions have been used to buying copyright rather than exporting copyright in the decades of spreading from the west to the East, and they are not very skilled in relevant businesses. Even the existing domestic copyright agents are mostly interested in this industry and receive little support behind it. All of the above reasons make the export channel of Chinese literary works copyright blocked. In this case, there is a great chance that the works can be successfully spread overseas. Therefore, it is necessary to adapt to the current situation of industry development, establish and improve relevant mechanisms, encourage industry development and cultivate corresponding talents.

Fourth,pay attention to the promotion of works and improve the popularity of writers abroad. Although many overseas readers have a preliminary understanding of the writer Tie Ning, what impression does Tie Ning leave on overseas readers besides her identity as a writer? I'm afraid not. Even Mo Yan, a more popular Chinese writer overseas, can hardly leave an impression on overseas readers other than writers. With the development of science and communication technology, there are more and more communication channels between authors and readers. The traditional way of participating in book fairs and holding exchange activities deserves our attention, and the mass media and new media cannot be ignored.

In a word, Chinese literature, as a special form of eastern culture, still has a long way to go before it can be recognized and accepted by the West and even the world. It needs the joint efforts of writers, translators and other multiple dimensions.

===References===

*Wang Jing 王静.(2019).铁凝作品在美国的传播与接受.[Dissemination and acceptance of Tie Ning's works in the United States]. Beijing Foreign Studies University 北京外国语大学.

*Wang Zhaojun 王昭君.(2005).逃离与追寻——铁凝寻找"自我"的历程[Escape and pursuit -- Tie Ning's process of seeking self]. Jiangxi Normal University 江西师范大学.

*Liu Jia 刘佳.(2020).直面·迂回·悬置--"多棱镜"式的铁凝小说主题研究[A study on the theme of Tie Ning's novels in the form of multi prism]. Harbin Normal University 哈尔滨师范大学.

*Yang Shu,Zhu Lilin 杨筱, 朱丽林.(2019). 对女性的深层审视——以《大浴女》为例探讨铁凝的人性关怀[Probe into Tie Ning's human care with the example of the Bathing Women]. Journal of Ningbo Institute of Education''宁波教育学院学报''.21(6):4.

*Yan Weifang,Li Hua 闫卫芳, 李花.(2020).《大浴女》:一场精神世界的无望救赎[The Bathing Women: a hopeless redemption of the spiritual world]. Journal of Hebei University of Technology: Social Sciences ''河北工业大学学报：社会科学版''.12(4):7.

*Yang Qingyun 杨青云.(2012). 论铁凝小说《玫瑰门》《大浴女》的成长主题——兼与西方成长小说比较[On the growth theme of Tie Ning's novels rose gate and Bathing Woman -- a comparison with western growth novels]. Journal of Teacher Education ''教师教育学报''.10(005):128-132.

*Pan Dong 潘冬.(2020). 铁凝《大浴女》直接引语英译的形式变异与理性归因[The formal variation and rational attribution of direct quotation in Tie Ning's the Bathing Women]. Foreign Language Studies ''外国语文研究''.6(2):11.

*Wu Yun 吴赟.(2017). 《大浴女》在英语世界的翻译和接受[The translation and acceptance of the Bathing Women in the English world]. Novel review ''小说评论''.(6):7.

*Yu Shujun 于树军.(2019). 论《大浴女》的"后伤痕"叙事[On the post scar Narration of the Bathing Woman]. The Northern Forum ''北方论丛''.(4):8.

*Lv Yanlin 吕彦霖.(2019). "内心深处花园"的重探——略论二十世纪后期女性写作视域中的《大浴女》[An exploration of the garden in the depths of the heart -- a brief discussion on the great Bathing Woman from the perspective of female writing in the late 20th century]. Hundred comments ''百家评论''.(2):8.

*Song Dan 宋丹.(2017). 铁凝作品在日本的译介与阐释[Translation and interpretation of Tie Ning's works in Japan]. Novel review ''小说评论''.(6):9.

==英语笔译邓阳林 Deng Yanglin 202170081567 MW==
<center>'''A study on Xu Yuanchong's Translation of Song Poems'''</center>

<center>Deng Yanglin</center>

===Abstract===
As a huge diamond in the laurel wreath of ancient Chinese literature, song Ci is a brilliant pearl in the langyuan of ancient literature. All translators know that translation is not just a matter of simply converting source language into target language, and poetry with rhyme and pattern is naturally a great challenge in translation, which makes the majority of translation scholars shy away from poetry translation. Mr. Xu Yuanchong put forward the theory of "three Beauties" in his translation practice for many years, which has played a very enlightening and guiding role in the field of English song ci translation. From the perspective of xu Yuanchong's theory of "three beauties", this paper explores the specific application of "meaning beauty", "sound beauty" and "form beauty" in the translation of classical Song ci poems. It can be seen that the theory of "three beauties" is of great guiding significance to the translation of Classical Song ci poems. Translators should take "three beauties" as the standard in their poetry translation so as to lose the artistic charm of the original poetry and the beauty of Chinese poetry can be appreciated by the world.

===Key words===
Song Ci Poems；Xu Yuanchong; The theory of "three beauties"; Poems Translation

===Introduction===
The evolution of ci poetry began in the Liang Dynasty, formed in the Sui and Tang Dynasties, flourished in the Five Dynasties and ten States, and reached its peak in the Song and Song dynasties. Song Ci is a fragrant and gorgeous garden, full of elegant charm, for thousands of years for many readers love, is a bright pearl in the history of ancient Chinese literature. In terms of artistic charm and aesthetic value, song Ci can compete with Tang poetry and Yuan opera. In terms of faction theory, song Ci can be divided into graceful and bold. The euphemism mainly describes the love between children and women, and is carefully conceived. Its language style is mellow and pays attention to the harmony of rhyme, giving people a sense of tenderness and softness. Haofangpi describes the military situation of the state, the creation of a broad vision, imposing momentum, not in rhythm, giving a generous sense of solemn and stirring, representative figures such as Su Shi, Xin Qiji.
In terms of themes, song ci poems are different from those originally used for entertainment occasions, covering themes such as emotion, society, politics and chanting. They fully reveal the true features of social life in song Dynasty and bring readers endless aesthetic enjoyment.
Since its publication, Song Ci poems have been translated into English by many translators at home and abroad. One of the most famous is Xu Yuanchong, who is known as "the only person who translated poetry into English and France". In view of xu Yuanchong's achievements in the English translation of Song Ci poems, many scholars have studied his English translation of Song Ci poems. In view of the diversity of perspectives and conclusions, this paper reviews xu yuanchong's research on the English translation of Song Ci, points out the shortcomings of the current research, and then points out the future research directions, in order to shed some light on the current literary translation research.

===Literature Review===
Song Ci, as one of the double elements of Chinese classical literature, presents the highest level of Song Dynasty literature with its unique attitude and verve. Famous Chinese translators such as Lin Shu, Fu Lei and Zhu Shenghao, as well as foreign scholars such as Herbert Allen Giles, Ezra Pound and Arthur Waley, have all actively participated in the translation of Chinese and foreign literary works. Translation is a bridge between different languages. How to master the two languages well, make the best of the strengths and avoid the weaknesses in the process of translation, and make the translation reach a natural and emotional state, which requires a high level of competence for translators. Mr. Xu Yuanchong is known as "the only one who can translate Poetry into English and French". He has translated the Book of Songs, 300 Poems of Tang Dynasty and 300 Ci poems of Song Dynasty, etc., forming the method and theory of rhyming style poetry translation. He pursues not only perfect rhyme, but also perfect realm, transforming the beauty created in China into the beauty of the whole world.

===Methods and Theories===
This paper adopts the method of literature research.It mainly refers to the method of collecting, identifying and sorting out literature, and forming a scientific understanding of facts through literature research. Literature method is an old and vigorous scientific research method.
General process
The general process of literature method includes five basic steps, which are: putting forward a topic or hypothesis, research design, collecting literature, sorting out literature and conducting literature review. The proposed topic or hypothesis of literature method refers to the idea of analyzing and sorting or reclassifying relevant literature according to existing theories, facts and needs. The first step in research design is to establish research objectives. Research objectives are designed into specific, operable and repeatable literature research activities based on the subject or hypothesis in an operable definition, which can solve special problems and have certain significance.
The main advantages
(1) The literature method transcends the limitation of time and space, and can study a wide range of social situations through the investigation of ancient and modern Chinese and foreign literatures. This advantage is not possible with other survey methods.
(2) The literature method is mainly written survey. If the literature collected is real, it can obtain more accurate and reliable information than oral survey. Avoid all kinds of recording errors that may occur in oral investigation.
(3) Literature method is an indirect and non-interventional survey. It only investigates and studies various literatures without contacting the respondents or intervening in any reaction of the respondents. This avoids all kinds of reactive errors that may occur during the interaction between the surveyors and the respondents in the direct survey.
(4) Literature method is a very convenient, free and safe survey method. Literature investigation is less restricted by the outside world, so as long as the necessary literature is found, research can be carried out anytime and anywhere; Even if there is a mistake, it can be remedied through re-study, so its safety factor is high.
(5) Document method saves time, money and high efficiency. Literature survey is based on the achievements of predecessors and others, which is a shortcut to acquire knowledge. It does not require a large number of researchers or special equipment, and can obtain more information than other survey methods with less manpower, money and time. Therefore, it is an efficient survey method.

===Introduction of Xu Yuanchong and his English translation of Song Ci===

As reading poetry, we need to pay attention to the beauty of artistic conception, hazy beauty and the beauty of antithesis and rhyme. Chinese ancient poetry is characterized by simplicity, conciseness and leaping. It expresses as much emotion as possible in very limited poems. Its biggest characteristic can be summarized by a word "beauty" : artistic conception, language, rhyme and form. English poetry stresses rhythm, rhythm and melody, and the style is relatively free. Thus, the linguistic and cultural differences between Chinese and English make it particularly difficult to translate Song Ci into English.
Aesthetics is a subject with a wide range of application, and there is also the shadow of aesthetics in translation, so "beauty" is everywhere. The purpose of aesthetics in translation is to analyze the aesthetic features in translation so as to provide correct theoretical guidance for translation practice and translation discipline.
In the second half of the 20th century, Mr. Xu Yuanchong put forward his own translation theory on the basis of previous experience and summed up the key words of "the art of beautification is like a competition to create excellence". Practice is the only criterion to test truth, which also applies to translation. Translation theory comes from translation practice, and translation practice can test whether translation theory is correct, and translation theory plays a guiding role in translation practice. On the basis of his long-term translation practice and theoretical experience, Mr. Xu Yuanchong put forward the theory of "three beauties", namely, "meaning beauty", "sound beauty" and "form beauty". His translation aesthetic ideas have guided the translation of many classical poems and provided correct guidance. Up to now, he has published more than 150 famous translations. He is the only one in China who can translate classical poetry and English and French poetry. Because of him, we know the poetry classics of western countries; Because of him, western countries encountered the excellent traditional culture of the Chinese nation.
Similarity in meaning, sound and shape is the basis of "three beauties". Care about similar, similar sound and similar shape on the basis of "meaning beauty", "sound beauty", "form beauty". In Professor Xu Yuanchong's opinion, the pursuit of meaning seems to be to accurately translate the content of the original text, without mistranslating, omission or multiple translation. When there is a conflict between "sense-like" and "sense-like", we should pursue "sense-like" first and "sense-like" second, because "sense-like" is only the surface structure of text, while sense-like is the deep structure of text. Musical beauty refers to the rhythmic and rhyming, catchy to read and pleasant to listen to. In Professor Xu yuanchong's philosophy, rhyme and style must be reflected in poetry translation.
Since the content and form of the poem are closely related and inseparable, if the original poem uses rhymes but the translated poem does not, the artistic conception, image and atmosphere of the original poem cannot be reflected and conveyed in any way. As for form beauty, it mainly refers to the "length" and "symmetry" of poetry. It's best to be "look-alike," or if look-alike isn't perfect, at least "roughly neat."
In xu Yuanchong's translation theory, he also holds that the three beauties are not in parallel, but in order of importance and importance. Among the three beauties, meaning beauty is the most important, followed by sound beauty, and finally form beauty. We should try our best to achieve all three beauties under the premise of translating the original text beautifully. If the three can not appear at the same time, then we can first of all do not ask for similar shape, also can not ask for similar sound, but we must do our best to convey the meaning of the original text and the beauty of sound. The principles of the relationship between the three beauties complement each other and restrict each other. They are also progressive and interlinked. Only by closely combining them can we achieve better translation artistic effect.

===The Application of "Three Aesthetics" in the English Translation of Song Ci poems===

Roman Jacobson, a prominent American linguist and literary theorist in the 20th century, said: "Poetry, by definition, is untranslatable." This shows that the difficulty of poetry translation is ineffable and invisible to the translator. But it doesn't follow from one of his conclusions that poetry is untranslatable. There are still differences of opinion between translators and experts in the field about the translatability of poetry. Due to many factors, most people hold a view that the translatability of complex words in Classical Chinese is an impossible task. If we want to discuss this problem, we must give a clear explanation to several propositions in Mr. Xu Yuanchong's theory. According to him, translation is an attempt to reproduce in the target language what someone has said or written in another language. There should be a great deal of similarity in meaning, form and sound to the text used to represent it. The similarity lies in the common interpretation and implication between them. In practical translation practice, the faithful transmission of implied meaning from the original text to the target text is different in content, but their concept and meaning are almost the same. Therefore, we can say that poetry is translatable, and the traditional poetry with many reduplication is also translatable under certain circumstances.

===Meaning beauty of eliciting mental pleasure: skillfully translating the poetic core and reproducing the artistic conception===

The meaning of Song Ci poem lies in its concise words and phrases to shape or graceful empty, or even bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.

===Sound beauty -- pleasing: the charm is clever, and the words are skillfully used===
The meaning of song ci lies in its concise words and phrases to shape or graceful empty, or bold and desolate artistic conception of the beauty, sometimes casually read a sentence, will be infected by the image it describes and intoxicated, crazy absolutely for a long time. Its charm lies in the ability to make readers after reading a profound taste and infinite reverie, people have a deep emotional resonance, endless aftertaste. As for the relationship between the three beauties, Professor Xu believes that the beauty of meaning is the most core part of the beauty of poetry, followed by the beauty of sound and form, which take the beauty of meaning as the core. Therefore, Italian beauty is the core and key of "three beauty theory". Professor Xu's translation concept of Italian-american as the core is translated
Translated li Qingzhao's "plum blossoms · Red lotus fragrance remnant jade mat autumn" fully displayed, this is a talk about the acacia, don't worry about the bitter words. The whole word with the female unique deep sincere feelings, the slightest "unconventional" way of expression, showing a graceful and restrained beauty, fresh style, artistic conception, is called a fine work of exquisite other feelings.
The "red root mat" in the poem, when the fragrance of red lotus roots changes to the shade of jade, refers to the pink lotus, while the "jade mat mat" is the glittering white one. This sentence is full of connotations, setting off the author's inner loneliness. Mr. Xu Yuanchong translated "fragrant lotus bloom" into "fragrant lotus bloom", and described the scene with lotus fading, which made people feel the faded atmosphere of beauty more deeply. The "jade mat autumn of Jade" was translated into "Autumn Chills Mat of Jade", and "chill" meant trembling. Mr. Xu Yuanchong's translation here endowed autumn with human characteristics, reflecting the bleak season of autumn wind, rendering the images of remnant lotus and withered leaves, lotus petals falling, bamboo MATS cool, Jade dew lingling, depressed mood. "Light clothes, alone on the lanzhou" is the poet wanted to take a boat to relieve sorrow, not leisure to play. Lyricist light light damask luo skirt, alone boat. The word "alone" echoes the word "light" in the last sentence, leading to the word "sorrow" in the next piece. With the words "chuffed" and "Alone", Mr. Xu yuanchong just skillfully applied a single "Doffed" and "Alone" to present her looks and actions lifelike. Look at the next sentence, the author with the help of the legend of the legend, vivid picture, vivid rendering of a lonely man looking forward to the return of her husband. Mr. Xu Yuanchong respectively translated "Jin Shu" and "Wild geese Hui Shi" into "Letters in Brocade" and "Swans come back in flight", corresponding to each other, it can be said that the original word picture into a real scene, the return of wild geese array, liao Liao sky, can also be a king. The pavilion is steeped in the moonlight, creating a serene and tragic atmosphere. The landscape is steeped in moonlight, but the landscape is steeped in the moonlight. None of the beauty of the original poem is lost.
The tie down about is the flower since withered water artful, a kind of parting lovesickness affects two places of idle sorrow, and on the que echo, Mr. Xu Yuanchong will "from piao" and "artful" translated into "drift" and "run", the same gave the flower and water dynamic image, the flower falls water scene more dynamic, rendering the scene of silent depression. The last sentence with "just under the brow, but on the heart" this sentence gives a person with a fresh and refreshing feeling. The "brow" and "heart" in the word correspond to each other, "only under" and "but on" perfect connection, sentence structure is close and neat, the expression technique is exquisite beyond compare, so the whole word in the artistic foil has greater appeal. Mr. Xu Yuanchong did not simply translate "up" and "down" into English location words, but used "kept apart" and "gnaws my heart" to express the missing feelings of the person whom the poet cared about all the time. The whole picture caught the readers' eyes, which enhanced the artistic conception of the whole translation. Generally speaking, Mr. Xu Yuanchong understood its connotation from the original word itself, and added his own unique views, such as adding subjects, so that the meaning of beauty arises spontaneously.
=== Sound beauty -- pleasing: the charm is clever, and the words are skillfully used ===
"Sound beauty" refers to the rhythm and rhyme pattern of the translated poem. Mr. Xu Yuanchong pays attention to meter, rhyme and sentence number in his translation of ancient Chinese poems. The musicality of song ci is more unique, and pays more attention to the harmony of words, so the rhyme of Song ci is more harmonious and perfect, and the beauty of words and music is both. English poetry is generally pay attention to the rhyming, especially at the end of each sentence, it's a bit like Chinese level and oblique tones, but not so rules, because of the English words and characters of syllables, most of the English word of two or more than two syllables, and the Chinese character is a syllable, so of course is Chinese more neatly, but English poetry has its unique in rhythm and rhyme beauty.
Due to the different phonology of Chinese and English poems, it is difficult to copy or reproduce the rhythm of the source language in translation. Therefore, translators need to translate the text into a way that readers can understand in order to help readers realize their aesthetic appreciation and perception of the translated sound [4]. Take Professor Xu Yuanchong's translation of Li Qingzhao's "Sound Slow · Searching and Searching" as an example: as the first seven pairs of reduplicated words in the history of Chinese literature, they have attracted wide attention from translators, and all of them have their own unique views. These lines of the original word, the poet in the "seeking" "seeking" center of god uncertain, as if lost manner; The loneliness of wandering alone in "cold" and "clear"; "Desolate" "miserable" "Qi" in the state of mind is vividly depicted. Through the study of Xu Yuanchong's translation of "Sound slow", we find that "Search, clear, desolate" belongs to the flat sound; "Find, cold, miserable, qi" is oblique tone; "Mimi" is also a dental sound, flat tone oblique tone teeth appear alternately, so that the line of cadence, resounding sound. From "look" to "know" and then to "feel", Mr. Xu Yuanchong uses three sensory verbs to bring readers into it and feel them. He compensates for the repetition of the original word in the form of double rhymes to achieve a very natural and smooth equivalent effect. Translation with the original word "miss" in the word "find", "cheer" and "qi" in the original word, even in front of consonants and vowels close also same, visible of language poetry translation the translator second-guessing, choose close to mandarin pronunciation of the English vocabulary to implement the "sound", convey sound beauty, an ability to make a sound effect.
In the "cold and warm... On the processing of this sentence, Professor Xu's translation once again shows the ultimate beauty of sound. The 4 short sentences in the original word are translated into 9 short sentences, and all use rhyme, which is catchy to read. "Late wind urgent" was translated into "swift" to describe the haste of the night wind. The short/I/in the translation is pronounced like the final of "urgent", which is not only clever but also accurate. In the translation of "time" and "knowledge", Professor Xu uses "alas" and "pass", where the rhyme is perfectly similar to the original word. Showers rhymes with flowers. Everything has its place. While the words "faded" in the original poem were both faded and had similar meanings, Mr. Xu's translation used "Faded" and "Fallen," which not only have similar meanings in English but also alliterative with/F /, suggesting professor Xu's pursuit of vocal beauty has gone into overdrive. "Now" in the translation rhymes with "how" in the next sentence, and "pace" with "plane's" in the next sentence, which also adds rhyme to the translation. In the translation, "drizzles" and "Grizzles" correspond to the reduplication of "dribs and DRBS" and combine the sound with the sound of "I :/" to show the rhythm of endless rain. Finally, the words "grief" and "belief" rhyme together with "IEf", further reflecting the beauty of sound and the author's lonely and melancholy mood in the original word.

===Conclusion===
For thousands of years, the charm of Chinese classical poetry has attracted many scholars and translators to further explore it. With the increasingly close international exchanges, cultural exchanges are also very important. Ancient Chinese poetry brings us beauty and enrichis our emotions. Its beauty is deeply refreshing and refreshing. The beauty of meaning, sound and form of the theory can correctly guide the translator to translate the original image, rhyme and form of Chinese classical poetry. Mr. Xu Yuanchong's "three beauty theory" promoted the spread of excellent Chinese classical poetry and made western readers appreciate the charm of Chinese language and culture. As translation scholars, we should be aligning with professor xu yuan-zhong, study its excelsior translation meticulous attitude and practical spirit, improve their ability of translation practice, enrich their translation theory knowledge, with good knowledge of translation theory to guide translation practice, constantly accumulate experience from the translation practice, can achieve ideal state finally.

===References===
*Pan Jiayin潘佳音 . ''Cultural Value of Translation and its Contemporary Embodiment''翻译的文化价值及其当代体现[J]. Comparative Study of cultural Innovation文化创新比较研究,2020,4(3):110-111.
*Chen Jing陈靖. ''Research on The Translation of Chinese Culture "going out" under the guidance of Marxist Social Science Methodology''马克思主义社会科学方法论指导下的中国文化“走出去”翻译问题研究[J]. Comparative study of cultural innovation文化创新比较研究, 2019,3(33):95,97.
*Liu Yang刘阳. ''On the "Deep Translation" Mode of Willie's English Translation of Tao Te Ching''威利英译《道德经》的“深度翻译”模式探究[J]. Comparative Study of Cultural Innovation文化创新比较研究,2020,4(20):163-164,167.
*Zhu Yishu祝一舒. ''On the Characteristics of Xu Yuanchong's Translation Thoughts''试论许渊冲翻译思想的特质[J]. Shanghai Translation上海翻译, 2019(5):83-87,95.
*WXin Hongjuan辛红娟, Liu Yuanchen刘园晨. ''A Reinterpretation of Translation Meaning and Taste''金岳霖“译意”“译味”观再解读[J]. Journal of Ningbo University: Humanities宁波大学学报:人文科学版,2020,33(1):41-47.
*Xin Hongjuan辛红娟, Xu Wei徐薇. ''The Construction path of Chinese Translation Studies''中国翻译学的建构路径[N]. Guangming Daily光明日报, 2018-06-11(16)

==英语笔译何丽娜 He Lina 202170081569 CE==

<center>'''A Study on the dilemma of the Chinese Cultural Classics'''</center>

<center>He Lina</center>

===Abstract===
With the continuous progress of the times, cultural soft power becomes more and more important as a standard to measure the comprehensive strength of a country. As one of the important sources of China's cultural soft power, Chinese cultural classics is an important link to enhance the country's cultural soft power. This paper will mainly introduce soft power and cultural soft power, and analyze the current dilemmas of Chinese cultural classics and their causes, and try to find solutions.

===Key words===
Chinese cultural classics;cultural soft power;dilemma

===Introduction===
Many cultural classics and books handed down in Chinese history are the crystallization of the wisdom of Chinese ancestors and represent their ideological and spiritual achievements. These books have always been an important part for Chinese people to learn. Even in the ancient imperial examination period, Confucian classics were used by rulers in various dynasties as content of the examination to select talents, which shows the importance of classical books in Chinese history. With the development of times, China is gradually going out of the country and gradually being impacted by world literature. Because people have more freedom to read, and modern and contemporary literature is more readable, unlike many cultural classics written in classical Chinese, which are more difficult to understand, more people prefer to read foreign classics or works written by modern and contemporary Chinese authors in vernacular Chinese or Mandarin. Reading the classics seems to be a problem for more and more people. Today, With the rapid development of China's economy, China has begun to show its strength in the world stage, and has become more and more aware of the importance of cultural soft power, and cultural classics as an important part of Chinese culture has been further valued. However, it should be faced that reading classic books in China is still not the mainstream, and abroad, Chinese classic books have not been accepted as expected. So far, Chinese cultural classics seem to be in a dilemma. From the perspective of cultural soft power, this paper will briefly discuss the current difficulties of Chinese classics, analyze the causes of these difficulties and try to find some countermeasures.

===Theories and Literature Review===
Soft Power

Soft power is actually a political term used to measure the overall strength of a country. In 1990, Joseph·S·Nye, a professor at Harvard University, put forward and expounded the concept of "soft power" in an article titled "Soft Power" published in Foreign Policy magazine. In this article, he comprehensively and systematically analyzed and expounded the concept of national power, status and development trend of The United States as a global power, and further pointed out that a country's strength consists of "soft power" and "hard power". Joseph Nye argues that "soft power" is as important as "hard power". "Hard power" includes basic resources, military power, economic power and scientific and technological power. The essence of "soft power" is "Soft power is an ability to affect what other countries want." He describes soft power as follows: "This power tends to raise from such resources as cultural and ideological attractions as well as rules and institutions of international regimes."（cf:Joseph Nye, 1990:167)

Cultural Soft Power

Since the concept of "soft power" was introduced into China, many domestic experts and scholars have expressed their views on it.
Wang Huning regards culture itself as a kind of soft power through expressions such as "culture as soft power". (cf:Wang Huning,1993:91-96) Influenced by Joseph Nye, some scholars believe that culture is one of the important sources of soft power. Xu Wanxiao and Xu Fangxiong believe that cultural soft power should be derived from cultural resources, which can be divided into tangible cultural products such as movies, cultural heritage, food and intangible cultural concepts such as ideas, values and systems. (Xu Wanxiao, Xu Fangxiong, 2021) Wei Enzheng and his partners pointed out that cultural soft power refers to the internal cohesion, mobilization, spiritual power and external penetration, attraction and persuasion of a country's traditional culture, values, ideology and other cultural factors. (Wei Enzheng, Zhang Jin, 2009) From the Angle of the power form, Hong Xiaonan divided the soft power into five parts: powerful cohesion and centripetal force of the national culture to stimulate a country; national cultural attraction making other countries follow; cultural innovation to promote the development of a nation; national culture integration which organizes the cultural elements into the maximum organic effectiveness; the cultural radiation to correctly express intention of national culture to the world. (Hong Xiaonan, Qiu Jinying, Lin Dan, 2013)
Redefining and summarizing the domestic scholars' views on soft power, Cai Libin and Wang Chenlin summed up China's "cultural soft power" : the definition of "cultural soft power" refers to a country or a nation's traditional culture, values, ideology, cultural resources or cultural factors such as internal cohesion and mobilization force, spirit power and external attraction and persuasion, influence and so on.(Cai Libin, Wang Chenlin,2020)

===Methods===
From the definition of cultural soft power, this paper qualitatively analyzes the internal and external difficulties encountered by Chinese cultural classics and Further discusses the reasons behind. Finally the paper tries to find some corresponding solutions from the author's own perspective.

===Chinese Cultural Classics and cultural soft power===
In English, the word "classics" originally referred to the literature of ancient Greece and Rome. As we all know, the civilization of this period is the fountainhead of western civilization. Accordingly, for China, Chinese cultural classics are collections of literature that can represent Chinese civilization. Dianji/典籍(Chinese Classics) literally means "classic books" in Chinese, and there is a similar concept in Chinese dictionary ''Han Dian''《汉典》, which refers to important documents such as ancient codes and books, and refers to ancient books in general. In the modern sense, cultural classics refer to those timeless works that are exemplary, authoritative and dominant in the field of culture. They are perfect works that, after years of washing and historical screening, have always been at the top of a certain field or industry. (Liu Jinxiang,2022) For example, the four Great Classical Novels of China (''Water Margin''《水浒传》, ''Romance of The Three Kingdoms''《三国演义》, ''Dream of the Red Chamber''《红楼梦》and ''Journey to the West''《西游记》), as well as ''the Analects of Confucius'' 《论语》and ''Mencius''《孟子》. These classics are not only a summary of the author's personal wisdom and life experience, but also reflect the characteristics of an era and the inner spirit of a nation. They embody the national spirit and culture of a country. The culture and spirit of a nation is the most direct source of cultural soft power, and even it is a kind of cultural soft power itself.

===The Plight of Cultural Classics in China===
A country with strong cultural soft power must also have a high level of national cohesion, which can effectively protect and preserve the cultural achievements of its predecessors, as well as generate heartfelt feelings of awe and care for all the cultural achievements of past people. That is to say, cultural inheritance is of great significance. Reading classics is the first step in passing on culture. But in modern and contemporary China, people's enthusiasm for reading classics has always been low. Although the Chinese government has always included the study of classics in the curriculum of primary and secondary schools, these are mostly fragmented learning, and students' learning of classics is not comprehensive. Take college students for example. Although Chinese language is a compulsory subject for students, reading classics is not the main content of students' learning. According to a survey report on classic reading of college students, only 14.40% of them often read classic works, 84.10% read them occasionally, and 1.50% never read classics. (cf:Zhang Junxiong, 2022:87-89) It can be seen that as a group receiving higher education, college students still lack enthusiasm for reading classics. On this assumption, the number of people in China who insist on reading will only be smaller. Without reading classics, we cannot understand classics, nor can we understand the spiritual connotation behind classics, nor can we carry forward traditional Chinese culture.
In addition, I logged on dangdang(当当网), a popular Chinese book sales website, and looked up the top 10 best-selling books in recent years. Only a few literary classics were on the list. In terms of the 2021 list, the number one book on the list is ''Counselling For Toads:A Psychological Adventure'' (a classic Introduction to Psychology in The UK), followed by ''Historical Records for Young Readers''《少年读史记》(a history book for children), and the third was ''Educated'', an autobiographical book about her family and education by US author Tara Westover. The rest of the top 20 included classics from the West, mystery novels from Japan and works by contemporary and contemporary Chinese authors. But traditional literary classics are nowhere to be seen. The second most popular book, Historical Records for Young Readers o, shows that some Chinese parents are consciously cultivating the habit of reading ancient literature in their students, but in general, the sales of cultural classics still account for a small proportion in the Chinese market as a whole.
Such a situation is fatal to a country in urgent need of developing cultural soft power. If a country wants to develop its culture, it should first be based on its own country. If fewer and fewer Chinese read the classics, how can a country convince other nations that its own people do not value its own cultural heritage?

===The Plight of Chinese Classic Books in the West===
Acceptance of a certain culture will often cause psychological and emotional yearning, rational identification. Anything that comes from this culture has a certain influence. Obviously, the more widely a country's culture is spread, the greater its potential soft power is likely to be.But obviously Chinese cultural classics are far less influential in the international community than western literary works.
According to current research, ancient Chinese cultural books were translated into European languages for the first time in 1592. Juan Cobo (1546-1592), a Spanish missionary, translated ''Ming Xin Bao Jian'' 《明心宝鉴》, a textbook for learning compiled by Fan Liben（范立本）, a Chinese scholar in the late Yuan and early Ming Dynasties, into Spanish for the first time. In modern China, we have been committed to introducing Chinese culture to the world. On October 15, 2014, General Secretary Xi Jinping（习近平） of China stressed at the Forum on Literature and Art Work held in Beijing that artists should tell China's stories well, spread China's voice well, and fully present China's image so that people around the world can better understand China through appreciating China's excellent literature. Supported by China's "going out" strategy, some Chinese classics have been successfully translated abroad, but these are rare cases. At the same time, there are several obvious problems in the translation and dissemination of classic books. Taking the Chinese-English version of The Great China Library as an example, literature accounts for 50% of the 110 classic books, followed by philosophy 19.1%, technology 13.6%, history 9.1% and military 8.2%. Second, the main composition of the translation is not reasonable. Besides,It shows that all the translations with wide influence outside the region are mainly written by western missionaries or Sinologists, and there are few works widely spread outside the region by domestic and local translators, especially in the modern and contemporary times, the translations with great influence outside the region are scarce. Some Domestic scholars conducted a survey on the sales of Chinese classics in 2019 on Amazon, the largest book sales website in the western world. The amazon website does not show sales volume, but only review stars. The higher the star rating, the more popular the product. Among Chinese cultural classics on sale, ''the Art of War''《孙子兵法》, a classic Chinese military work written by Sun Wu（孙武）, a General of the State of Wu（吴国） who was originally from Le 'an(乐安), Qi（齐国） during the Spring and Autumn Period（春秋时期）, has the highest star rating of 7,763, while the second most popular book has only 740 stars. In addition, ''the Art of War'', the bestselling Chinese classic translation, ranks 532 among all books on Amazon. (c.f:Gu Chunjiang, 2020) This shows that, on the whole, the spread of Chinese cultural classics in the Western world is still in a small range, and the acceptance of Chinese classics in the western world is still at a low level.

Another problem with the dissemination of Chinese cultural classics is that many of the translations that are out there are not Chinese translations, but works of foreign translators. Similarly, according to the statistics of Amazon website, taking The Art of War as also an example, almost 90% of the translations on Amazon website are those of overseas Sinologists, while those of domestic translators only account for less than 2%. (c.f:Gu Chunjiang, 2020)Overseas Sinologists who understand the language style and culture of the target language country preference, will make western readers accept the Chinese classics, but they always not the first users of Chinese language. In the process of translation, in order to make the western readers adapt to the original culture, they will be more likely to lose the characteristics and flavor of the original works.The connotation of Chinese culture in the classics received by western readers will also deviate, which is detrimental to the external dissemination of Chinese cultural classics. That means that western people always understand Chinese classics and Chinese culture with their own wisdom, so such cultural communication is invalid in a sense, and the influence of Chinese culture can never reach the height of western culture.

===The Possible Reasons===
1. It is difficult to read cultural classics.

There is a big reason why young people in contemporary China do not want to read cultural classics. These classics are written in classical Chinese, which is difficult to understand and requires a certain level of knowledge and education. During the period of the Republic of China, some advanced intellectuals, in order to break the passive situation of the old China, introduced advanced foreign ideas and cultures, and got rid of feudal and superstitious ideas, launched the New Culture Movement, advocating vernacular Chinese and opposing classical Chinese, with the purpose of introducing new culture and ideas. Since then, vernacular Chinese, also known as putonghua, now widely used in China, has gradually become the mainstream language of The Chinese people, and ancient Chinese is no longer taught in schools. The whole Chinese society has entered a new era. However, at the same time, ancient prose was no longer popular in Chinese society and became a language mastered by a few professionals, which greatly increased the difficulty for people to read classic ancient books. Although modern Chinese evolved from ancient Chinese, modern Chinese has developed into a system of its own after nearly 100 years of development, which is very different from classical Chinese. Without professional and systematic learning, it is difficult for ordinary people to fully understand classical Chinese. Because of the difficulty of reading these classics, it takes more energy to read them, which makes many people stop reading them. On the other hand, with the development of the times, Chinese modern and contemporary literature has emerged a lot of works, known as the new classics, these works are also very excellent works, at the same time, the vernacular or modern Chinese writing, more easy to understand, that is, become the reading choice of many people. In addition, due to the development of the Internet world, there are many online novels and popular works. Compared with the classics, these works do not need to spend time thinking, and they are also pleasant and popular with many people.

2. Cultural innovation capacity still needs to be developed

Cultural innovation refers to the creative vitality of culture, which belongs to the independent innovation, absorption and re-innovation of culture. National cultural innovation is the ability to reprocess the cultural elements and materials absorbed and influence the market. (Cai Libin, Wang Chenlin,2020) Cultural classics are difficult to understand, but we can use innovative means and innovative communication forms to convey the original connotation of classic books, so as to attract people to read classic books again. But from the point of the current Chinese market, the adaptations of Chinese cultural classics give priority television works, and in the past two years there have been some cultural TV programs, such as "China in classic books" (in the form of a play to deduce classics story), "the Chinese poetry conference" (it takes "enjoy Chinese poetry, cultural genes, taste the beauty of life "as the basic principle, through the competition and appreciation of the knowledge of poetry, sharing the beauty of poetry, feeling the interest of poetry, absorbing nutrition from the wisdom and feelings of the ancients and cultivating the soul, etc.)Although these programs have aroused some domestic online discussions, they still can not get widespread attention. In addition, in the film art with international influence, Chinese cultural classics are few and far between. In 2019, ''Ne Zha''(哪吒之魔童降世), adapted from the classic Chinese mythological novel ''The Legend of Gods''《封神榜》, set a record in The history of Chinese animated films, grossing more than 5 billion yuan. Nezha has become a hot topic for a while, and the Classic novel The Legend of Gods has also come into people's sight again. The following year, however, ''Jiang Ziya''《姜子牙》, a film also adapted from the mythological novel , earned only 1.6 billion yuan at the box office and received far less critical and influential reviews. From this we can see that there are still great deficiencies in China's cultural and creative ability, which cannot become a long-term driving force to promote the inheritance and development of Chinese classics and even Chinese culture.

3. The challenge of Western ideology

What cannot be denied is that western ideology has always occupied the dominant position in the world. Western powers spread their values and beliefs to other countries through their powerful media advantages, and to a large extent reshape their values, behavior, social system and identity, and ultimately achieve the purpose of protecting themselves. Especially with the rapid development of the Internet, it provides a new platform for the western society to carry out cultural communication. With the advantages of economy, technology and extensive application of English, western powers spread their own cultural values and behavior patterns to the outside world, which to a large extent affected the influence of local culture. The cultural mainstream of western powers seriously threatens the dominant position of Chinese culture in the hearts of the people and is a severe challenge to the development of China's cultural soft power. (Ning Deye, Shang Jiu, 2010) At present, many young people in China are obviously "Westernized" in terms of lifestyle and values. For example, iPhone is very popular among Chinese young people, western traditional festivals such as Christmas are very popular among Chinese young people, and they pursue foreign luxury brands. All of these are manifestations of the young generation's detachment from Chinese culture, and also obstacles to the development of China's cultural soft power. In addition, Joseph Nye, after the end of the Cold War, "lost no time" in putting forward the theory of soft power, pointing out and emphasizing the importance of soft power in the era of peace and information, which in essence sounded the horn for the Western society to enter the cultural field, leading to greater investment in cultural expansion of the Western society. It is difficult for China to develop cultural soft power and maintain the subjectivity and independence of national culture. (Ning Deye, Shang Jiu, 2010)
As China is also in the international community, it will inevitably be influenced by western mainstream culture, and more people are willing to read western classics. This can also be seen from the best-selling books on the aforementioned domestic book sales website in China. Eight of the top 20 best-selling books, or almost half, are foreign classics. The author consulted the summary of high-scoring books in 2021 on a popular book rating app in China, and found that seven of the top ten books with the highest rating were foreign works, while the top three were not Chinese works. This is enough to illustrate the influence of western mainstream culture in China. (douban.com)China's cultural soft power is not strong enough to equal the realm of the western world. If popular culture is still western one, Chinese cultural classics will face greater difficulties. In addition, it is not very optimistic that the translation of Chinese cultural classics can be recognized by foreign cultures. Quite a number of Chinese and Foreign translations are facing the fate of "export to domestic sales". These translations are not taken out for exchange with foreign countries, but become the translator's self-appreciation or for the study and reference of the Chinese people.

4.Hard power support is relatively weak

When participating in international competition and international affairs, those with strong hard power are more likely to win the dominant power and the right to speak, to control the development direction and trajectory of events and current situations, and to reflect and enhance their national cultural soft power. In addition, cultural communication is a basic link in the development of cultural soft power. Under the conditions of modern information communication, the support of hard power derived from technology is a necessary condition for cultural communication. In short, the development of national cultural soft power must rely on the support of hard power. In recent years, China's economy has developed rapidly and its hard power has been greatly improved, but there is still a big gap between China and western developed countries. When participating in international affairs and competition, the supporting force of hard power is still relatively weak, and it is difficult to win the dominant power and the right to speak, which restricts the development and improvement of China's cultural soft power. The relatively weak supporting force of hard power is a fundamental challenge facing the development of China's cultural soft power, which should arouse high vigilance.
This is also reflected in China's talent training and overseas publishing industry.
China's current employment of translation professionals is far from adequate. There are more people who take translation as a part-time job or hobby. In recent years, more and more people are engaged in translation, but how many people are really devoted to the translation of Chinese classics? Although we have made great achievements, the realization of the true value of Chinese classic culture has been reduced due to the limitations of translators' skills, publication organization, quality and promotion.
On the other hand, good translations also need good overseas channels and proper marketing to attract overseas markets. However, at present, few Chinese enterprises have overseas publishing channels, and even if they do, the scope is not wide enough, which increases the difficulties for the translation and dissemination of Chinese cultural classics.

===Countermeasures===
1. Develop a reading habit

Since it is difficult to read classic books, schools should set up corresponding courses and treat the study of classic books as a part of daily learning, not just the content of exams. In this process, we should guide students to develop good reading habits and cultivate students to understand, read and learn classics from childhood. Appropriately increase the proportion of Chinese classic books in students' book list, and at the same time, and open some related activities centering on the reading of classic books, such as reading clubs, knowledge contests, speech contests and composition contests, which can not only enrich students' learning life but also increase their interest and motivation in learning cultural classic books. And gradually they can absorb the nutrients of Chinese culture from the learning process of classic books, form China's own values, and enhance cultural confidence.

2. Increase investment in cultural and creative undertakings

The state should further strengthen investment in cultural innovation and encourage practitioners to create more and more excellent works to spread cultural classics and the spiritual culture contained therein. In addition, the country should train innovative talents and further strengthen the cultural innovation ability of the whole country. With a new way to deduce the story of the classic books, we can bring out rich connotation and vitality of Chinese cultural classic books.

3. Learn the advantages of Western culture

Western culture can cause great influence in the world because of its own quality culture. At the same time of western culture shock, we should also learn the advantages of western culture, and absorb and transform, so as to form our own advantages. For example, we can learn from the development model or successful cases of western culture to promote Chinese cultural classics to the world.

4. Improve "hard power"

Only by further developing the economy and perfecting the social system can we provide professional security for translators and attract more translation talents. We should strengthen foreign exchanges, help Chinese publishing enterprises to go out, improve publishing channels and marketing strategies, so as to expand the foreign market of Chinese cultural classics, further spread Chinese culture, and enhance the influence of Chinese

===Conclusion===
Chinese cultural classics are the essence of Chinese traditional culture and are closely related to cultural soft power. After this paper the author found that the inheritance and transmission of Chinese culture classics still exist many problems, we must attach great importance to it, and take corresponding measures to solve these problems to help our cultural books to go into people's study life,to concentrate the power of culture, thus further to go into the world and influence the world. Only in this way can China improve its cultural soft power, enhance its competitiveness and gain recognition in the world.

===References===
*Nye, J. S. (1990).''Soft Power''.''Foreign Policy'',80,153–171pp.

*Cai Libin, Wang Chenlin 蔡礼彬,王晨琳.(2020).''世界遗产与中国文化软实力''[A World Heritage Site and Chinese Cultural Soft Power].''中国文物科学研究''Chinese Cultural Relics Scientific Research (01), 17-23.

*Gu Chunjiang 顾春江.(2020).''中国典籍英译本海外传播研究''[A Study on the Overseas Communication of the English Translation of Chinese Classics].''文教资料''Cultural and educational materials (31), 7-10.

*Hong Xiaonan, Qiu Jinying, Lin Dan 洪晓楠,邱金英,林丹.(2013).''国家文化软实力的构成要素与提升战略''[The Constituent Elements and Promotion Strategy of National Cultural Soft Power].''江海学刊''Jianghai Journal,202-207.

*Liu Jinxiang 刘金祥.(2022).''文化经典的主要特征和当下价值''[The Main Characteristics and Current Values of Cultural Classics].''书屋''Library (02),13-15.

*Shi Zuhui施祖辉.(2000).''国外综合国力论研究''[A Study on Foreign Comprehensive National Strength].''外国经济与管理''Foreign Economy and Management (01), 13-19.

*Xu Wanxiao, Xu Fangxiong徐宛笑,徐方雄(2021).''文化软实力的概念、实质及构成要素探究''[Explore the Concept, Essence and Constituent Elements of Cultural Soft Power].''文化创新比较研究''Comparative Research on Cultural Innovation (10), 8-11.

*Wang Huning王沪宁(1993).''作为国家实力的文化:软权力''[Culture as a National Power: soft power].''复旦学报(社会科学版)''Fudan Journal (Social Science edition) (03), 91-96 + 75.

*Wei Enzheng, Zhang Jin魏恩政,张锦(2009).''关于文化软实力的几点认识和思考''.[Some Understandings and Thoughts on Cultural Soft Power].''理论学刊'' Theoretical Journal (03),13-17.

*Zhang Junxiong张军雄.(2022).''大学生经典文献阅读情况调''[Investigation on the reading situation of classical literature by college students].''合作经济与科技''Cooperative Economy and Science and Technology (11), 87-89.

*图书畅销榜-2021年畅销书排行榜Book bestseller-2021-Dangdang (dangdang.com)http://bang.dangdang.com/books/bestsellers/

*豆瓣2021年度读书榜单Douban Reading List 2021 (douban.com)https://book.douban.com/annual/2021

==英语笔译胡良明 Hu Liangming 202170081570 MW==

<center>'''A study on Lin Yutang’s translation of Six Records of a Floating Life'''</center>

<center>Hu Liangming</center>

===Abstract===
Translation is a special art. When translating, the translator needs to express the original content in another different language. In this process, the translator not only needs to translate the original content, but also needs to preserve the mood, imagery, rhythm and writing style of the original text. Therefore, translation is not only a transformation between two different languages, but also an exchange between different cultures represented by the two languages. As a special type of translation, literary translation involves famous Chinese and Western literary works, so it is necessary to pay more attention to the connotation of words and sentences while translating. In literary translation, the translator should strive to express the artistic conception of the original work, so that readers can read the literary connotation from the translated work as if reading the original text, and can feel the beauty of the language. The Three Beauties Principle, which consists of beauty in sound, beauty in sense and beauty in form, is the translation standard put forward by the famous translator Xu Yuanchong. The Three Beauties Principle is regarded as the translation standard of Chinese classical poetry. Under this standard, the translator must express accurately the beauty in the poem. Since the styles of poetry and prose are very similar, this article aims to explore the effective methods of English translation of Classical Chinese by studying the translation aesthetics in Lin Yutang's English translation of Six Records of a Floating Life.

===Key words===
Three Beauties Principle, English translation of Classical Chinese, Six Records of a Floating Life.

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译黄琼 Huang Qiong 202170081571 CE==
<center>'''The Translation and Spread of Yu Hua's Works in Europe'''</center>

<center>黄琼 Huang Qiong</center>

===Abstract===
Yu Hua, a famous contemporary author in China, wrote a lot of novels such as ''To Live''《活着》, ''Cries in the Drizzle''《在细雨中呼喊》, and ''Chronicle of a Blood Merchant''《许三观卖血记》. He is one of the pioneers of Chinese avant-garde literature in the new period. As a contemporary Chinese writer, this paper will explore the translation and dissemination of Yu Hua’s works（''Brothers'' as an example） in Europe with an emphasis on France and Germany. This case is to provide some experience for the dissemination of Chinese contemporary literature, so as to expand the influence of Chinese literature.

===Key words===
Yu Hua, ''Brothers'', Chinese contemporary literature, translation.

===Introduction of Yu Hua and His works===
Yu Hua is a famous writer in contemporary China. When describing his novels, Chinese readers often use words like "misery" and "sadness", saying that he left the pain to the readers. In recent days, he has given a number of interviews, including detailed interviews with several Up （Up is short for "upload", a content sharer on the video website Bilibili which is a well-known video bullet screen website in China and is very popular among young people.）on Bilibili's knowledge section, in which Yu presents a humorous image to readers. Previously, ''To Live'' was adapted by the famous Chinese director Zhang Yimou, starring Ge You and Gong Li. In 1994, the film won the Grand Jury Prize and the Best Actor Award at the 47th Cannes International Film Festival, and the novel ''To Live'' also became very famous in China. In his interviews, he is humorous. He is nothing like his novels that has a sense of sadness. Many of his funny stories are circulating on the Chinese Internet. For example, when he worked as a dentist for several years, he saw the people in the county cultural center do nothing but roam the street every day. He thought this job was very good, so he wrote a novel and published it, and then entered the cultural center to work. Humor seems to be the latest impression of Yu Hua.

Yu Hua's novels have been bestsellers. ''To Live'' （《活着》）has been popular for nearly 20 years since its publication. From 1992 to 2020, the sales volume exceeded 20 million, creating a new record in the contemporary Chinese literary field. Yu Hua's new book, ''Wen Cheng''(《文城》), has already printed 1 million copies in just three months（Li Chunyu 2021, 143）Openbook is a professional commercial organization providing consulting, research, and survey services for the book industry, and also the founder of the continuous tracking and monitoring system for the retail data of the Chinese book market. According to the China Book Retail Market Report 2021 released by the institute, Yu Hua’s new book ''Wen Cheng'' ranked 10th on the 2021 fiction list and first on the new fiction list, apparently thanks to Yu Hua’s status among Chinese writers. ''To Live'' was the seventh best-selling book. In 2020, ''To Live'' was the fourth best-selling fiction series, and in 2019, ''To Live'' was the no. 1 fiction series, which also topped the overall list for a second year. ''To Live'' topped the list for 11 consecutive months from March 2018 to January 2019, and also topped the list for nine months in 2019. Among the sales reports in recent years, only Lu Yao’s ''Ordinary World'' in the serious literature category ranked fourth on the fiction list in 2019. On top of that, ''To Live'' has been published for more than 20 years and has been on the bestseller list every year, which is not easy.

Yu Hua has many readers. According to Douban, a Goodreads-like website, ''To Live'' has received more than 690,000 comments, with a score of 9.4 points. ''Brothers'' has more than 50,000 reviews. ''A Dream of Red Mansions''(《红楼梦》), one of China’s four most famous novels, received only 370,000 comments, while the ''Three-Body Problem'' (《三体》), a popular science fiction novel, received 400,000 comments. Compared with other contemporary writers' books of China, ''Frog'' (《蛙》)by Mo Yan, China's first Nobel Laureate in literature, received only 20,000 comments, while ''Life and Death are Wearing Me Out'' (《生死疲劳》)received only 18,000. Lu Yao’s novel ''Ordinary World'' has received more than 60,000 comments. All the above data show that Yu Hua is a very famous writer in contemporary China, and his appeal to readers is also very strong.

Yu Hua is also famous abroad. Wu Yiqin, president of Writer publishing House(作家出版社), commented that Yu Hua was the first contemporary Chinese writer who really "went out" in the sense of literary noumenon. In a sense, he corrected the bias that the Western world was usually keen on "reading China" rather than "reading literature" when facing Chinese literary works. He has received many foreign awards, including the James Joyce Award, and France's Prix Courrier International. In 1998, ''To Live'' won the highest prize in Italian literature — The Grinzane Cavour. The earliest foreign language translation of Yu Hua's novel is the 1992 German translation ''To Live''. However, it is more suitable to regard 1994 as the first year of the full spread of Yu Hua's novels, because in this year, his representative work ''To Live'' was translated into many languages and published separately, and his works were widely translated and introduced to other countries successively. For example, ''To Live'' was published by Hachette Publishing Company in France, published by De Geus in the Netherlands; Livani in Greece also published ''To Live'' (Liu Jiangkai 2014, 134).

Yu Hua is a prolific writer. Shortly after his debut as a fiction writer in 1983, his first breakthrough came in 1987, when he released the short story ''On the Road at Age Eighteen''（《十八岁出门远行》）. In 1990, his first novel, ''Cries in the Drizzle'' （《在细雨中呼喊》）, was published. In 1992, ''To Live'' was published. In 1995, the full-length novel ''Chronicle of a Blood Merchant'' （《许三观卖血记》）was completed. From 2005 to 2006, two parts of ''Brothers'' （《兄弟》）were published successively. In 2013, the full-length novel ''The Seventh Day'' （《第七天》）was published. Yu Hua has written five novels, six collections of stories, and three collections of essays. His novels have been translated into English, Spanish, Portuguese, French, German, Russian, Italian, Dutch, Czech, Polish, Romanian, Swedish, Hungarian, Korean, Mongolian Malayalam, and Danish.

===Literature Review===
1. Domestic Literature Review of the Translation Research of Yu Hua’s Works in Europe

As a famous contemporary writer in China, Yu Hua has been studied very extensively in the Chinese academic circles and achieved very fruitful results. Using “Yu Hua” as the keyword to search articles in the Chinese National Knowledge Infrastructure （CNKI 中国知网）, a total of 6679 articles were found. Using “Yu Hua overseas dissemination” as the keyword to search, 287 articles were found. Using “Yu Hua translation” as the keyword to search, 112 articles were found. Mo Yan, China’s first Nobel Prize winner in literature, is about 2-4 times more popular than Yu Hua.

Liu Jiangkai’s article The Surprised Aesthetic Unity of Contemporary Literature Landscape: Yu Hua’s Overseas Acceptance（当代文学诧异“风景”的美学统一:余华的海外接受） systematically introduces the translation situation of Yu Hua’s works in various countries, arranges the literature review of Yu Hua at home and abroad, and discusses the differences between the domestic and foreign comments on ''Brothers''. Hang Ling, Xu Jun’s article Different Interpretations and Acceptance of Yu Hua’s ''Brothers'' in The Context of French Culture（《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介）. The translation and reception of the Brothers in France are analyzed. Another article by Hang Ling, Interpretation of Yu Hua in the French Context: From Sinology to Mainstream Media（《法兰西语境下对余华的阐释——从汉学界到主流媒体. 小说评论》）, analyzes the views of mainstream media and academic circles in France on Yu Hua. Sun Guoliang and Li Bin’s article Overview of Research on the Translation and Translation of Modern and Contemporary Chinese Literature in Germany（《中国现当代文学在德国的译介研究概述》）, made quantitative statistics and qualitative analysis on the translation of contemporary Chinese literature in Germany by referring to some data and the journal materials collected by the authors during their visiting study. His other article on Germany, A Study of Yu Hu’s Translation and Acceptance in Germany, focuses on Yu Hua（《余华在德国的译介与接受研究》）. Chen Daliang and Xu Duo’s article The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media（《英国主流媒体对当代中国文学的评价与接受》） is based on the first-hand reports on contemporary Chinese writers and works by British mainstream media, and tried to answer several questions from four aspects: basic situation, evaluation emphasis, problems, and reflections. As for the situation in Spain, the Netherlands, Italy, Norway, and other European countries, most researchers only regard Yu Hua as a part of contemporary Chinese writers and do not have a deep study of Yu Hua’s works.

2. Foreign Literature Review

There are many foreign scholars who are interested in Yu Hua and did much research about him. Chen Jian Guo’s Violence: The Politics and the Aesthetic: Toward a Reading of Yu Hua in the American Journal of Chinese Studies explores that our life is surrounded by a world capable of what Dostoyevsky called the “variety of sensations” for vicious violence. Deirdre Sabina Knight publishes the article Capitalist and Enlightenment values in 1990s Chinese fiction: The case of Yu Hua’s Blood Seller. Through interpreting the social, economic, and moral foundations of selfhood and autonomy in Yu Hua’s novel, the author thinks that analysis of the uses of self-ownership diminishes its attractiveness as a primary value in favor of values less complicit with capitalist principles. Wedell-Wedellsborg, Anne’s Multiple Temporalities in the Literary Identity Space of Post-Socialist China: A Discussion of Yu Hua’s Novel Brothers and its Reception. The acceptance of Brothers in various countries was discussed. Overseas scholars Yang Xiaobin also wrote many papers on Yu Hua. The above are overseas scholars who focus on Yu Hua, and their research ideas can be roughly divided into works, themes, and comparative studies. It involves Yu Hua’s long, medium and short works.

===The Translation and Spread of Yu Hua’s Works in Europe===

On the whole, the influence of Chinese contemporary literature in world literature is low. Compared with the fellow Asian countries like Japan, there are huge differences. For example, Japanese writer Haruki Murakami's English translation of ''Norwegian wood'' (《挪威的森林》) on the Amazon has more than 6500 comments. By comparison, China's first Nobel Prize winner, Mo Yan's ''Frog'' (《蛙》) just has more than one hundred comments. The Nobel Prize in Literature only promoted Mo Yan's overseas acceptance and did little to change the overall situation of contemporary Chinese literature. The whole overseas dissemination of Chinese contemporary literature is in a marginal position. However, although the overall situation of Chinese literature is not optimistic, there are a few contemporary Chinese writers, such as Yu Hua, Wei Hui, and so on, whose influence is expanding abroad. Due to a large number of Yu Hua's works and limited space, this paper focuses on the analysis of the translation and reception of Brothers in Germany and France. For ''Brothers'' alone, there are many languages and a large number of translations. ''Brothers'' was short-listed for the Man Asian Literary Prize, and a winner of France's Prix Courrier International. It is an epic and wildly unhinged black comedy of modern Chinese society running amok. With sly and biting humor, combined with an insightful and compassionate eye for the lives of ordinary people, Yu Hua reappears the history, showing his criticism of the power in the 1960s and 1970s, and his concern about the lack of spiritual life in the people in the early stage of Reform and Opening-up and some human concern.

1. France

France is the country that publishes the largest number of contemporary Chinese literature, surpassing the number of English translations. Compared with other countries, France has a broad market prospect. As a major country of Sinology, France has always paid close attention to the development of Chinese contemporary literature and actively translated Chinese contemporary literature. The French version of ''Brothers'' was published in 2008, whose translators are Angel Pino and Isabelle Rabut by the famous publishing house Actes Sud. Isabelle Rabut translated many of his books. She is a professor in the Department of Chinese literature at the National Institute of Oriental Languages and Cultures in France, specializing in the study of modern and contemporary Chinese literature. She is also one of the most active translators of modern and contemporary Chinese literature in France, as well as a member of Actes Sud's "Chinese Literature" section as chief editor. After ''Brothers'' was published, she made the first contact to acquire the rights, and with her husband, Sinologist Angel Pino spent a year translating the novel. ''Brothers'' is Yu Hua's seventh book published in France. It set off a wave of enthusiasm in France, and some important media, such as Le Monde, Liberation, and so on, devoted rare space to promoting a foreign writer and a foreign novel to the French-speaking world and generated 50-60 comments.[ For detailed information in 王侃,蔡丽娟,朱志红.《兄弟》在法语世界——法语书评翻译小辑.] Many newspapers praised the novel for its complete portrayal of complex contemporary China, but that was not the case at home, where it received mixed reviews. Most of the criticism in China was that this novel was too vulgar. For example, the novel begins with li Guangtou(李光头), the main character, peeking at a woman's arse while going to the toilet. It is also worth discussing why there is such a wide gap between domestic and foreign opinions in the book.

Sales of Yu Hua's books in France did not start well. According to Eva Chanet, far East literature editor of Actes Sud, sales of Yu Hua's works were limited in the early days, with only 500 to 900 copies sold. (Eva Chanet mentioned this figure in a lecture given in January 2011 at the International Centre for Literary Translators in Arles, southern France.) But they did not give up on Yu Hua and looked at the long-term benefits, so Yu Hua gradually built his reputation in France. In 2008, with the publication of the French translation of ''Brothers'', Yu Hua began to receive intensive attention from the French mainstream media. Up to now, it has sold more than 50,000 copies, far surpassing Yu Hua’s previous works. The hardback edition of ''Brothers'' has more than 700 pages and has been printed more than a dozen times. The previous bestselling book in France, ''Chronicle of a Blood Merchant'' sold only a few thousand copies(Ji & Zhou 2015, 39 ). There are some comments on Amazon. "An exceptional book.(Un livre exceptionnel.)" "It works well. The 700 pages form a "beautiful" history of the history of contemporary China.( ça marche bien, les 700 pages défilent et forment une “belle” histoire de l'histoire de la chine contemporaine. )." The ratings are mostly four to five stars. Modern and contemporary Chinese literature works have a place in France, but it is far from rising to mainstream literature. Even in the translation literature, British and American literature still attracts more attention. Therefore, Chinese contemporary literature still has a lot to go.

2. Germany

According to statistics from Bochum University, about 900 works of Chinese literature were translated into German between 1827 and 1995. Most of them were published in the 1920s and 1980s, with 40 translated into German in 1987 alone (Ulrich Kautz 2005, 8). In 2012, the publishing house Fischer Taschenbuch released the German version of ''Brothers''. The translator is Ulrich Kautz, winner of the "Special Contribution Award of Chinese Books" and a famous German translator. He has translated Yu Hua's ''To Live'', ''Chronicle of a Blood Merchant''(《许三观卖血记》), ''Brothers'', ''China in Ten Words''（《十个词汇里的中国》）, ''The Seventh Day''（《第七天》）, and ''Cries in the Drizzle''（《在细雨中呼喊》）, all of which are of high quality. In addition, five of Yu Hua's short stories have been translated into German by Hefte fur Ostasiatische Literatur and other famous German sinologists.

According to Yu Hua himself, in his own book ''To Live'' is the most popular novel in the United States, Spain, and Italy, while ''Brothers'' is the most popular novel in France and Germany. ''Brothers'' sold more than 27,000 copies between 2009 and 2015. Yu Hua's ''China in Ten Words'' sold about 7,000 copies. On Goodreads, there are German comments. "Brilliant book. A different world, and it's very well written." (Geniales Buch. Eine andere Welt und so toll geschrieben. ) On Amazon, the rating is 4.4. "The development of this fictitious city is followed in this novel over a period of several decades, which opens up interesting insights into the development of Chinese society for us."(Die Entwicklung dieser fiktiven Stadt wird in diesem Roman über einen Zeitraum von mehreren Jahrzehnten verfolgt, was durchaus interessante Einblicke auch für uns in die Entwicklung der chinesischen Gesellschaft eröffnet.)

2009 is a milestone year for the translation and dissemination of Chinese literature in German. For the first time, China participated in the Frankfurt Book Fair as the guest of honor, the largest and most influential in the world. Tie Ning, Su Tong, A Lai, and other famous Chinese writers visited the Frankfurt Book Fair and had in-depth exchanges with the world publishing industry. It is hoped that China will participate more in these book fairs in the future, strengthen national cooperation and exchanges, and spread Chinese classic literature.

3. Other Countries

The following table shows some of the translations of ''Brothers'' in European countries(except England). From the table ''Brothers'' have a lot of translation versions. Spain, Italy, Norway, Denmark, and so on have translated the book. There is no special study of Yu Hua's articles in other European countries except in Britain, Germany, and France. In 2017, the Italian press Feltrinelli Editore published the Italian version. The translator is Silvia Pozzi. However, Mo Yan, Yu Hua, and Su Tong, among the most well-known Chinese writers, have sold less than 10,000 copies in Italy. Spain's Seix Barral publishing house mainly promotes Yu Hua's works and released ''Brothers'' in 2009.

The dissemination of Yu Hua's works mainly follows two basic laws. One is the well-developed economy and culture. For example, the countries in Europe have relatively developed economic levels and cultural traditions, and rich spiritual life of their people. The other is the historical and cultural connection, which is highlighted by the spread of Asian countries such as Japan, South Korea, and Vietnam, which have a close cultural origin with China and form a common cultural circle (Liu Jiangkai 2014, 135).

[[File:hdhd jzjzj.jpg]]

===The Opinions about the Dissemination of Chinese Contemporary Literature ===
Some suggestions are summarized from Yu Hua’s overseas dissemination to help Chinese contemporary literature to the world.

1. Excellent Translator and Publisher

Generally speaking, many well-known Chinese writers have a regular translator in each different language. Finding a suitable and stable translator is very important for the overseas dissemination of writers. So much the better if the translator is influential, for example, Howard Goldblatt to Mo Yan, Ken Liu to the ''Three-body Problem''. As for Yu Hua, Ulrich Kautz became the official translator of the German version of Yu Hua's works. Wolf Baus speaks highly of the quality of the translation: "His fidelity to the drama of the original, his ability to control the tone with the confidence of an ordinary citizen, and his amazing hues, make the book irresistible thanks to the translator's intelligence, simplicity, and openness."(Wolf Baus 2000, 164) Newspapers in the French-speaking world also praised Angel Pino and Isabelle Rabut. "The image of the novel is fully reflected in the French translation. Thanks to the erudition of these two translators, they can accurately and easily restore the original novel in the real Chinese context."（Le temps 2008）They have a solid foundation in the Chinese language and good literary quality. Meanwhile, they have a relatively comprehensive and in-depth understanding of Yu Hua and hold an attitude of recognition and appreciation of Yu Hua's works, which lays a foundation for their excellent translation. With a regular translator, the communication between the author and the translator will be smoother.

The press also played a great role in the dissemination of Chinese contemporary literature. Since 2000, Yu Hua's works have changed from multiple presses to regular press in Actes Sud. The translation of Yu Hua's works has gone from disorganized to systematic. With the continuous efforts of this publishing house, Yu Hua has become one of the most translated Chinese writers in France. The long-term and stable cooperation with Actes Sud laid a good foundation for the establishment of Yu Hua's literary image in France. Seix Barral in Spain attaches great importance to the translation and introduction of Chinese literature and has formulated a long-term and systematic publishing plan for Chinese literature. The Spanish edition of ''Brothers'' was published by their press. In 2014, Wuzhou Media Publishing House cooperated with Planet Publishing House, the largest publishing house in Spain, to translate and publish Mai Jia's work ''Decode'' (《解密》). With large-scale publicity, this work set a record for the first release of modern and contemporary Chinese literary works with 30,000 copies（Lan Bo 2020, 45）. An excellent publishing house with reliable marketing ability and strong financial support can play a positive role in the dissemination of the translation. The combination of Chinese and foreign publishing houses is conducive to the mutual promotion of writers of the two countries and the further integration of foreign literature and domestic literature.

2. Film Adaptation

Mo Yan, Su Tong, and Yu Hua have all received film adaptations by Zhang Yimou. Zhang Yimou's 1991 film ''Raise the Red Lantern'' （《大红灯笼高高挂》）, based on Su Tong's novel ''Wives and Concubines'' （《妻妾成群》）, won the Silver Lion at the 48th Venice Film Festival and in 1992 was nominated for Academy Award for Best Foreign Language Film. ''To Live'' was adapted into a film by director Zhang Yimou, which won the Grand Jury Prize at Cannes in 1994. In 1988, ''Red Sorghum'' （《红高粱》）, adapted by Zhang Yimou, won the Golden Bear at the West Berlin Film Festival, attracting the world’s attention to Chinese films and greatly promoting novel translation. Undeniably, the adaptation of the novel into a film by the internationally renowned director Zhang Yimou does contribute to the spread of the novel. After all, Chinese literature is still read by a small number of people outside China, mostly scholars. And movies have opened up a certain market. "''To Live'' was not popular before the film adaptation, and many foreign versions of ''To Live'' had Gong li's picture on the cover," Yu said in an interview. This shows that the film adaptation did have a certain impact on overseas acceptance, which reduces the publishing house to the reader acceptance and market sales concerns.

3. Literary Features of the Novel

As mentioned earlier in the article, ''Brothers'' were generally well-received abroad but received mixed reviews in China. Some people think the content is vulgar, shallow, and in bad taste. Yu Hua wrote dirty and cruel things and is lack humanistic care and critical awareness. It holds that the bestselling of ''Brothers'' lies in the fact that ''Brothers'' buttons the secret code in the hearts of the masses and conforms to the emotional trend and reading habits of the masses. It is believed that the attitude of ''Brothers'' towards world history and the changes of the times does follow the trend, losing the value of judgment or the pursuit of meaning to the world (Wang & Zhu 2009, 13). There are also many praises. The dirt, cruelty, and vulgarity criticized by people contain very rich social content, reflecting Yu Hua's strong critical edge.

Some scholars attribute the success of ''Brothers'' in France to its Rabelaisian approach. Since Rabelais's indulgence and vulgarity is a paradigm already existing in the French literary tradition, many French critics will spontaneously associate ''Brothers'' with Gargantua and Pantagruel, thus forming a kind of identification with them （Hang Ling 2010, 136 ）. Some works that conform to the mainstream aesthetic standards of China are often considered to have a tendency to serve ideology in the perspective of French culture, which arouses the aversion of readers and media and leads to low acceptability. Cheng Baoyi, a Chinese scholar, said when talking about the differences between Chinese and Western literature and cultural concepts, "Westerners pay attention to imperfections, breakthroughs, and the existence of evil. They always believe that the relationship between man and nature is not so harmonious and complicated, and they do not hesitate to reveal the cruelty of the human world... This is caused by the different philosophical pursuits and aesthetic standards of the East and the West."(Qian Linsen 2000, 9) Although the story of Yu Hua takes place in the special historical background of China, it can show the beauty and tragedy of life, which can be shared by anyone. Therefore, how literary works grasp the present, reflect the spirit of times, the author how to transcend time and space to let foreign readers feel the life of Chinese people, or let them experience the common situation of human beings in the process of globalization, is an important prerequisite for the success of contemporary Chinese literary works going abroad. But that doesn't mean catering to other people's tastes. On the other hand, if writers excessively consider western readers' expectations of Chinese novels, they are likely to lose their "Chinese characteristics", which will lead to failure (Ulrich Kautz 2015, 9).

===Conclusion===
It is undeniable that when Chinese literature goes abroad, there is an obvious phenomenon that foreign countries pay too much attention to political issues. Yu Hua often answers questions about the censorship of China when he attends lectures and recitals abroad, although he has responded to this question. Objectively speaking, some western publishers, media, and even scholars still have an impression of Chinese literature as the stagnant closed countryside, political persecution, or twisted sex. The political misreading of Yu Hua's works in the process of translation and acceptance is an unavoidable topic. Only by treating Chinese literature as literature, not curiosity, and giving respect to Chinese literature, can we discover its real value beyond the superficial surface(Sun & Li 2021, 152）.

Through the study of the overseas reception of Yu Hua's works, it can not only better reflect on his creation and canonization process, but also observe the achievements and problems of contemporary Chinese literature in a broader world literature context（Liu Jiangkai 2014, 134）. "Chinese writers like me have limited influence even though some of our works have won awards and been published abroad," Yu said modestly. "Literary influence is a slow process. Because of that, its influence reaches across time and space." "It will take time," he said of how Chinese writers approach the world. French newspaper ''Liberation'' praised Yu Hua "The author of Brothers has a remarkable talent. He looks at the world with a caring eye. When we read his work, our emotions change from sneer to tears, from comical to tragic, from barbaric to global." There is no shortage of good works in Chinese literature, and there are many talented authors in China. It hopes that more and more excellent writers can go out and let the people of the world read Chinese works and feel the excellent Chinese literature.

===References===
*Chen Daling & Xu Duo 陈大亮 & 许多.(2018).英国主流媒体对当代中国文学的评价与接受[The Evaluation and Acceptance of Contemporary Chinese literature by British Mainstream media]. ''小说评论'' Novel Review(04),153-161.
*Hang Ling & Xu Jun 杭零 & 许钧.(2010).《兄弟》的不同诠释与接受——余华在法兰西文化语境中的译介[Different Interpretations and Acceptance of Yu Hua’s Brothers in The Context of French Culture]. ''文艺争鸣'' Literature and Art Forum (07),131-137.
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==英语笔译邝雨琪 Kuang Yuqi 202170081572 MW==
<center>'''A Study on C-E Translation of the Mao Zedong's Poetry from the Perspective of Eco-translatology'''</center>

<center>邝雨琪Kuang Yuqi</center>

===Abstract===
Based on eco-translatology theory, this thesis analyzes the translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”, namely, the transformation at linguistic dimension, cultural dimension and communicative dimension. Mao Zedong's poetry holds an important place in the history of Chinese literature. The appropriate English translation of Mao Zedong's poems is of great significance for promoting Chinese culture. This thesis will take Xu Yuanchong's translation of Mao Zedong's poems as an example to study the application of eco-translatology in the translation of Mao Zedong's poems. It aims to provide a new perspective for the study of the English translation of Mao Zedong's poetry and demonstrate the feasibility of the guidance of ecological translation, which has guiding significance to translation discipline construction, translation studies and translation practice.
===Key words===
Eco- translatology; Mao Zedong's Poetry; Xu Yuanchong's Translation
===Introduction===
With the increasingly intimate exchanges between countries, the globalization is more and more irreversible. In this condition, translation becomes increasingly important. There are also more and more interdisciplinary studies on translation. In 2001, the notion of eco-translatology was firstly put forward by Chinese scholar Hu Gengshen, which provided a brand new angle for translation studies and pushed interdisciplinary research of translation studies to a new stage.

In addition to Tang and Song poetry, Mao Zedong’s poetry also occupies a very important position in the history of literature. This thesis intends to provide a new perspective for the study of the English translation of Mao Zedong's poetry and apply the translation theory to the translation of other texts, so as to make the English translation of Chinese literature more perfect and understandable.

The thesis consists of five parts. After the introduction, Chapter One is the theoretical framework, which covers the origin of eco-translatology theory and some core concepts of ecological translation including “the translator’s subjectivity”, “selection and adaptation”, “ecological environment of translation”. Then it introduces the "three-dimensional transformation" principle which is mainly used in this thesis. Chapter Two focuses on the general review of Mao Zedong's Poetry and its C-E translation in Xu Yuanchong's version. It will introduces the two main characteristics of Mao Zedong's poems, that is, heroic style and abundant allusions. Then it looks into its translation strategies used in the C-E translation of Mao Zedong's Poetry, including domestication and free translation. Chapter three analyzes the application of eco-translatology in Xu Yuanchong's translation, and explores the translation of Mao Zedong's poetry from the linguistic dimension, cultural dimension and communicative dimension. Then comes to the last part, the conclusion. The last part serves as a summary, and points out some limitations of this thesis.
===Literature Review===
Scholars at home and abroad have done a lot of research on the English translation of Mao Zedong's poetry. From the 1950s, Russia, the United States, France, Italy and other European and American countries officially began publishing the translation of Mao Zedong's Poetry（李正栓，陶沙，2009）. Foreign scholars mainly focus on the translation of Mao Zedong's poems itself. The studies done by domestic scholars are mainly divided into three categories：introducing and commenting on the versions of Mao Zedong's poetry translation; studying Mao Zedong's poetry translation from different translation theories; comparing different translation versions of Mao Zedong's poems. Although some scholars have studied the translation of Mao Zedong's poetry from the perspective of eco-translatology, there are many viewpoints on this theory, and few analyze it from the “three-dimensional transformation” principles.
===Methods and Theories===
This thesis studies the translation of Mao Zedong's poems from the perspective of eco-translatology, and the application of “three-dimensional transformation” theory in it. Besides, Xu Yuanchong's translation of Mao Zedong's poetry is mainly used as an example, because of its high quality and complete quantity.
===I A Brief Introduction to the Eco-translatology Theory===
Eco-translatology theory is a translation method. Before going to the analysis of the C-E Translation of Mao Zedong’s Poetry from the perspective of eco-translatology, meaning and methods of eco-translatology theory are discussed first.

'''1.1The Eco-translatology Theory'''

Eco-translatology is a systematic and complete translation theory. This section will briefly introduce its original, meaning and its main viewpoints.

'''1.1.1The Origin of Eco-translatology Theory'''

Based on Darwin's biological evolutionism, that is, survival of the fittest, Hu Gengsheng put forward the theory of eco-translatology, the most important part of which is the theory of adaptation and selection. “ ‘Adaptation’ and ‘Selection’ is the basic mechanism to adjust human behavior”(Lopreato& Crippen 1999:85). Liu Aihua(刘爱华) argued that “the core content of Darwin's theory of natural selection is that ‘the most basic rule of adaptation of organisms to the ecological environment is survival of the fittest’”(Liu Aihua, 2010, translated by the author). While adapting to the natural environment, organisms will also be restricted by the natural environment. If apply this basic principle to translation studies, it is surprisingly to find that the same is true for the translators. The translators and the translation should adapt to the translation ecological environment and be restricted by it.

Eco-translatology was put forward by Professor Hu Gengshen in the 21st century. It is an interdisciplinary study of eco-translation, text ecology and "translation community" ecology and their interaction and relationship. Eco translation pays attention to the integrity of translation ecosystem. From the perspective of eco translatology, it gives a new description and explanation of the criteria, procedures, methods and principles of translation. Professor Hu's eco-translatology means that all elements of translation, including the original text, the source language and the target language, should be coordinated to achieve a dynamic ecological balance and form a harmonious and unified eco translation environment. Therefore, the translators should consider the connection and influence of all factors, adapt and make the best choice in the whole process of translation, and finally produce an ideal translation.

'''1.1.2 The Main Viewpoints of the Eco-translatology theory'''

There are some main viewpoints on eco-translatology. The first is Translator- centeredness. Eco-translatology thinks highly of the translator-centeredness, and regards it as a positive factor. Cha mingjian(查明建)defined the translator's subjectivity as “the translator, on the premise of respecting the object of translation, expresses his subjective initiative in translation activities in order to achieve the purpose of translation. Its basic characteristics are conscious cultural consciousness, humanistic character and creativity of cultural aesthetics”(Cha Mingjian, 2003:22, translated by the author). Zhang Zhizhong(张智中) believes that “translation is an art of compromise, let alone the poetry translation. The translatability of poetry embodies the translator's subjectivity and creativity”(Zhang Zhizhong, 2015, translated by the author).

Besides, the other major viewpoint is “translation as adaptation and selection”. “Adaptation” and “Selection” are the most important words through the eco- translatology. On the one hand, from the perspective of humanities, translation is also a human behavior, so the translator need to make lots of adaptations and selections in the process of translation in order to choose the suitable translation. On the other hand, from a macro view, there must be some similarities between the natural law of “seeking survival and merit” and translation activities.

According to eco-translatology, translation is the translator's adaptation and choice to the ecological environment. Ecological environment includes all the factors related to translation. The nature and process of ecology not only provide new interpretation for translation, but also provide new principles, methods and criteria for translation. Eco-translatology has its own translation principles, such as: text ecology; multidimensional integration; symbiosis; translator's responsibility. However, the essence of eco-translatology principle is “multi-dimensional adaptation and adaptive selection”.

Then is the “three-dimension transformation” principal that most people analyzed in this theory.

'''1.2Eco-translation Method: Three-dimension Transformation'''

The main translation principle in eco-translatology is three-dimensional transformation. It includes the transformation at linguistic dimension, cultural dimension and communicative dimension. The translation criterion derived from eco translatology is the adaptability of the three dimensions of language, culture and communication. In other words, translators should do themselves justice in translation, fulfill their subjective initiative, and comprehensively consider the balanced transformation of "three dimensions", so as to ensure that the translation can conform to the target language environment and be understood by the target readers.

'''1.2.1Linguistic Dimension'''

Hu Gengshen(胡庚申) explained that “the ‘adaptive transformation from the linguistic dimension’ refers to the translator's adaptive choice transformation of language form in the process of translation. This transformation takes place in different stages, levels and aspects of the translation process”(Hu Gengshen, 2011(2):8, translated by the author).

In poetry, language is very important. There are many kinds of Chinese poetry, and different kinds have different language requirements. Different genres express different emotions. And when change a word, the meaning and charm will be different. After all, poetry is very short, but it carries no less content and thoughts than a novel. Therefore, the language of poetry is required to have strong tension and cohesion. Besides, Chinese poetry is very particular about rhyme, rhythm is very important, because it will make people read catchy. Chinese poetry is quite distinct from foreign poetry, so in translation, language conversion and selection is very important.

'''1.2.2Cultural Dimension'''

Hu Gengshen(胡庚申) defined the“‘adaptive transformation from the cultural dimension’ as the translator's emphasis on the transmission and interpretation of bilingual cultural connotation in the process of translation”(Hu Gengshen, 2011(2):8, translated by the author). The translator needs to take note of the differences of the bilingual culture, make full understand of the source culture so as to avoid misunderstanding. In the translation of poetry, this kind of cultural transformation is particularly important. Because Chinese culture is broad and profound, and there are many allusions and rhetorical devices in poetry, and the expression of poetry is diverse. When translate the poetry, there are lots of factors need to be considered, especially in cultural dimension, so it is particularly important to explain its cultural sense and deep meaning of poetry.

'''1.2.3 Communicative Dimension'''

Hu Gengshen(胡庚申) interpreted that the “ ‘adaptive transformation from the communicative dimension’ means that in the process of translation, translators pay attention to the adaptive choice of bilingual communicative intention. It requires the translator to focus on the communicative level and pay attention to whether the communicative intention in the original text is reflected in the target text”(Hu Gengshen, 2011(2):8, translated by the author).

Translation is not only the transformation of words, but also the transmission of ideas. The main purpose of translation is communication. The translator is like a bridge between two languages so that two different cultures can communicate freely. It can make us appreciate the excellent culture of other countries, and can also spread our excellent culture to the whole world.
===II General Review of C-E Translation of Mao Zedong’s Poetry===
This thesis mainly studies the translation of Mao Zedong poetry. First, it analyzes its characteristics of Mao Zedong's poetry; then taking Xu Yuanchong's translation as an example, it analyzes several translation strategies used in C-E translation of Mao Zedong’s poetry.

'''2.1 Characteristics of Mao Zedong's Poetry'''

In the long history of the Chinese nation, there are many splendid poetry works. Poetry of each dynasty has its own characteristics, and poetry of different eras is even more different. Mao Zedong had experienced a lot of turbulence at his time, and his poetry expresses various emotions due to the different creative backgrounds. This thesis mainly discusses its two characteristics: heroic style and abundant allusions.

'''2.1.1 Heroic Style'''

The most important characteristic of Mao Zedong's poems is the heroic style. Ancient and modern writers can be roughly divided into two categories, one is pure literati, the other is politicians. Pure literati's sentiment is better than reason, while statesman's reason is better than sentiment. The reason lies in the author’s thoughts. To write an article is to express one's own thoughts. Mao Zedong is a politician, and only politicians can sum up the laws of society and publicize their political opinions in turbulent times. This kind of writing is not written with pen, but the fruit of the author's social practice. They experience it, feel it, reflect on it, and finally turn it to an article. The article is only a part of his career, such as the tip of the iceberg.

Mao Zedong's heroism can be seen from his childhood. When he was 16 years old, he wrote a poem “To My Father”(《七绝·呈父亲》) as follows:

孩儿立志出乡关，学不成名誓不还。
埋骨何须桑梓地，人生无处不青山?

Determined is the child to go out of his hometown,
And the pledges not to come back without studying to the fame.
A land of mulberry and Chinese catalpa is not necessary for burying bone,
And human life sees nowhere without green mountain.
(Translated by Zhang Chunhou)

From this poem, his lofty ambition and ideal was well expressed. He wanted to go out to study and armed himself with knowledge. There are many more such examples. It can be seen from these poems that Mao Zedong is very bold, optimistic and confident, and his poetry has a distinctly heroic style.

'''2.1.2 Abundant Allusions'''

Besides the heroic style, there is another distinguishing feature of Mao Zedong’s poems, that is abundant allusions. The traditional way of studying in our country is to inherit. As the leader of the party, he needed to use the new practice to annotate the old familiar knowledge, which was what he often said about the Sinicization of Marxism. There are 19 poems about history in Mao Zedong's poems. And in his poems, there are many characters from history, literature and legend. These characters have rich cultural connotations and are closely related to historical events. For example, in the poem “Tune :Spring in a Pleasure Garden-- Snow”

惜秦皇汉武，略输文采;
唐宗宋祖，稍逊风骚。
一代天骄，成吉思汗，只识弯弓射大雕。
《沁园春·雪》

But alas! Qin Huang and Han Wu
In culture not well bred,
And Tang Zong and Song Zu
In letters not wide read.
And Genghis Khan, proud son of Heaven for a day,
Knew only shooting eagles by bending his bows.
(Xu Yuanchong, 2015:36.3-8)

Here, Mao Zedong mentioned “秦皇汉武”, “唐宗宋祖”, “成吉思汗”, which were all great emperors in Chinese history. By describing them, Mao Zedong expressed his regret for these historical figures. Although they unified the country, they failed to stick to it. Through enumerating these historic images, Mao Zedong hoped that young people could manage China well.

These are the two main features of Mao Zedong's poems, which should be paid special attention to in translation. The following section will analyze several different translation strategies used in C-E translation of Mao Zedong’s poems taking Xu Yuanchong's translation as an example .

'''2.2 Strategies in C-E Translation of Mao Zedong’s Poems'''

In translation, different translation strategies should be used for better translation. Various translation strategies are also used in the translation of Mao Zedong's poems. Next, this section will focus on the domestication and free translation used in C-E translation of Mao Zedong’s poems.

'''2.2.1 Domesticating Translation'''

Domestication and foreignization are two main translation strategies. In the English translation of Mao Zedong's poems, domestication is mainly used. According to Venuti(2004),“domestication means bringing the foreign culture closer to the reader in the target culture, making the translated text recognizable and familiar”. Domestication is to localize the source language, take the target language or the target readers as the destination, and express the content of the original text in the way that the target readers are accustomed to.

In the poem “贺新郎·别友”, the translation of this title is “Tune: Congratulation to the Bridegroom - To Yang Kaihui”(Xu Yuanchong, 2015:4). In this sentence, the word “友” is not translated as friends, but as the name of Yang Kaihui. Mao Zedong wrote this poem in a more subtle way. Actually, he wrote the poem for his wife Yang Kaihui. But in the title, he wrote “to friends” instead of pointing out her name. However, here Xu Yuanchong translated it as “Yang Kaihui”, and made a detailed remark about her at the end of the poem, which made it better for readers to understand Mao Zedong’s melancholy and sorrow. It not only about the lingering love, but also about the unremitting commitment to the revolutionary cause. It vividly depicts the unique and rich emotional world of Young Mao Zedong.

Besides, the translation of mume blossom is also the embodiment of domestication. In Chinese culture, plum blossom is loved by scholars for its tenacity and bravery in the cold winter, but it doesn’t have such meaning in English. Therefore, when translating the title “卜算子·咏梅”，Xu Yuanchong translated it as “Ode to the Mume Blossom”(Xu Yuanchong, 2015:129) instead of “Mumeplant”.

'''2.2.2 Free Translation'''

Different from literal translation, free translation usually tries to express the original meaning, instead of restricted by the original pattern or figure of speech. Literal translation is to convey the content of the original text in strict accordance with the format of the original text, especially to retain the rhetoric and some special cultural expressions of the original text. However, each country has its own culture and way of expression. Therefore, sometimes when the expression or implied meaning of the original text is different from that of the target culture, it is easy to cause ambiguity. At this time, literal translation should not be used.

Free translation is based on the main idea of the original text. In the C-E translation of Mao’s poems, there are many examples of translation according to meaning rather than word by word. Take the poem “Capture of Nanjing by the People’s Liberation Army” as an example:

天若有情天亦老，人间正道是沧桑

Heaven would have grown old if it were sentient;
The proper way on earth is full of ups and downs.
(Xu Yuanchong, 2015:81.3-4)

Here, the word “沧桑” didn’t translate into “vicissitudes”. Originally, it refers to the great changes in nature or the changeable world and the impermanence of life. However, in this sentence, this word is used to describe the hardships and twists on the road of revolution, so it was translated into “ups and downs”. Cultural information is complex and difficult to understand in depth in a short time, so free translation is adopted to make this kind of information not become an obstacle in reading.
===III Applications of Eco-translatology in C-E Translation of Mao Zedong’s Poetry===
From the Perspective of Eco-translatology, this thesis takes Xu Yuanchong's translation of Mao Zedong’s poems as an example. Xu Yuanchong is a famous and excellent translator. He has been engaged in literary translation for more than 60 years, mainly translating ancient Chinese poems into English, and has also translated Mao Zedong's poetry. There are many research perspectives in the theory of eco translation. This section mainly uses the three-dimensional transformation principle to analyze his translation.

'''3.1 Transformation at Linguistic Dimension'''

Translation begins with the transformation of language form. First of all, translators should follow the linguistic norms of the source language and the target language, and make adaptive choices at the lexical, syntactic and poetic levels. In order to achieve the dynamic balance of translation, the right vocabulary and the right language form should be chosen.

Therefore, the translation of words needs to be analyzed according to specific sentences. For example, in Mao Zedong's poems, the word "去" appears many times， but there are different translations of this word according to different sentences. For example,

黄鹤知何去？

Where is the yellow crane in flight?
《菩萨蛮·黄鹤楼》
(Xu Yuanchong, 2015:11.7)

此行何去？

Where are we hurrying?
《减字木兰花·广昌路上》
(Xu Yuanchong, 2015:31.1)

陶令不知何处去，桃花源里可耕田？

Were the poet Tao still in the Peach-Blossom Village,
Would he not find the fertile land there good for tillage?
《七律·登庐山》
(Xu Yuanchong, 2015:112.7-8)

Obviously, the word “去” in the above poems has three different translations: “in flight”, “hurrying”. And in the third poem, the translator did not translate the word “去” in one word, but translated its meaning of the sentence.

Besides, many rhymes are used in Xu Yuanchong's translation, which is very rhyming and easy to read, for example:

屈子当年赋楚骚，手中握有杀人刀。
艾萧太盛椒兰少，一跃冲向万里涛。
《七绝·屈原》

“Qu Yuan”
Qu Yuan had rhymed his griefs long, long ago;
He had no sword in hand to kill the foe.
Wild weeds o’ergrown, few sweet flowers could blow;
He plunged into endless waves to end his woe.
(Xu Yuanchong, 2015:217.1-4)

The original text is a kind of modern poetry with strict rules, named “七绝”. It has a fixed length and strict rhyme. In this poem, the last word in each line is rhymed. The second and fourth lines in quatrains must be endowed with the beauty of rhyme. In Xu Yuanchong’s translation, the last word of the second line “foe” and the last one of the fourth line “woe” is rhymed. Xu abides by the rhyme requirement of quatrains. He vividly remained the form of the original text, and successfully applied the adaptive transformation from the linguistic dimension.

'''3.2 Transformation at Cultural Dimension'''

Due to the cultural differences between English and Chinese, in order to avoid the target readers from misinterpreting the original text from their own cultural point of view, the translator should pay attention to the conversion of Chinese and English in the process of translation, as well as the transmission and interpretation of bilingual cultural connotation. So the utilization of the adaptive transformation from the cultural dimension is needed.

There are many allusions in Mao Zedong's poems, which should be handled well in translation, so that readers can understand the true meaning of Mao's poems. Take one of the poems as an example:

洒向人间都是怨，一枕黄粱再现。
红旗跃过汀江，直下龙岩上杭。
收拾金瓯一片，分田分地真忙。
《清平乐·蒋桂战争》

“Tune: Pure Serene Music- The Warlords Fight”
Sowing on earth but grief and pain,
They dream of reigning but in vain.
O’er River Ting our red flags leap;
To Longyan and Shanghang we sweep.
A part of golden globe in hand,
We’re busy sharing out the land.
(Xu Yuanchong, 2015:20-21.3-8)

There are two allusions in this poem. The first is “一枕黄粱”, which refers to unattainable dreams. So the translation is “They dream of reigning but in vain”. And the another allusion is “金瓯”, which refers to the integrity of territory , but also to the territory only. Therefor, its translation is “golden globe”. Under these translations, readers can better understand the meaning of this poem.

Take another example in “Tune: Charm of a Maiden Singer- Mount Kunlun”
夏日消溶，江河横溢，人或为鱼鳖。

When summer melts your snow
And rivers overflow,
For fish and turtles men would become food.
(Xu Yuanchong, 2015:68.6-8)

From the literal meaning of the original text “人或为鱼鳖”, it may mean that people will become fish and turtles. In fact, his real meaning is that people may be eaten by fish and turtles. From these two examples, transformation from the cultural dimension has been well used.

'''3.3 Transformation at Communicative Dimension'''

The adaptive transformation at communicative dimension requires the translator to pay attention to the communicative level and whether the original author's communicative intention is clearly expressed. It means that the translator attaches importance to the adaptive transformation of communicative intention in the translation process.

In translating poetry, it is more important to show and convey the spirit to the target readers. In the poem “Tune: Spring in a Pleasure Garden- Changsha”
恰同学少年，风华正茂；书生意气，挥斥方遒。

When, students in the flower of our age,
Our spirit bright was at its height,
Full of the scholar’s noble rage,
We criticized with all our might.
(Xu Yuanchong, 2015:9.3-6)

In this translation, the translator added “our”, “we”, showing that they are young and vigorous, full of ambition and dreams. It describes the liberation of the youth in the new era from the shackles of the old ideas and their free and unrestrained minds. From this translation, Mao Zedong's ambition and the spirit of the young people are well reflected.

In conclusion, the communicative dimension of eco translation focuses on the intention of the original author, which requires the translator to make appropriate integration and transformation with the participation of the original author, the translator and the readers, so as to achieve the communicative purpose.
===Conclusion===
Mao Zedong, as the most influential politician and revolutionist in China, is also a very outstanding poet. His poetry is an important part of Mao Zedong Thought and a mirror of the history of Chinese revolution and construction after the founding of new China. The translation of Mao Zedong's Poetry not only enables foreign readers to understand the Chinese poetry culture, but also allows them to understand the difficulty of China's development and the strength of China.

Eco-translatology is a new perspective of translation studies, which enriches the types of translation theories. It contains many important viewpoints, including translator's subjectivity, the ecological environment of translation, the principle of three-dimensional transformation, and etc. Eco-translatology adopts a new perspective to analyze translation and improve the quality of translation to a certain extent.

This thesis analyzes the English translation of Mao Zedong's poetry from the perspective of eco-translatology, and focuses on Xu Yuanchong's translation of Mao Zedong’s poetry from the perspective of “three-dimensional transformation”. Some examples are used to make the analysis more perfect. And some translation strategies used in Xu Yuanchong’s translation are also analyzed and clearly explained. The thesis summarizes the translation strategies of Mao Zedong's poetry in the hope that their application can be promoted to more other poetry translations.

However, due to personal limitations in translation theory and practice, there still exists some deficiencies, which are mainly reflected in the following aspects. First of all, the selected theoretical perspective is limited. This thesis explores the translation of Mao Zedong's poetry mainly from the perspective of “three-dimensional transformation” theory of eco-translatology. There are many other perspectives in eco-translatology that can be used to. Secondly, restricted by space, the number of instances picked out from Mao Zedong's poetry is not rich enough to make a comprehensive study. And the analysis of these examples is also not comprehensive enough. Thirdly, eco-translatology theory is still developing. There is still room for improvement in the theoretical analysis of this thesis.
===References===
*Lopreato, J.&T. Crippen. Crisis in Sociology: The Need for Darwin [M]. New Brunswick /London: Transaction Publishers, 1999.

*Cha Mingjian, Tian Yu查明建,田雨. 论译者主体性--从译者文化地位的边缘化谈起[On Translator's Subjectivity -- From the Marginalization of Translator's Cultural Status]. 中国翻译Chinese Translators Journal, 2003, (1) : 19-24.

*Hu Gengshen胡庚申. 生态翻译学的研究焦点与理论视角[Research Focus and Theoretical Perspectives on Ecological Translation Studies]. 中国翻译Chinese Translators Journal, 2011, (2) : 5-9.

*Liu Aihua刘爱华. 生态视角翻译研究考辩 --“生态翻译学”与 “翻译生态学”面对面[Translation Studies From an Ecological Perspective -- "ecological translatology" face to face with "translation ecology"]. 西安外国语大学学报Journal of Xi'an Foreign Studies University, 2010.

*Li Zhengshuan, Tao Sha李正栓,陶沙. 国外毛泽东诗词英译研究[A Study on the English Translation of Mao Zedong's Poems Abroad]. 河北师范大学学报Journal of Hebei Normal University, 2009, (2) : 104-109.

*Xu Yuanchong许渊冲. 许渊冲英译毛泽东诗词[Xu Yuanchong's English Translation of Mao Zedong Poetry]. 北京:中译出版社Beijing: Chinese Translation Press, 2015.

*Zhang Zhizhong张智中. 汉诗英译的主体性[The Subjectivity of Chinese Poetry Translation]. 外文研究Foreign Studies, 2015.

==英语笔译黎溢佳 Li Yijia 202170081573 CE==
On the popularity of Three Body abroad

==英语笔译李思敏 Li Simin 202170081574 MW==
A Study on Translation Methods of Agricultural Terms in Chinese Sci-tech Classics —— A Case Study of Tian Gong Kai Wu

==英语笔译李思源 Li Siyuan 202170081575 CE==

<center>'''A study of Howard Goldblatt's Translation: Life and Death are Wearing Me Out as an Example'''</center>

<center>Li Siyuan</center>

===Abstract===

The translator of Mo Yan, a contemporary Chinese novelist, was instrumental in helping his works spread abroad and winning the Nobel Prize in Literature in 2012. With the improvement of the translator's subjective status and the frequent awards of Howard Goldblatt 's translations, the academic circles have attached great importance to the display of the translator's subjectivity in Howard Goldblatt's translations in recent years. This paper focuses on the figurative rhetoric in the book, through the establishment of a parallel corpus[?], combined with the examples in the English translation of Goldblatt, to explore the translation method of the figurative rhetoric in the English translation of the work.

===Key words===

Life and Death are Wearing Me Out; translation strategy; Howard Goldblatt

===Introduction===
In today's world, cultural exchanges between different countries and regions show a new trend, and language differences no longer become the barrier of cultural exchanges among countries. Since entering the new era, there have been a large number of excellent Chinese literary works that have been skillfully translated by translators to show a thriving posture. Howard Goldblatt (1939 --), a famous American Sinologist, is one of the most important translators. Goldblatt and his translation have attracted much attention in the translation field and aroused heated discussion from all walks of life.
Goldblatt is the most active and accomplished translator in translating modern and contemporary Chinese literary works into English (刘再复, 1999:22). He has translated more than 60 Chinese works of Chinese writers, making great contributions to the introduction of Chinese literature into the world and the attention of the West. Goldblatt is also a translator who is good at systematic operation. He not only considers the factors of the text, but also considers the readers' acceptance and the receiving environment
Multi-factors (魏泓，赵志刚, 2015：110). Goldblatt's translation of Mo Yan's literary works is particularly notable among his many translation works.
Mo Yan, a contemporary Chinese writer, won the Nobel Prize for Literature in October 2012. In his works, ghost stories and strange anecdotes emerge in an endless stream, with "unrestrained" style creation, full of imagination, especially a variety of metaphors, add a lot of vitality and vitality to his works, but also reflect mo Yan's unique personal experience. The reason why Mo Yan won the prize is not only because of his profound literary foundation, but also because of the accurate and exquisite translation of his works by many translators. Goldblatt is regarded as "the official translator of The English version of Mo Yan's works" (张继光,张政，2015：102), and it is with his translation that Mo Yan has such a great influence in the West.
Life and Death Are Wearing Me Out is one of Mo Yan's representative works. The novel is full of magic color, and the transformation of a large number of metaphors has become mo Yan's excellent means to lay out plots and depict characters, bringing readers extraordinary wonderful experience and creating mo Yan's imaginative world. Goldblatt uses various translation strategies flexibly in the English version of Life and Death are Wearing Me out, giving full play to his own subjectivity and arousing the interest of foreign readers. This paper focuses on the translation of metaphors in Life and Death are Wearing Me out from the perspective of the translator's subjectivity.

===Literature Review===
As Mo Yan's novels have achieved such a high achievement in the world literary circle, we should not only admire them, but also think about how Chinese literature can truly go global. There is no doubt that this is closely related to the translator. Goldblatt, as the official translator of Mo Yan's novels, has made outstanding contributions to the introduction of Chinese literature to the world. Therefore, studying the author's translation strategy can undoubtedly provide ideas and inspirations for other translators. In the field of literary translation, "faithfulness" and "treason" have always been a controversial topic. It was not until the creation of the concept of "creative treason" that the dispute was settled. "Creative treason" leads people to focus on "culture". Chinese scholar Professor Xie Tiantizhen agrees with the concept of "creative treason" and gives a systematic and comprehensive explanation of it in his book Translation and Introduction. Professor Xie points out that the concept of "creative treason" especially captures the soul of literary translation (Xie Tiantizhen, 2012:33).
"Creative treason" emphasizes that translated literature cannot be equated with literature, which confirms the important contribution of translators to re-creation. From the late 1980s to the early 1990s, western translation studies conducted a study of cultural turn, and completed the cultural turn in the late 1990s. In literary translation, Ezra Pound (1885-1972), a famous American poet and translator, proposed the concept of "translatability of history" and the principle that "a translated work is a new work" (Zhao Lina, Zou Degang, 2012:58).
However, For nearly a century, "faithfulness" has occupied an absolute position in translation. The ancient Chinese translator Zhi Qian (about the 3rd century) and other scholars believe that "The only important thing is convening the original meaning." and emphasize that under this principle, translation should convey the meaning of the original text without adding any other modifications (Wang Fumei, 2011:79). In the late Qing Dynasty, Ma Jianzhong (1845-1900), a Chinese diplomat and scholar, proposed "good translation", that is, a translation that accurately conveys the verve of the original text on the basis of ascertaining the meaning of the original text is "good translation" (Gu Weixing, 2007:82).
To sum up, "treason" and "faithfulness" seem to be a pair of contradictions, and there is no absolute good or bad. In the unexpected new language environment, "treason", but not a random one, can reflect the connotation, that is, to express the essence of the original text "faithfully" and the intention of the original author is the key. The advent of "creative treason" is a very valuable concept in the field of translation and provides a new way out of the translator's dilemma.

===Methods and Theories===
Hans J. Vermeer is one of the founders of the functionalist Skopos theory of translation, and he proposed the famous Skopos Theory of translation. Skopos theory holds that translators should follow the principle of purpose, coherence and fidelity in the process of translation. Literary translation is different from text translation of other paradigms. The principle of purpose requires literary translation to convey the emotion and meaning of literary works based on the aesthetic characteristics of literature itself and the characteristics of literary genre. The coherence principle requires that literary translation should focus on the comprehension and acceptability of the target language readers. The fidelity principle requires literary translation to give consideration to the translation of cultural images in the process of translation. "Life and Death are Wearing Me Out" is 550, 000 words long, and genre, plot, language and perspective are all crucial. As Mo Yan said in his Nobel speech, "he considers himself just a storyteller". Only by following the three principles of Skopos theory can the essence of storytelling be preserved in translation. Skopos means "purpose, objective, intention, function" in Greek. According to the theory, the primary principle determining any translation process is the purpose of the whole translation action.According to Vermeer's theory, "Translation is a comparison of cultures. Due to the close relationship between language and culture, translation between two languages is faced with a thorny problem: how to translate culture, especially culture-loaded words in literary works bearing cultural factors? In fact, translators are the decision-makers in choosing translation strategies,As a matter of fact, the translator is the decision maker in choosing translation strategies so as to transfer the cultural connotation of translation from the original to the target text. Most translators use cultural knowledge to understand source cultural phenomena." In other words, the translator should meet the needs of the target readers to the greatest extent.Through text analysis, we can learn from the translator's translation of many "difficult problems" to deal with the ingenuity of translation. As far as Goldblatt's translation is concerned, on the whole, the translator adopts the strategy of foreignization in the relevant content of Chinese traditional culture. But the translator has not completely given up the subject status of the translator. In the part where translators think it is necessary to consider the original author, translator and reader, domestication strategy is also adopted appropriately.

===An introduction to the translator's subjectivity===
Traditional translation theories tend to explore the linguistic aspects of the target text, emphasizing to minimize the translator's influence on the target text so that the target text can faithfully convey all the information of the source text, while the subject factor of the translator has not received enough attention. Since the 1960s, with the "cultural turn", translators' dominant position has been gradually recognized and respected, and the passive situation that translators have long been regarded as "translation machines" has been improved. The translator's subjectivity in the process of translation is a creative process that requires a great deal of energy, just like the craftsman polishing the original stone into jade. In this process, the translator's subjectivity manifests itself in the cultural purpose of translation, the choice of translated texts, the translation strategies, the understanding and interpretation of the work and the artistic re-creation of the language level of the work. But the process of translation by social cultural concept, the level of language, cultural framework and model, readers accept and look forward to the restriction of subjective and objective factors such as the aesthetic, so the translator must put herself in the era of big cultural background, jump out of previous translations for understanding of the language words and the conversion of two languages barriers, play the role of translation culture communication between the two countries. Life and Death are Wearing Me Out, as the representative work of Mo Yan, the first Nobel Prize winner in Literature, contains many culture-loaded words with strong national characteristics. Such unique cultural characteristics will cause obstacles in translation due to the differences between Chinese and Western cultures, so translators need to understand the culture behind the source language. Eugene A. Nida, An American linguist, translator and translation theorist, In The Theory and Practice of Translation, 1914-2011) divides cultural factors into Ecological Culture and Material Culture There are five categories of Culture, Social Culture, Religious Culture and Linguistic Culture（Nida: 2004).

===Cultural transmission in translation===
As a translator, Goldblatt is familiar with western culture and readers' preferences, and has a great deal of experience in translating Chinese literature, so he has made great efforts to overcome cultural barriers and promote the spread of Chinese culture to the West.Ecological culture refers to all the activities and achievements of human beings in protecting the ecological environment and pursuing ecological balance in their practical activities, as well as the values and ways of thinking that people form in the process of communicating with nature. Ecological culture has a profound influence on all ethnic groups, especially national customs and habits will have their own characteristics. If the translator does not understand the foreign cultural background, it can be said that the translation of ecological culture is full of thorns.
例1.原文:去时他们徒步, 回来时却乘坐着一台洛阳造“东方红”牌链轨拖拉机。拖拉机马力巨大, 本来是用来牵引犁铧犁地或是牵引收割机割麦的, 现在却成了县城红卫兵的交通工具。(Mo Yan,2012:164)
The original text presents the geographical ecological environment at that time, tractor was the main means of transportation.
译文:They went by foot but returned on an East Is Red caterpillar tractor made in the city of Luoyang. Given its high horsepower, it was intended for farm work-plowing and harvesting, but had been appropriated by Red Guards for transportation.(Goldblatt,2012:195)
The original text is translated one by one to show the original ecological scene.
例2.原文:方六大爷叮嘱他们:牛歇了一冬, 筋骨疲劳了, 第一天, 悠着点, 顺上套就行。(Mo Yan: 179)
The original text shows the backward means of production at that time, using cattle to plow the land.
译文:Those animals have rested all winter and aren’t in shape, Fang Liu said, so go easy on them the first day.(Goldblatt: 209)
译文对原文的生态意象进行对应。此处表现出在没有影响外国读者理解这种“生态文化”的前提下, “创造性叛逆”地将“牛”译为“animal”, 将“筋骨疲劳了”意译为“aren’t in shape”, 将“第一天, 悠着点, 顺上套就行”意译为“so go easy on them the first day”。
例3.原文:这里通风透气, 采光良好, 所有建筑材料都是环保型的, 绝对没有有害气体。(Mo Yan: 204)
The original text shows the good ecological environment at that time.
译文:They were airy, sunny, and constructed of environmentally appropriate materials that gave off no noxious fumes.(Goldblatt: 234)
译文采用意译的方法。译文中将“通风透气”“采光良好”用简单词汇“airy” (通风的) 和“sunny” (阳光充足的) 表达, 将“所有建筑材料都是环保型的”创造性地译为“constructed of environmentally appropriate materials” (由环保材料构成) 。
例4.原文:整个杏园猪场里弥漫着酒香, 金龙厚颜无耻地说这是他试验成功的糖化饲料的味道, 这样的饲料使用精料很少, 但营养价值奇高, 猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉。(Mo Yan: 231)
The text presents the ecological topics that farmers were concerned about at that time.
译文:The smell of alcohol in the air was unmistakable, but Jin Long brazenly announced that what they smelled was a newly perfected fermented feed.He told everyone that the new feed required very little high-quality ingredients, but the nutritional value was surprisingly high and kept the animals from acting up or running around.They ate, they slept, and they put on weight.(Goldblatt: 256)
　译文中将“整个杏园猪场里弥漫着酒香”译为“The smell of alcohol in the air was unmistakable”, 将“糖化饲料的味道”译为“a newly perfected fermented feed”, 将“这样的饲料使用精料很少”译为“the new feed required very little high-quality ingredients”, 将“猪吃了不吵不闹, 不跑不跳, 只知道长膘睡觉”译为“kept the animals from acting up or running around.They ate, they slept, and they put on weight”。译文采用翻译中的归化策略和意译的方法, “创造性叛逆”地进行很好的翻译。
Mo Yan took Gaomi County of Shandong Province as the creation background of Life and Death Are Wearing Me out. His work fully reflects the ecological environment of the junction of Jiaodong Peninsula and Shandong Province, where the climate is pleasant, the four seasons are distinct, the rainfall is concentrated, and the rain and heat are at the same time. Goldblatt handles the relationship between "faithfulness" and "treason" well, conveys the local flavor of the original and spreads the ecological culture of the original.

===A Study on Detailed Translation===
Material culture refers to material production, material life and its behavior and results, including labor tools, food, housing, clothing, clothing, daily utensils, etc. Material culture also plays an important role in the integration of Chinese civilization and world culture. Although a substance does not necessarily have its equivalent in different cultures, if it is "fumbled" or "fumbled", the original meaning of the text will be misinterpreted, which is not conducive to the communication between Chinese and Western cultures. Therefore, translation needs to strive for accuracy, to avoid misunderstandings among readers and affect cultural communication and exchange.
例5.原文:我们有三亩二分地, 有小公牛一头, 有木轮车一辆, 有一犋木犁、一把锄头、一张铁锨、两把镰刀、一把小镢头、一柄二齿钩子, 还有一口铁锅、四个饭碗、两个瓷盘、一个尿罐、一把菜刀、一把锅铲, 还有一盏煤油灯, 还有一块可以敲石取火的火镰。(Mo Yan: 103)
The original text presents the state of backward production tools and daily necessities at that time.
译文:We owned three-point-two acres of land, a young ox, a cart with wooden wheels, a wooden plow, a hoe, an iron shovel, two scythes, a little spade, a pitchfork with two tines, a wok, four rice bowls, two ceramic plates, a chamber pot, a cleaver, a spatula, a kerosene lamp, and a flint.(Goldblatt: 123)
Literal translation is adopted to maintain the cultural characteristics of the original text.
例6.原文:互助提着一桶饲料到达圈门。她戴着一片白色的遮胸巾, 巾上绣着“西门屯大队杏园养猪场”的鲜红字样。她还戴着两只白色套袖, 一顶白色软帽, 那样子很像糕点店里面的面案师傅。(Mo Yan: 199)
The original text presents the age and costume characteristics of material scarcity at that time.
译文:Hu Zhu walked up to the gate with a bucket of feed wearing a white apron with“Ximen Village Production Brigade Apricot Garden Pig Farm”embroidered in big red letters.She also had white protective sleeves covering her arms and a soft white cap on her head.She looked like a baker.(Goldblatt: 230)
　原文中“圈门”应该是“猪圈门” (sty, pigsty, hog-lot, hogcote, hogpen, pigpen) , 译文创造性叛逆地译为“gate”;译文将“遮胸巾”创造性地译为“apron”。译文注重服饰传神, 形象生动地再现原文的服饰文化。但出于对外国读者的考虑, 将“两只白色套袖”创造性地译为“white protective sleeves covering her arms”, 并与后面的“一顶白色软帽”“a soft white cap on her head”表达方式一致。
例7.原文:我的房子后边是一棵大杏树, 半个树冠笼罩在圈舍的上空。圈舍是敞开式的, 后檐长, 前檐短, 阳光可以无遮拦地照射进来。圈舍的地面全部用方砖铺就, 角落有洞, 洞上架铁箅子方便粪便流出。(Mo Yan: 204)
The original text presents the enclosure architecture and the ecology around the enclosure at that time.
译文:The canopy of an apricot tree at the rear shaded half my pen.I lived in a shed that was open in the front, where the eaves were short, and the rear, where the eaves were long, so there was nothing to keep the sunlight from streaming in.The floor was laid with bricks, and there was a hole in one wall, covered by an iron gate that made it easy for me to relieve myself without dirtying my quarters.(Goldblatt: 234)
译文对原文中“方砖 (square brick;square tile;quadrel;square stone) ”的形状省略, 用“brick”译出。将“洞上架铁箅子”创造性叛逆地译为“iron gate”。译文采用直译与创造性意译相结合, 保持原文的物质文化特色。
Life and Death are Wearing Me Out tells the story of the changes of Rural China from 1950 to 2000, and illustrates the eternal topic of farmers and land. Through "faithfulness" and "treason", the translation vividly reproduces the material things such as clothes, production tools and daily necessities of the original text.

===Translation Studies of Socio-cultural and Religious Cultures===
Social culture is the synthesis of people's values, thoughts, attitudes, moral norms, customs and social behaviors, etc. It is a specific culture that people living in a certain society will inevitably form over time. Therefore, excellent social and cultural translation can reflect the unique culture of the source country.
例8.原文:他们时而好得如同亲兄奶弟, 在酒馆里猜拳行令, 在发廊里玩弄野“鸡”, 在旅店里搓麻抽烟, 在广场上勾肩搭背, 如同四只用绳索连络在一起的螃蟹。(Mo Yan: 483)
译文:Some of the time they were like four loving brothers, drinking and gambling together in bars, dallying with wild“chicks”in hair salons, and playing mah-jongg and smoking, arms around each other, in the public square, like four crabs strung together.(Goldblatt: 479-480)
译文直译与意译相结合, 注重文化传递, 如将“亲兄奶弟”“猜拳行令”“勾肩搭背”创造性地意译为“loving brothers”“drinking and gambling”“arms around each other”;将“玩弄野‘鸡’”直译为“dallying with wild‘chicks’”。
例9.原文:他是有妇之夫, 你是黄花闺女。他这样做是不负责任, 是衣冠禽兽, 是害你。(Mo Yan: 426)
在汉语中“有妇之夫”和“有夫之妇”refer to those who have a family, “黄花闺女”refers to unmarried girls, sometimes virgins, “衣冠禽兽”refers to those who are merely human in appearance but behave like animals, and refer to those who are morally corrupt.
译文:He’s a married man, you’re a young maiden.That’s completely irresponsible of him, he’s a brute and he’s hurt you.(Goldblatt: 429)
Through literal translation and free translation, simple words are used to effectively convey the meaning of the original text. Chinese like "四言八句", such as "有妇之夫", "黄花闺女" and "衣冠禽兽", profound meaning; English likes to be concise. Therefore, the translation adopts the "domestication" translation strategy, which fully considers the reading comprehension of the target readers on the basis of directly and accurately conveying the original meaning.
Goldblatt is well versed in Chinese culture and has effectively helped foreign readers understand China's unique social culture through literal translation and free translation.
Religious culture refers to the culture formed by a nation's religious consciousness and belief and the influence of foreign religions (such as Christianity, Catholicism and Islam) on a country. Mo Yan's novel Life and Death are Wearing Me Out describes the transformation of Chinese society from 1950 to 2000 from the perspective of donkey, ox, pig, dog, monkey and big-headed baby through Simon's injustice and death to six reincarnation. Goldblatt's translation helps Chinese culture to enter the sight of foreign culture.

===Conclusion===
Goldblatt has translated and published more than 50 novels by more than 30 Chinese writers. His translations are well known overseas and he has become a translator of modern and contemporary Chinese literature, making remarkable contributions to the overseas dissemination of Chinese literature. In his translation practice, Goldblatt constantly explores the strategies between "faithfulness" and "creation", "faithfulness" and "treason". Goldblatt understands the cultural differences between Chinese and English, and on the basis of "faithfulness", he "recreates", emphasizing the receptiveness of the target language readers and exploring the true meaning of "creative treason". Goldblatt is the most English translator of Mo Yan's works. His "Life and Death Are Wearing Me Out" was recommended by The Washington Post as the world's best literary work, and Mo Yan won the first American "Newman Literary Award" for this work. It is worth mentioning that Goldblatt made some contributions for Mo Yan to win the Nobel Prize in Literature. The success of Goldblatt's translation is not only due to his profound English and Chinese language and literary foundation, but also due to the following factors: first, his love for Chinese literature; Second, a strong sense of responsibility to the translated readers. Of course, although Goldblatt has always been adhering to the principle of "faithfulness", there are still some problems in his translation, such as excessive "treason" and over-emphasis on the acceptability of readers. Therefore, the loss of Chinese cultural elements is worth discussing.Since the languages of different countries or nations are rooted in their unique cultures, literary translation can be understood as the mutual dissemination of cultures of different countries, nations and regions.The wide spread of Mo Yan's novels in the English-speaking world, to some extent, not only promotes traditional Chinese culture and contemporary Chinese culture, but also contributes to the increase of soft power of Chinese culture. The essence of cultural soft power is the influence of a value system on the world and the recognition degree of the world. In order to achieve the purpose of disseminating Chinese culture, Goldblatt retained Chinese cultural elements as much as possible by combining various translation strategies.

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==英语笔译李婷 Li Ting 202170081576 MW==
<center>'''On the Translation of ''The Border Town'' from the Perspective of Eco-Translatology—Taking Gladys' Edition as an Example'''</center>

<center>Li Ting</center>

===Abstract===
The novel ''The Border Town'' conveys the beauty of human nature through narration, and constructs an ecological system of harmonious coexistence between man and nature. The work is full of infinite charm, whether it is to reveal the true temperament of the people in hometown, or to depict the folk customs with strong vitality. For this kind of text, how to vividly reproduce the author's emotions and faithfully convey the cultural implication and landscape description of the original text is a challenge for translators.

''The Border Town'' mainly describes the scenery of Western Hunan, which is the window for the outside world to know western Hunan. This paper takes Gladys' edition as an Example. At that time, Gladys and her husband Yang Xianyi tried their best to convey the unique connotations of the original text to the readers. Under the premise of pursuing the truthfulness of the translation, the pragmatic degree of the translation was maximized to enhance the adaptability of the social dimension of the translation. Based on this, this paper chose Gladys & Yang couple's English edition to analyze, and combined with the theory of Eco-Translatology, from the dimension of language, culture, communicative dimensions to analyze the characteristics of the translation. This paper holds that the interpretation and analysis of ''The Border Town'' and its prose from the perspective of ecological translation will have different results.

===Key words===
''The Border Town''; Eco-Translatology; three-dimensional transformation

===Introduction===
''The Border Town'' is the representative work of Shen Congwen, a famous modern writer. The work is based on the background of Chatong in the 1930s, a border town on the border of Sichuan and Hunan, and the love story of Emerald, the granddaughter of the old boatman, and the two sons Tianbao and Nuosong of the wharf-master, as clues. It describes the Western Hunan unique local conditions and customs and the love tragedy of Emerald, praises the human nature of good and the purity of the mind. Shen Congwen's aesthetic ideal is also placed in the novel. Through depicting the pure love between men and women, the deep affection between grandparents and grandchildren, and the kind interaction between neighbors, the beauty of landscape, customs and human nature in the western Hunan world is highlighted. (Deng Gaofeng 2014, 120-123)

''The Border Town'' occupies a prominent position in the history of modern Chinese literature. In June 1999, ''Asia Weekly'' (《亚洲周刊》), a Hong Kong magazine, published ''a list of top 100 Chinese Novels of the 20th Century'', in which Lu Xun's collection ''Call to Arms''（呐喊） ranked first and Shen Congwen's novel ''The Border Town'' ranked second. However, in terms of a individual novel, ''The Border Town'' ranked first. (Deng Gaofeng 2014, 120-123)

As we all know, it is precisely because of the special literary status and significance of ''The Border Town'' that many scholars at home and abroad have been doing vigorous and enduring research on Shen Congwen and his ''The Border Town''. However, it is a pity that the translation studies of ''The Border Town'', especially its English translation studies, have not attracted enough attention, especially from scholars at home and abroad. Obviously, this situation does not conform to the current general trend of Chinese culture to the outside world, and does not conform to the national strategic direction of "Chinese culture going out". In view of this, it is very necessary to study the English translation of ''The Border Town''. (Deng Gaofeng 2014, 120-123)

This paper consists of four parts: The first part is a literature review, which briefly introduces the different perspectives of the translation of ''The Border Town'' and the analysis of the translation by different scholars. The second part presents the theoretical framework, which explains the basic theories of ecological translation, including three-dimensional transformation and the concept of the degree of holistic adaptation and selection. The third part is case analysis. This chapter will analyze several typical cases from the perspective of "three-dimensional transformation" to illustrate the application of ecological translation theory in the Gladys' English translation of ''The Border Town''. The last part is the conclusion, which summarizes the research results.

===Literature Review===
As the most famous novel of Shen Congwen, ''The Border Town'' is a model of his idealism. It has been translated into many languages and published in more than 40 countries such as Japan, the United States, Britain and the former Soviet Union, and has been selected into university textbooks in more than 10 countries or regions such as the United States and Japan.

Up to now, there have been four English translations of Shen Congwen's representative work ''The Border Town'' (1934), which is a rare phenomenon in the history of foreign translation of modern Chinese literature. The first translation ''Green Jade and Green Jade'' (literally translated as Cui Cui) is co-translated by Emily Hahn (项美丽) (1905-1997), an American writer and translator, and Shao Xunmei (邵洵美) (1906-1968, pen name Shing Mo-lei). It was serialized in ''Tien Hsia Monthly'' (《天下月刊》) in 1936. (Xie Jiangnan & Liu Hongtao, 2015)

The second translation was co-translated and edited by Chingti (金堤)& RobertPayne (白英) and published by ''George Allen & Unwin'' in 1947 as ''The Frontier City''. The translator, Chingti is Chinese, while RobertPayne is a British poet, war correspondent and reportage writer. RobertPayne came to China in December 1941 and left China in August 1946 for about five years. He came to Kunming in early September 1943 and was later employed by the Southwest Associated University (西南联大) as a professor to teach English literature. During this period, he cooperated with Chingti (a student of the Southwest Associated University) to translate a collection of Shen Congwen's stories entitled ''Chinese Land'' (中国土地), which included many of Shen Congwen's novels. (Deng Gaofeng 2014, 120-123)
The third translation ''The Border Town and Other Stories'' (《边城及其他》) is a combined translation by Yang Xianyi and Gladys Yang, a couple of great translators in China. In 1981, Gladys Yang translated Shen Congwen's collection of ''The Border Town and Other Stories''. Later, This collection was listed in Panda Books, then published by ''Chinese Literature Magazine'' (Xie Jiangnan & Liu Hongtao, 2015)

The fourth translation is by American scholar Jeffrey C. Kinley, published in 2009 by ''Harper Collins Publishers of New York''. This is the first separate edition of the English translation of Shen Congwen's works. Translator Kinley is a professor of history at St. Johns University (圣若望大学), a doctor of Harvard University, a famous Historian and Sinologist in the United States, as well as an expert on Shen Congwen's literature. He once made seven trips to Hunan, visited Mr. Shen Congwen more than a dozen times, and wrote ''The Odyssey of Shen Congwen'' (《沈从文传记》), which was more than 300,000 words long. (Deng Gaofeng 2014, 120-123)

Shen Congwen and ''The Border Town'' have always been the subject of study by scholars at home and abroad. However, compared with the vigorous research on Shen Congwen and the Western Hunan culture by scholars at home and abroad, the research on the English version of ''The Border Town'' is very weak. Up to now, only 70 relevant research papers and journals can be retrieved by searching in CNKI for the English translation of Shen Congwen's works with the keywords of “English translation of ''The Border Town''”. If these 70 papers are classified according to the research angle, they can be roughly divided into the following three categories.

The first is the aesthetic study of translation. Qu Tianhua (2020,94-96) explored the English translation style of Gladys’ ''The Border Town'' from the perspective of translation aesthetics, while Feng Lei (2013) explored the artistic representation in Kinley's English translation of ''The Border Town'' from the perspective of translation aesthetics. Both articles deal with the aesthetics of literary translation. The second category focuses on the linguistic study of translation. Yan Hong and Dong Chunxiao (2018,122-123) discuss the translation of fuzzy language in the English translation of ''The Border Town'' from the perspective of fuzzy linguistics, and analyze and compare the different translation methods of fuzzy language in different situations. Deng Jie (2021,178-179) discusses the function of local language in literary works through case studies of two English translations of ''The Border Town'', and summarizes the different strategies and methods adopted by different translators in translating local language. The third category focuses on translation strategies. Xiang Rengdong (2019,91-95) interprets the translation of ''The Border Town'' by Gladys and Chingti & RobertPayne from the perspective of skopos theory in order to find out the reasons for its translation and the translation strategies adopted by the translators in different times. Wang Fang (2012) studied the English version of ''The Border Town'' by Gladys from the perspective of context, comparatively analyzed the translation of implicit cohesion in the original work, and summarized the translation methods of implicit cohesion. Tang Yi (2015) takes the thick translation in the English translation of ''The Border Town'' as a starting point to describe the characteristics of thick translation in Kinley's translation, indicating that the phenomenon of thick translation is widespread in ''The Border Town''. On the other hand, in the process of interpreting Kinley's thick translation, it has been proved the rationality of this translation strategy and the value of thick translation strategy for the English translation of ''The Border Town'' .

All in all, from the perspective of ecological translation to study the English translation of ''The Border Town'' is less, especially to Gladys’ edition, so this article has a certain sense, enriching the English study of ''The Border Town'' and giving people more inspirations.

===Methods and Theories===
In studying the English version of Gladys’ ''The Border Town'', this paper makes a case study from the perspective of ecological translatology. This chapter not only introduces the origin of Eco-Translatology, but also introduces some core concepts involved in Eco-Translatology.

'''1.The Origin of Eco-Translatology'''

Fang Mengzhi (2017:98) points out: "Due to the complexity of translation phenomenon, multidisciplinary research becomes inevitable. Multidisciplinary research emphasizes the unity and agreement of knowledge and requires the production of new knowledge that can help solve translation problems." Eco-Translatology is a translation theory proposed by Professor Hu Gengshen, who combines ecological thinking with translation theory and holds that translation is related to the biological world. Chen Feifei (2015) also believes that "Translation is the conversion between different languages, and a language represents the unique cultural connotation of a nation. Culture is the sum of material wealth and spiritual wealth deposited by human beings in the long-term social and historical development process. As a product of biological evolution, human beings are an important component of the biological world. Therefore, it can be seen that there is a chain of interlocking relations among translation, language, culture, human beings and the biological world, which presents the interconnected relationship between translation activities and the biological world.

Although ecological translation originated from the East, it also borrows from the Western theory of Darwinism. "Natural selection and survival of the fittest" and other Western concepts can be said to be the theoretical support of Eco-Translatology. "Translation is adaptation and selection" is also one of the core concepts of ecological translation, because translation practice inevitably involves the selection, deletion and reservation of the target language. However, the spirit behind it coincides with the concepts of "harmony between man and nature" and "moderate harmony" in Chinese philosophy. Therefore, if the seed of Eco-Translatology is Darwinism, the root and bud of it is adaptation and selection theory, the foundation is traditional Chinese ecological civilization, the main body is the macro, meso and micro theoretical system of Eco-Translatology, and the branches and leaves are the increasingly close platform for international translation research dialogue, and the fruit is an outstanding and plain discourse system of translation studies with unique and profound Chinese ecological wisdom and a combination of Chinese and Western academic standards. (Meng Fanjun 2019, 48-49)

'''2.Some Core Concepts'''

In general, ecological translation theory provides a new perspective for translation studies, and can be used for reference to the scientific principles and research methods of ecology to reanalyze translations and guide translation practice. There are many core concepts involved in ecological translation, and only a few important concepts relevant to this study are briefly introduced here.

'''2.1 Translation as Adaptation and Selection'''

The idea also stems from Darwin's theory of "natural selection and survival of the fittest". In fact, in translation practice, translators also need to constantly make choices to adapt to and conform to the target language culture or the requirements of sponsors. In the process of translation, translators need to modify the wording and style of the translation to meet the requirements of the current era, which also reflects the core concepts of adaptation and selection. The translator's adaptation to the target language environment is similar to that of human beings to the nature. Human beings can only better adapt to the environment and survive only by constantly and rationally changing themselves. The same is true for the translator. Both intralingual and extralingual factors must be adapted and selected, so that the translation can survive and last for a long time.

'''2.2 Three-dimensional Transformation'''

Eco-Translatology believes that translation is the translator's selection activity to transplant the text to adapt to the translation ecological environment. In the process of translation, the translator should not only consider the conversion between two words, but also consider the three aspects of language, culture and communication. Three-dimensional transformation is the transformation between language, culture, and communication. It was also mentioned that there is a close relationship between translation and language, culture, and human beings. This is the translation method proposed by Professor Hu Gengshen. That is to say, the translator takes the initiative in the translation process and converts between the three dimensions to ensure the accuracy of the translation. Next will be explained one by one.

The first is linguistic dimension, which means that translators need to make adaptive selection and transformation of source language forms, including the transformation of vocabulary, syntax, rhetoric, style and other aspects. In fact, this is an inevitable conversion in the process of translation. There are huge differences between Chinese and English in terms of vocabulary and sentence patterns. For example, Chinese tends to use four-character words, and most of them are subject-free sentences and run-on sentences, while English focuses on simplicity, strict sentence structure, and mostly is complex long sentences with complete subject and predicate; Chinese often uses verbs while English is more static and so on. Based on these differences, the translator must take into account the language habits of the target language to convert the source language form. (Liu Chaowu & Yao Mengyan 2021, 23-25)

Secondly, cultural dimension, that is, translators need to take into account the effective transmission of cultural connotations of different languages involved in translation. As Edward Hall (1976) said, "Every aspect of human life is influenced by culture". Therefore, the intralingual factors should be considered, and the extralingual factors should not be ignored. English and Chinese have different culture background, which leads to the different cultural imagery of the same meaning. Namely, the concept of lexical meaning is the same, but its connotation meaning and associative meaning is different. Such as the word "dog", Chinese commonly used in some derogatory collocation, such as "worse than pigs or dogs (猪狗不如)", "hired thug (狗腿子)" and so on, while the word in the English language is often commendatory. For example, “Love me love my dog (爱屋及乌)”. Therefore, translators must pay attention to the differences between Chinese and English cultural dimensions in translation, so as to translate an appropriate version of the original.

Finally, there is the communicative dimension, which means that translators should pay attention to the communicative intention of the source language and consider the context, then make adaptive choices for translation. Only by attaching importance to the communicative intention of the text can the content and form of the text be appropriate. (Liu Chaowu & Yao Mengyan 2021, 23-25)

'''2.3 The Degree of Holistic Adaptation and Selection（整体选择适应度）'''

The degree of holistic adaptation and selection is the evaluation standard of ecological translation set up by professor Hu Gengshen. It refers to the sum of the adaptability of the translator in the three dimensions of language, culture and communication when translating, taking into account other factors in the context. This evaluation criterion is influenced by three factors, namely the degree of multidimensional transformation, reader feedback and translator quality. The first degree of multidimensional transformation has been described previously and is skipped here. The second is reader feedback. Readers here are not only target language readers, but also experts, scholars, publishers, sponsors, critics and so on. To some extent, their feedback reflects the quality of the translation. The third is the quality of translators. It can be said that the translator's quality is the key factor affecting the quality of translation. The translator's qualities include bilingual ability, cross-cultural sensitivity, familiarity with the subject, background knowledge, translation experience, market insight and translation attitude. These aspects can control the quality of translation to some extent. (Chen Feifei, 2015)

The process of literary translation is the process of the translator's adaptation and selection. Translation should be carried out in the context of translation, and the different translation dimensions mentioned by ecological translation theory should be applied in the process of translation. Literary translation has high requirements for translators, who should be faithful, expressive and elegant when translating literary works. When translating literary works, translators should not only consider the faithfulness and expressiveness of the translation, but also consider the elegance of the translation, the language and cultural habits of the translation readers and the communication purpose of the translation. (c.f: Liao Peiyan 2020, 26-28)

===Case Study===
Eco-Translatology specifically expounds the function of adaptation and selection theory in interpreting translated texts, which mainly consists of four parts: first, the translation process, i.e. the alternating cycle of translator adaptation and translator selection; Second, translation principles, namely multi-dimensional selective adaptation and adaptive selection; The third is the translation method, namely "three-dimensional transformation" (linguistic dimension, communicative dimension and cultural dimension); The fourth is the evaluation criteria, that is, the degree of multidimensional transformation, reader feedback and translator quality. Therefore, this paper takes Gladys’ English translation of ''The Border Town'' as the research object and analyzes its translation features from the perspective of three-dimensional transformation. (Hu Gengshen, 2011)

'''1. Linguistic Dimension'''

The different characteristics of English and Chinese lead to the different ecological environment of translation. Translators must make adaptive choices in the translation of the language form of the source language, which usually occurs in vocabulary, syntax, rhetoric and other aspects. At this point, translators need to give full play to their subjective initiative and use such translation strategies as addition and combination. (c.f: Liu Chaowu & Yao Mengyan, 2021:23-25)

Example 1:

Source Language (SL)：小溪既为川湘来往孔道，限于财力不能搭桥，就安排头渡船。这渡船一次连人带马，约可以载二十位搭客了一只方头渡船。这渡船一次连人带马，约可以载二十位搭客过河，人数多时则反复来去。（Shen Congwen，2011）

Target Language (TL)：The water level fluctuates considerably, and while there is no money to build a ferry has been provided, a bridge which holds about twenty men and horses--more than that and it has to make a second trip. （Shen Congwen，2011）

The sentences in the original text are scattered into six sub-clauses. The translation connects the whole sentence through some conjunctions, such as “and”, “while”, “which” and “that”, and processes the second sentence of the original text into an attributive clause. Pronouns are used to replace nouns, so that the sentences before and after are connected more closely. At the same time, The translator in the first sentence uses liberal translation to translate “小溪既为川湘来往孔道” to “The water level fluctuates considerably”. Instead of mechanical translation and word-for-word translation in the original text, the translator uses flexible translation methods. This is precisely the linguistic dimension of Eco-Translatology. In terms of sentence pattern, the translator skillfully deals with sentence pattern in the process of translation, and processes the scattered Chinese sentences into a long English sentence. The linguistic dimension method of ecological translation requires the translator to adapt to the selection of language style and sentence pattern, sentence expression style. Therefore, it can be seen that Gladys translated ''The Border Town'' from the linguistic dimension of ecological translation. (c.f: Liao Peiyan 2020, 26-28)

Example 2:

SL：翠翠误会了邀他进屋里去那个人的好意，心里记着水手说的妇人丑事，她以为那男子就是要她上有女人唱歌的楼上去，本来从不骂人，这时正因等候祖父太久了，心中焦急得很，听人要她上去，以为欺侮了她，就轻轻的说：“悖时砍脑壳的！”（Shen Congwen，2011）

TL: Emerald's ears were still tingling from the boatmen's coarse talk so that she misunderstood this well-meant invitation and thought he wanted her to go to the building where a woman was singing. She had never flown out at anyone before, but now, troubled by her grandfather's long delay and afraid she was being insulted, she swore under her breath: “To hell with this hooligan! ”（Shen Congwen，2011）

"悖时砍脑壳的！" this sentence is an exclusive dialect cursing for the Western Hunan women. In the original text, the ecological environment describes Emerald waiting anxiously for her grandfather by the river, and the Second Master, Nuosong, invited her to come in when they saw her. However, Emerald thought she had been insulted and misunderstood the man's kindness, so she said this in a desperate manner, which also showed Emerald's simplicity and loveliness. If the translator does not understand the cultural connotation of this sentence, he will make a joke, which will make the target language readers do not understand, resulting in the ecological imbalance of the translation, leading to the failure of conversion. In order to make this cultural connotation "survive" in the translation ecology, the translator translated it into "To hell with this hooligan!" which is more familiar to Western readers, so as to realize the conversion of language dimension. (c.f: Shao Yanshu, 2019)

'''2. Cultural Dimension'''

Wang Zuoliang (1989), a famous Chinese translator, once said, "Translation is not only about language, but also about culture... The translator must be a man of culture in the true sense." Translation is the communication between two cultures. Only by being familiar with both cultures can translation play a role in its cultural context. In a sense, translation, as a social activity of human beings, not only transmits information, but also disseminates culture. Through the ages, people have different definitions of culture, but basically there is a consensus that culture is all the spiritual activities and activity products of human beings compared with politics and economy. Due to the different cultural backgrounds of English and Chinese, translators must consider the target readers in translation, fill in the cultural gaps and achieve the integration of the target readers and the original vision, so as to achieve a higher degree of holistic adaptation and selection. This paper involves a lot of culture-loaded words, and translators need to use annotation, explanation and other strategies to translate.

Example 3:

SL：贯串各个码头有一条河街，人家房子多一半着陆，一半在水，因为余地有限，那些房子莫不设有吊脚楼。（Shen Congwen，2011）

TL： On the frontage between the wharves space is so limited that most houses are built on stilts overhanging the water. （Shen Congwen，2011）

"吊脚楼" is a unique building in rural Western Hunan. People in other parts of China probably don't know what it is, let alone Western readers. Here, Gladys paraphrases it as "houses are built on stilts overhanging the water". By considering the overall translation environment, this not only preserves the uniqueness and cultural connotation of the word "吊脚楼", but also enables Western readers to know what it is.

Example 4:

SL：这是两年前的事。五月端阳，渡船头祖父找人作了代替，便带了黄狗同翠翠进城，到大河边去看划船。（Shen Congwen，2011）

TL： Two years before this, on the fifth of the fifth month, her grandfather found someone to mind the ferry while he took Brownie and Emerald into town to watch the dragon-boat race. （Shen Congwen，2011）

Of the original "端阳" the translator has processed it as "the fifth of the fifth month". Foreign readers do not understand the traditional Chinese festival, so they cannot use the Pinyin annotation method to translate it literally, so it is best to translate it as the present common translation name is "the Dragon Boat Festival", but considering the period of Gladys’ translation, the English translation name of the Dragon Boat Festival has not been determined, so it is acceptable for the translator to translate it as an interpretation. Then there is “划船”. If you translate it literally, foreign readers will mistake it for ordinary rowing, because there is no Dragon Boat Festival in foreign countries, so the concept of dragon boat racing is not in the minds of foreign readers. So here the translator treats it as "watch the dragon boat race." It plays the role of translation and dissemination of culture. When reading this translation, foreign readers can get a good understanding of Chinese traditional festivals and folk customs. This is the cultural dimension of ecological translation. In the translation process, the problem of cultural transmission must be properly handled. (c.f: Liao Peiyan 2022, 26-28)

Example 5:

SL：傩送美丽得很，茶峒船家人拙于赞扬这种美丽，只知道为他取出一个诨名为“岳云”。（Shen Congwen，2011）

TL： And Nuosong was such a fine-looking boy that the Chatong boatmen nicknamed him YueYun.（Shen Congwen，2011）

Note: Son of Yue Fei, a brave patriotic general of the Song Dynasty, who fought against invaders. Yue Yun is presented on the stage as a handsome and courageous young fighter.

When translating the word "岳云" with cultural connotation, the translator adopted the method of transliteration and annotation. Because foreign readers have no concept of the image of "岳云", the translator did not confuse foreign readers, then explained it out with annotation and filled the cultural gap.

'''3. Communicative Dimension'''

In order to transmit information effectively, translators need to pay more attention to the communicative intent of the original text when transforming the communicative dimension. Different from the linguistic dimension, the communicative dimension emphasizes the effect obtained by the translation rather than the content conveyed by the translation. Making adaptive choices in the translation of pronouns and conjunctions, translators can accurately convey the communicative intent and style of the original text. (c.f: Liu Chaowu & Yao Mengyan 2021, 23-25)

Example 6:

SL：女孩子的母亲，老船夫的独生女，十五年前同一个茶峒军人唱歌相熟后，很秘密的背着那忠厚爸爸发生了暧昧关系。（Shen Congwen，2011）

TL： The girl's mother, his only daughter, seventeen years ago had a love affair behind her father's back with a soldier at Chatong who serenaded her. （Shen Congwen，2011）

"暧昧关系" in Chinese refers to a vague and unclear relationship between a man and a woman without commitment. Shen Congwen used this very vague word to imply an implicit meaning, and the translator should not break this vague beauty. At the same time, through intensive reading of the original text, it can be found that the "暧昧关系" in the original text may also imply that the two have had a sexual relationship. Later, there is also a hint that they have a child, namely Emerald. Therefore, the "Love affair" used by the translator not only includes the relationship between men and women at different levels, but also does not lose the vague artistic conception of the original text.

Example 7:

SL：近水人家多在桃杏花里，春天时只需注意，凡有桃花处必有人家，凡有人家处必可沽酒。（Shen Congwen，2011）

TL： Most homesteads near the water are set among peach and apricot trees, so that in spring wherever there is blossom you can count on finding people, and wherever people are you can count on a drink. （Shen Congwen，2011）

Although this sentence in the original text is scattered, it also has its inherent logic. The translator uses a series of cohesive means, such as “so that” and “wherever” to connect the sentences before and after, and also directly translate the implied subject “you”. It is very in line with the expression habits of English, which not only conveys the meaning of the original text, but also realizes the communicative intention of the original text.

===Conclusion===
Eco-Translatology theory is to regard the process of translation as a whole. Translation is not a single process, but can also derive a series of translation strategies and translation methods. In order to produce a good translation, the translator must constantly adapt and select and comprehensively consider the problem in such a large environment. The three dimensions of language, culture and communication do not exist independently, but are parallel and interrelated. Translators need to adapt to the target language environment when translating, and try to keep the content and form, meaning and style consistent with the original text, so as to achieve a higher degree of holistic adaptation and selection. At the same time, it is of certain research significance to guide the English translation of Chinese prose with ecological translation theory, which can make the translator realize that when translating, not only should the language form of the translated text and the transmission of some cultural-loaded words be considered, but also the target reader's acceptance level should be paid attention to.

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*Qu Tianhua渠天花.(2020).翻译美学视角下《边城》戴乃迭英译风格研究[Study on Styles of Gladys’s English Translation of The Border Town from Perspective of Translation and Aesthetics]. ''文化创新比较研究''Comparative Study of Cultural Innovation(27),94-96.

*Shen Congwen沈从文. (2011). 边城: 汉英对照[The Border Town]. ''南京：译林出版社''Nanjing: Yilin Press.

*Shao Yanshu邵彦舒.(2019).生态翻译学视阈下《边城》文化负载词维译研究[A Study on the Uyghur Translation of Culture-loaded Words in The Border Town from the Perspective of Eco-Translatology]. ''中国民族博览''Chinese National Expo(01),114-115+209.

*Tang Yi唐沂.(2015).从厚翻译角度看金介甫《边城》英译本[A Study of Jeffrey Kinkley’s Border Town from the Perspective of Thick Translation](硕士学位论文,湖南师范大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD201602&filename=1015387890.nh

*Wang Fang王芳.(2012).从语境角度探讨《边城》中隐性衔接英译[A Study on the Translation of Implicit Cohesion in Biancheng from the Perspective of Context](硕士学位论文,中央民族大学).https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD2012&filename=1012416317.nh

*Wang Zuoliang王佐良.(1989).翻译:思考与笔试[Translation: Thinking and Written Examination]. ''外语教学与研究出版社''Foreign Language Teaching and Research Press.

*Xie Jiangnan & Liu Hongtao谢江南, & 刘洪涛. (2015). 沈从文《边城》四个英译本中的文化与政治[Culture and Politics in the Four English Versions of Shen Congwen's Border Town]. ''中国现代文学研究丛刊''Modern Chinese Literature Studies(9), 10.

*Xiang Rendong向仍东.(2019).翻译伦理视角下《边城》英译研究[Interpretation of Two English Versions of Biancheng in Light of Translation Ethics]. ''语文学刊''Journal of Language and Literature Studies(04),91-95.

*Yan Hong & Dong Chunxiao延宏 & 董春晓.(2018).模糊语言学视阈下的小说《边城》英译研究[A Study on the English Translation of Border Town from the Perspective of Fuzzy Linguistics]. ''海外英语''Overseas English(06),122-123.

==英语笔译李欣 Li Xin 202170081577 CE==

<center>'''The dissemination of Chinese Classics in modern media'''</center>

<center>Li Xin</center>

===Abstract===
Classical books are important carriers of Traditional Chinese culture. It is an inevitable requirement to promote the overseas dissemination of traditional Chinese cultural books and classics in an all-round way to enhance cultural soft power and promote cultural exchanges among countries. New media era external communication has created new opportunities for ancient books and records, in this article, through the perspective of cross-cultural communication status quo in the spread of the new media age books, explore new media age classics of Chinese traditional culture, foreign media strategy, to seek the best transmission schemes, the best communication effect, promote Chinese culture to the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译李颖 Li Ying 202170081578 MW==

<center>'''On the Translation of The Moon and Sixpence'''</center>

<center>Li Ying</center>

===Abstract===
苗语是苗族文化的主要载具。在文化历史发展的过程中，由于受经济、地理、科学技术等方面的限制，苗语没有得到很好的继承和保护。本文主要介绍苗族的概况、分布情况以及苗语的基本特点。近十年来，对苗语进行研究的专家学者和相应著述越来越多，本文主要从介绍最基本的与苗语相关的情况，试图引起更多人对苗语以及更多少数民族语言的关注，从而对少数民族语言和文化进行保护。

===Key words===
Miaoyu, Hmong,language protection

===Introduction===
20世纪30年代，美国一些学者开始关注美洲印第安语和澳洲土著语言的大规模灭绝现象，并由此引发濒危语言研究的热潮。根据1996年，教科文组织发布的世界濒危语言地图显示，目前全世界大约有2500种语言存在不同程度的濒危情况。而面临濒危情况的语言主要由于一些语言是因为使用人数仅存一人而濒临灭绝，比如巴西的阿皮亚卡语（Apiaka）、迪亚霍伊语（Diahoi）以及中国台湾的拔泽海语（Pazeh）等都极度濒危，因为这些语言在2009年前大多只剩一人会说。同样我国是一个少数民族众多的国家，因而会有众多少数民族特有的语言，比如蒙古语，客家话，土家族语等。语言不仅是一种交际工具，更是一个民族文化的传承，每一种语言都是一个族群独特文化和族群特征的重要体现和表现形式。少数民族语言也面临着同样的现象，因此想对离自己生活比较接近的语言进行了解和研究。

===Literature Review===

===Methods and Theories===

===Subtitle 1 The Motivation of the Miaoyu===
In the 1930s, some scholars in the United States began to pay attention to the mass extinction of American Indian languages and Australian Aboriginal languages, which led to a boom in the study of endangered languages.Endangered languages mostly are spoken by only one person, such as Apiaka and Diahoi in Brazil, Pazeh in China Taiwan, which were spoken by only one person until 2009. Similarly, China is a country with many ethnic minorities, so there will be many minority dialects, such as Mongolian, Hakka, Tujia dialect and so on. Language is not only a communicating tool, but also the inheritance of a national culture. Every language is an important embodiment and manifestation of a unique culture and ethnic characteristics of an ethnic group. Minority languages are also facing the same phenomenon, so I want to understand and study the language that is close to my life.

===Subtitle 2 Miao Nationality ===
1.The Source of the Name “Miao”
There are different views among Chinese and foreign scholars on the reason for the use of "Miao" as the ethnic name of the Miao people.Foreign scholars believe that Miao is the uncultivated grass growing in a field, indicating that their indigenous tribes,a symbol of savage and uncivilization, were living there before the arrival of the Han nationality.
2.The Distribution of Miao Nationality
(1)Domestic Distribution
The Miao are a long-established, populous and widely distributed ethnic minority in China, and a cosmopolitan people who originate from China but continue to migrate and live across borders.Records of the Miao population have appeared in a number of documents and prescriptions as early as the Ming and Qing dynasties. According to the data of the sixth national census in 2010, the Miao are mainly distributed in Guizhou, Hunan, Yunnan, Chongqing, Guangxi, Hubei, Sichuan and other municipalities and autonomous regions in southwest and south-central China. The Miao in Guizhou province are mainly distributed in the autonomous regions of Qiandongnan Miao and Dong, Qiannan Buyi and Miao, Qiannan Buyi and Miao, as well as Bijie, Tongren, Anshun, and Zunyi, and thus the Miao language they speak is called the Eastern Miao language; the Miao in Hunan province are only distributed in the cities and counties of Jishou and Phoenix in Xiangxi Autonomous Prefecture, the autonomous counties of Mayang and Jingzhou in Huaihua, and Shaoyang The Miao in Hunan Province are only found in Jishou and Phoenix in Xiangxi Autonomous Prefecture, Mayang and Jingzhou in Huaihua and Shaoyang City. The Miao in Yunnan province are mainly distributed in Wenshan, Honghe and Zhaotong prefectures; the Miao in Chongqing are mainly distributed in Qianjiang district and three autonomous counties of Pengshui, Xiushan and Youyang; the Miao in Guangxi are mainly distributed in Rongshui, Longlin, Sanjiang, Resources, Xilin and Longsheng counties; the Miao in Hubei province are mainly distributed in Exi Tujia and Miao autonomous prefecture; the Miao in Sichuan province are mainly distributed in two areas of Yibin and Jialing.
(2)Overseas Distribution
The Hmong in foreign countries are mainly located in Vietnam, Laos, Thailand, Burma, the United States, France, Canada, Australia, Argentina and other places.
In Vietnam, most of the Hmong call themselves "Mon" Hmongb, and only a small part of them call themselves "Na Miao", and the Hmong branch in Vietnam can be divided into five main branches: "White" Hmong Hmongb dleub, who call themselves "Mon Dou"; "Black Hmong", who call themselves "Mona Hmongb Dlob; Hmong shib, which calls itself "Monsi"; "Flowering" or "Green", which calls itself "Monleng "Hmongbnzhuab; the Han Hmong call themselves Hmongb shuab. They usually live in the high mountain jungle with a sea area of 800-1700 meters, where the terrain is precipitous, with jagged rocks, high mountains and deep streams, narrow roads, and a subtropical monsoon climate with abundant rainfall in most areas and a rainy and dry season.
The religious beliefs of the Hmong in Southeast Asia are basically similar to those of the Hmong in China. Vietnamese Hmong scholars believe that the "five harmful ghosts" that can attach themselves to people are the most frightening. Once a person is found to be possessed by the "Five Harmful Ghosts", a ghost master must be called in immediately to cure the illness and drive away the ghosts. The Lao Hmong believe that there are spirits for everything, and there are spirits for water, fertilizer, roads, rice fields, hunting, stoves, living rooms, etc. Each family has its own unique god, and some people even believe that the god is their ancestor, and they have to meet with the god once a year.

===Subtitle 3 The origin of the Hmong and the historical formation of the Hmong===
1. Origin of the Miao
Due to the lack of exact historical evidence, posterity can only trace the origin of the Miao people from the historical memories of the Miao people in western Hunan. The first is the memory of the formation of heaven and earth. Based on the oral narratives of the Shishougui family, a Ba Dai family in Dongmaku Township, Huayuan County, Xiangxi, the domestic academic community has successively described the simple understanding of the Miao ancestors about the formation of heaven and earth, the emergence of human beings, the origin of civilization and the development of society.
There is also a romantic description of the appearance of the sun and the moon. In the ancient folk tale "The Story of the Nine Suns" and the folk narrative poem "The Story of Ban Dongchen", which are included in the folklore materials of western Hunan, the hero shoots the sun in a more complete plot. With the assistance of a falcon, an old bull, a big black dog and a gray rooster, Ming Naxiong shoots the golden and silver eggs, which are transformed into eight suns and moons, laid by the nine-headed monster bird on the sun tree, respectively. He eventually bends the marsang tree in the battle with the vicious fire bird and jumps into the moon, transforming into a star of enlightenment. The plot of "Moving the Moon" is slightly different. It tells the story of Liu Chun and Ah Xiu, a couple under Dali Mountain, who are determined to find the sun by riding a rooster when they learn that the sun has been locked into the cavern at the bottom of the sea by the devil king in Ter Mountain due to the flooding of their fields and the darkness of the earth. Liu Chun was killed, his son Jitai grew up and succeeded his father, with the help of the thousand-year-old eunuch, his father's spirit and the dragon king, he got the earth powder, killed the fox spirit who transformed into an old woman, and finally fought against the devil king, the brocade rooster pecked the devil's eye and rescued the imprisoned sun.
The second is the memory of the origin of human beings, that is, the origin of the Hmong. According to the literature compiled by the scholars, in the ancient times, the two people in the sky were at odds with each other, so Wo Shou was imprisoned by Wo Bi, and he was able to get away by coaxing his children to send water and fire. A pair of children of Wo Bik were sheltered inside the melon seeds given by Wo Shou and were spared. When the flood receded, the two siblings married, a year after the birth of the child cut into a hundred pieces, respectively, thrown to various places, "a piece in the house, sealed as Wu; a piece on the Dragon Mountain, only to have the Dragon family line of people; a piece on the stone called stone; a piece on the hemp garden, he shouted into the hemp surname people; the last piece of nowhere to throw, it will be left in the dust,; later changed people on the surname Liao. From then on there are a hundred family names."
2. Historical formation of the Hmong
This geographical distribution pattern of the Miao in China today is the result of numerous migrations in the history of the formation and development of the Miao people. According to scholars, from the historical documents of the Miao, "the Miao ancestors originally inhabited the middle and lower reaches of the Yellow River in China, and migrated to the 'left Dongting' and 'right Pengli' areas during the 'Three Miao' era. ' of the river and lake plains. Later, due to wars and other reasons, they kept migrating south and west into the southwest mountains and the Yunnan-Guizhou plateau. Since the Ming and Qing dynasties, the Miao distribution has formed the present pattern".
The Miao have undergone five major migrations in their thousands of years of development history to form the present geographical distribution pattern, which has not only shaped the Miao's swarthy, tough, united and defiant national character, but also created a distinctive national culture with gorgeous and colorful music.
Regarding the ethnic origin of the Miao, there are different views, but these views are summarized as follows: the indigenous people of Jianghuai, the south, the west, the north, and the "Jiu Li San Miao", among which the "Jiu Li San Miao" is the most influential. Miao ethnic origin can be traced back to the earliest ancient times to Chi You as the leader of the Jiu Li tribal alliance living in the lower and middle reaches of the Yellow River and the lower and middle reaches of the Yangtze River. Later, Chi You had a fierce conflict with another two tribal alliance led by Yan Di and Huang Di in the upper reaches of the Yellow River, and was finally defeated by Huang Di in the Battle of Zhuo Lu, Chi You was killed, and some of the tribesmen were integrated into Yan and Huang tribes, while most of them migrated south and settled in today's Dongting Lake and Poyang Lake area, forming a new tribal alliance in the period of Yao, Shun and Yu. The Sanmiao had fierce struggle with the tribal alliance led by Yao, Shun and Yu in history, and then the tribal alliance gradually disintegrated after Yu's many conquests and defeats, and after the demise of the Sanmiao tribe, most of the other tribes started to make a big migration.
During the Qin and Han dynasties, most of the Miao ancestors were distributed in the present-day Xiang, E, Chongqing and Qian adjacent areas. From the Qin and Han Dynasties until the Tang Dynasty, the Miao ancestors experienced the third major migration in history. Most of them migrated from the Wuling Mountains to the southwest of Sichuan and Guizhou, and some even migrated to Yunnan and Guangxi. Since the fourth and fifth migrations were basically from the Wuling Mountains to the southwest, we believe that the third migration of the Miao ancestors was of great significance to the formation of their ethnic group, which basically laid the present distribution pattern of the Miao and laid a solid foundation for the formation of a stable ethnic community.

===Subtitle 4 Miao Folk Beliefs===
phenomena such as the sky, wind, rain, lightning, sun, moon and stars in the natural world. The reason why the Miao folk in western Hunan worship the sky, water and rain is due to the local climate of little rain and lack of water. Although the climate of Miaojiang in western Hunan does not have hot and cold winters, it shows the characteristics of inverted spring chill, dry and hot summer lacking rain, and cloudy and sunny weather having a great influence on temperature. At the peak of summer, the weather is dry and there is little rainfall, and drought seriously affects the growth of crops.
Their faith in the worship of the sky is mainly based on the sky, water and rain, and there are corresponding rituals.
The first is the worship of the sky. Whenever the spring plowing season comes, that is, in the third month of the lunar calendar, people who have fields at home first ask a Yin-Yang man to choose an auspicious day. At that time, the head of the family brings some incense, paper, half a catty of white wine and four taels of boiled pork to the family's fields to pay homage to "God" and pray for a good harvest this year.
Secondly, it is the worship of water. Before the tap water came into the village, it was the source of water for the villagers' daily life and farmland. During the annual festival, the villagers would carry incense, paper, wine, meat and other offerings to the well to worship, expecting the well water to be inexhaustible.
Once again, it was the worship of rainwater. The summer festival is a standardized ritual held by the state specifically to pray for rain and a good harvest for all the grains, which originated from the primitive society to control nature by way of simulation or contact. It is also one of the rituals of the Heavenly Rites, which is called "Da" because it is combined with the worship of God, the supreme god, and is held regularly.
In times of severe drought, the Miao people in western Hunan collect money to buy ritual items and ask Ba Dai to go to the ditch, river or cave near the village to pray for rain from the gods such as the Dragon King and the Thunder God. Generally, they use such methods as "taking the river", "playing the river" and "making people in the river".

===Conclusion===
China is a multi-ethnic family, and the Miao language in the western Hunan region is facing the same problems as other ethnic languages. Language endangerment is a national phenomenon, and foreign countries have richer experience in the preservation and revival of endangered languages. Usually, the revival of Hebrew is known as the most successful case of language revival, so we can learn from the advanced experience of foreign countries in protecting and reviving endangered languages. For example, opening native language preservation centers, training community members to record and describe languages, providing native language instruction, and compiling dictionaries. We should take into account the actual situation of language endangerment in western Hunan and fully learn from the mature experience abroad to accelerate the preservation of minority languages and cultures in our region.

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

==英语笔译李媛 Li Yuan 202170081579 CE==
The Translation and Reception of Sunzi: The Art of War in the West

==英语笔译梁思婷 Liang Siting 202170081581 MW==
On the Reception of Vanity Fair in China

==英语笔译廖诗韵 Liao Shiyun 202170081582 CE==
<center>'''On the translation of ''Three Body Problem'' from the perspective of Feminist Translation Theory'''</center>

<center>Liao Shiyun</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
This is a paragraph. (Wang 2021:423)

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译刘唱 Liu Chang 202170081583 MW==
<center>'''Brief Talk on the Standard of Translation of Chinese Songs'''</center>

<center>Liu Chang</center>

===Abstract===
In the process of human civilization development, music plays an important role in expressing and cultivating people’s sentiments. While appreciating foreign music, we should also keep our self-confidence in culture and commit to bring Chinese music into the ears of foreign listeners so that they can hear the voice of the China. That’s what makes the translation of lyrics become the priority of the priorities. By summarizing the common ground of functional equivalence theory, skopos theory and other mature translation theories, this paper explores the general standard of translating Chinese songs into English. Meanwhile, according to the particularity of lyrics and the diversity of music style, this paper also discusses the particular standard of translating Chinese songs into English. On this basis, some English versions of Chinese songs are selected to analyze the gains and losses during the process of translation which is under the guidance of the mentioned translation standard.

===Key words===
lyrics translation; Chinese music; Chinese into English

===Introduction===
With the deepening of globalization, economic and cultural exchanges have become more and more frequent around the world. In recent decades, with the deepening of China's opening up to the outside world, Chinese audiences have been able to listen to more and more foreign songs, especially English songs, which are popular among young Chinese. On the other hand, few Chinese songs can reach out to the world. A big reason for this lies in the translation of lyrics. In terms of The Translation of Chinese songs, excellent Chinese songs lack the English versions that match them, which makes it difficult for them to enter the foreign market. However, due to the differences in the expression habits of Chinese and Western languages, as well as the special form of lyrics, the English translation of songs often requires the translator to grasp the emotion of songs accurately and the general idea of lyrics on the premise of a high level of language skills, so as to make the translated version vivid. In addition, due to the particularity of lyrics translation, the translator's ultimate goal should not only be to make the lyrics be appreciated, but also to make them be sung. Therefore, the translator should have certain knowledge of music theory, so as to pay attention to the fit between words and songs in the process of translation and make the translation have certain singability. In order to achieve this, translators must follow the corresponding translation standards to carry out their own translation work.

===Standards to Be Followed in the Translation of Songs===
In the process of translating Chinese songs into English, translators need to follow some standards and be guided by them. In this paper, these standards are divided into general standards and special standards. General standards, namely the standards that the translator should generally abide by in the process of translation work. These standards are applicable to any stylistic translation task and are the basic rules of translation work. In contrast to the general standard, the particularity standard, as the name implies, is the standard that should be observed for the text of individual style. In the process of Translating Chinese songs into English, translators should not only comply with the general requirements of translation work, but also take into account the special requirements involved in the task of song translation. For example, since it is song translation, the translation must be singable, and in order to make the translated version of the song singable, it will inevitably put forward higher requirements for translation work. Therefore, in order to meet this requirement, the translator should follow the corresponding standards for translation work.

(1)General Standards

As we all know, the history of human civilization is a history in which different cultures blend, penetrate and influence each other. In the process of communication between different cultures, languages are not interlinked, so translation comes into being. It can be said that the history of translation lasts as long as the history of interaction between different human civilizations. With the deepening of globalization, the exchanges between countries, regions and cultures are more and more frequent, so the demand for translation is also more and more exuberant. Especially since modern times, many translators and translatologists at home and abroad have put forward relevant translation theories, which contain corresponding translation criteria. These standards are called very different things, but they actually mean much the same thing.

The American translation theorist Eugene Nida proposed the theory of dynamic equivalence in his book Language Culture and Translating. The core idea is that "translating does not seek rigid correspondence on the surface of words, but achieves functional equivalence between the two languages." He pointed out that "translation is the semantic and stylistic reproduction of the source language information in the most appropriate, natural and equivalent language." (2004:21) Thus it can be seen that one of the tasks of translation work is to express meaning and accurately convey the original information. German Translation theorist Hans Vermeer also formally proposed The Skopos Theory in Basic Knowledge of Translation Theory co-authored with Rice. There are three principles in skopos theory of translation. The first principle is the principle of purpose, that is, all actions in the process of translation are determined by their purpose. The second principle is the coherence principle, that is, the translated text should conform to the standard of intralingual coherence; The third principle is the fidelity principle, that is, the translated text should conform to the standard of interlingual coherence. Therefore, translation work should not only achieve the meaning, but also smooth. At the same time, due to different purposes, translators need to adopt different translation strategies and follow other standards, which involves the particularity standard, which is not listed here. In addition to western translation theorists, Yan Fu, a Chinese translator at the end of the Qing Dynasty, also mentioned in his translation work: "译事三难：信，达，雅。求其信已大难矣，顾信矣不达，虽择犹不择也，则达尚焉。" (2012).

Its meaning is: the first to be faithful to the ideological content of the original text, namely the so-called "faithfulness"; Second, the translation should be standardized and easy to understand, namely the so-called "expressivess"; Third, we should pay attention to the style of the original text and the language rhetoric features of the original text, that is, the so-called "elegance". From this point of view, it is the best for translation work to conform to the style of the original text and show the elegance and interest after expressing its meaning and fluency.

To sum up, the general standard of song translation, that is, the universal standard of translation, is to first achieve the meaning, accurately convey the content of the song; Secondly, to do smooth, no grammatical mistakes, coherent language; Finally, if it fits the style of the original word of the song, it is the best.

(2)Special Standards

In the translation of lyrics, we should not only abide by the general standards of translation work, but also adapt to the specific style of lyrics. Since it is the lyrics, it must be matched with the tune, and the collocation here does not simply mean that the lyrics can be "stuffed" into the tune and barely sung, but that the lyrics and song style is appropriate, the iambic fit, the rhythm is neat, in line with the poetic language characteristics of the lyrics, with strong singability. Therefore, for the translation of lyrics, there should be the following standards:

First, rhythm matching, which means that when translating and matching songs, we should try to make the translated words match the beat, rhythm type and melody trend of the original song. Xue Fan pointed out, "The number of words in a translation is limited by the number of notes in the original song, the sentence pattern of the translation is restricted by the structure of the music, and the cadence of the translation is restricted by the change of rhythm and the trend of the melody." (1997) In view of this reality, English translation of Chinese songs should follow the following matching rules: the number of syllables in the translated version should be equal to the number of words in the original; The sentence of the translation should be consistent with the sentence of the original; The pause and pause of the translation should be consistent with the original air inlet and breathing. (Chen Liming, 2010)

Second, it is the choice of rhyme. In song translation and matching, the choice of words and rhyme should not only conform to the mood of music, but also care about the content of lyrics. "Rhyme should not make up rhyme, and rhyme should not harm righteousness". (Chen Liming, 2010) However, in the process of song translation, some variation can be used to meet the needs of rhythm and rhythm, but this degree should be controlled. The bottom line of this degree lies in whether the artistic conception and general idea of the original will be changed after the translation. That is to say, in the translation, the original text can be sublated in order to preserve the musicality to a certain extent, but the artistic conception of the original song itself and the core idea to be conveyed must not be lost.

Thirdly, translation is restricted by song style to a certain extent. For example, Chinese ancient songs are mostly accompanied by Chinese national Musical Instruments such as guzheng, flute and xiao. The tunes are melodious and beautiful, and the original words are usually neatly phrased, classical and elegant, with unique poetic characteristics of China. The corresponding English translation words should also have corresponding characteristics. And modern pop music, for example, the best feature of this song is popularity, compared with the elegant music, the music lyrics is quite simple, there is no obstacle on understanding, it is necessary for pop music became popular, then the corresponding English translation version should also consider the characteristics of popularization to translation of words. Therefore, when translating different types of songs into English, the translator should not only make great efforts in the selection of words and try to conform to the poetic characteristics of the original words, but also pay attention to the fact that the translated words can still produce the same emotional effect as the original words when matching with the tunes of the music type. This is also an important factor that makes Chinese songs still singable after being translated into English.

===Instance Analysis===
The purpose of translating Chinese songs into English is to let the world listen to China's voice and make Chinese culture go abroad. And to do that, two types of music are essential. One of them is Chinese pop songs, because pop music is the most mainstream music genre in today's music market, and also the music genre with the largest audience, which is deeply loved by young people. Young people are the most dynamic group, and conquering their ears means opening a market; The second is the ancient style music, in recent years, the ancient style music boom, more and more of our people, the music on the basis of the profound Chinese culture, the lyrics are very with Chinese characteristics, the music if you can go out and let the world hear, to appreciate the world, will no doubt greatly highlight China's cultural self-confidence, It can also contribute to the cause of cultural power. Therefore, this paper will take the above two kinds of music as examples to select representative works and analyze the standards of lyrics translation reflected in the process of lyrics translation.

(1)Analysis of Ancient Style Music

First, let's see some translation of ancient music. In recent years, the most popular ancient style song in China is "凉凉", which has a beautiful melody and sounds, with a strong Chinese style charm and its lyrics are also very rich in Chinese culture. (Wu Xiaorui, Li Yuchen, Fang Xiaoqing 2021) Therefore, in the process of translation, we should not only take into account the musicality of the lyrics, but also reflect the general idea of the lyrics. There are many English translations of "凉凉", and Jonny's version is selected as an example for analysis. (Jonny, whose Chinese name is Long Ze, is an American network anchor, who once translated "凉凉" into English and sang it.) In the English version, most parts follow the corresponding standards of lyrics translation, but there are also some shortcomings, which will be analyzed with examples one by one.

Example 1:

Chinese Version: 凉凉夜色为你思念成河，化作春泥呵护着我。

English Version: Thoughts of you are like a river, comforting chilling my soul.

In this sentence, the translator conveys the meaning of the original text well, and fully embodies the core words of the original text, namely "思念成河" and "呵护着我". Besides, the core word "凉凉", which runs through the song, is also expressed through the word "chilling". Although the two images of "夜色" and "春泥" in this sentence are not translated, the meaning of the lyrics is not lost, nor the artistic conception of the lyrics is damaged. Because the core meaning of this word still wants to express: I miss you very much, this feeling makes me very warm, very comfortable. So it doesn't matter that "夜色" and "春泥" are not translated, and the absence of these two images doesn't hurt the integrity of the lyrics in English. But the fly in the ointment is that "河" and "我" still rhyme to some extent in the original version, but not in the English version. To a certain extent, it reduces the musicality and singability.

Example 2:

Chinese Version : 凉凉三生三世恍然如梦

English Version: Past present and future

In this sentence, the translator quite succinctly summarizes the meaning of the original word, "三生三世恍然如梦" is directly translated into past present and future, one scene flashes before my eyes, just like a dream. This translation does not have much problem in conveying the meaning and artistic conception of the original word, but the author thinks that the English version of the lyrics does not have high singability, because this translation does not conform to the rhythm collocation in the singability standard of lyrics translation mentioned above. The lyrics in the paragraph of the longer beat, the Chinese version is filled in a full ten words, while the English only used four words, relatively far-fetched, the singer's requirements are very high. As mentioned before, when translating and matching songs, it is necessary to try to make the translated words match the beat, rhythm type and melody direction of the original song. Therefore, the translation of this sentence does not meet the singability standard of lyrics translation.

（2）Analysis of Pop Music

Pop music is the most mainstream music genre in the music market, and it is also the most popular music genre among young people. Next, the author will select the English version of Someone like Me to analyze the standards of lyrics translation reflected in it. (Translated by MelodyC2E, Shanghai International Studies University)

Example 3:

Chinese Version: 怎么二十多年到头来还在人海里浮沉

English Version: How come after all that I've been through I still suffer vicissitudes

This translation is considered by the author to be a very typical expressive and singable translation. First of all, the English version fully conveys the original meaning, that is, after all these years, I am still adrift. Here, the translator has blurred twenty years into "All that I've been through", which has no impact on the original meaning, but more vicissitudes of life. And then the "人海浮沉" is expressed in terms of "vicissitudes", which perfectly expresses the mood and meaning of the original word. On top of that, "Through" and "Vicissitudes" also rhymes with singability

Example 4:

Chinese Version: 像我这样碌碌无为的人你还见过多少人

English Version: Someone busy with his needs I'm sure you know quite a few

This sentence also achieves both the meaning and the singability of the lyrics. Especially, in the later "I'm sure you know quite a few", the interrogative sentence of the original word is changed into an affirmative sentence, telling the depression of his heart in an affirmative tone, which perfectly reflects the depression contained in the song. It not only conforms to the general standard of lyrics translation, but also conforms to the special standard of lyrics translation.

===Conclusion===
Song has always been a popular art form and an indispensable supplement in everyone's life. In recent years, our country also has stressed cultural self-confidence, to be on a path to cultural power, therefore, to our country outstanding music to the international this task is essential, and the translation of the lyrics is a top priority, with songs only vividly expresses to melody tactfully to the tune of lyrics collocation, can pass into the foreign audience's ears, and make the world hear the voice of China. All this can only be realized on the premise of following the two major standards of lyric translation, namely the general standard and the special standard.

===References===
Eugene. A. Nida.Language and Culture and contexts in Translating [M].上海:上海外语教育出版，2004:21.

Chen Liming, Xue Fan陈历明.薛范的歌曲译配理论之途[J].外国语文, 2010,26(2): 111-116.

Huxley赫胥黎.天演论:Evolution and Ethics:中英对照全译本[M].严复,译.上海:上海世界图书出版公司，2012.

Wu Xiaorui, Li Yuchen, Fang Xiaoqin吴肖睿,李雨晨,方小卿.古风歌曲《凉凉》英译对比研究[J].英语教师，2021,21(01):38-34

Xue Fan薛范. (译配)爱情歌曲选粹[Z].上海:上海东方出版中心，1997.

==英语笔译刘乐乐 Liu Lele 202170081584 CE==
Why Chinese Online Fantasy Novels Can Be Good Translation Materials: based on the Study of Dragon Raja

Abstract
Key words
1.Introduction
2.Value of Communication
3.Content of Communication
4.Feasible Procedures of Translation
5.Platform for Translation and Communication
Conclusion
References

==英语笔译刘双英 Liu Shuangying 202170081585==
The Translation of Liu Cixin's other Science Fiction (except from the Three Body Problem)

==英语笔译刘婷 Liu Ting 202170081586==
<center>'''Study on the canonization of Chinese Modern Poetry'''</center>

<center>Liu Ting</center>

===Abstract===

It has been more than a century since the birth of Chinese Modern Poetry, also known as the new poetry. As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to Chinese ancient poetry and songs, which have a long history and cultural accumulation. So, its canonization has always been the common concern of writers, scholars and researchers. In any country, canonization of any literary work is a long and complicated process in terms of time and mechanism. The canonization of new poetry has rich texture in the synchronic and diachronic aspects of literary history. This paper analyzes the essential characteristics of the so-called "classic" works and points out the problems faced by the canonization of new poetry and only by solving these problems can the canonization of Chinese modern poetry be put on the right track.

===Key words===
Chinese modern poetry, canonization, classic work

===Introduction===

Chinese Modern Poetry, also known as the new poetry, refers to the poetry genre that emerged around the May Fourth Movement, which is different from the Chinese classical poetry and uses vernacular when it is composed.

During the development of Chinese literature, poetry, including Han Fu, Tang poems, Song Ci, Yuan Qu, had achieved great success. However, in modern times, the creation of classical poetry gradually became rigid, using lots of clichés, and the words used in classical poetry was seriously disconnected from modern spoken language. The strict restrictions on the form including the verse style, rhyme, allusions etc., were a great constraint on poetry's ability to express the ever-changing and increasingly complex social life and to express people's true thoughts and feelings. Therefore, the new poetry revolution became the first and most important part of the May Fourth New Literary Movement.

As the mainstream form of poetry in modern and contemporary China, the new poetry is still young compared to the old poetry and songs, which have a long history and cultural accumulation. But with its freedom, flexibility, and versatility, new poetry has maintained its creative vigor and vitality over the past century. From form to content, from creation and dissemination to influence, new poetry can be said to be relatively complete and uncompromising.

The issue of literary classics and the classicization of literature is a hot issue that has always been of concern to academics. In terms of the classicism of poetry, the power that new poetry has contributed to the history of Chinese poetry over the past century should not be underestimated. As far as the century of Chinese new poetry is concerned, the modern new poetry classics and the rationality of their canonization have been gradually recognized in recent studies, while the issue of its canonizaton is quite controversial. Canonization is actually a process rather than a result. Many scholars have doubts about whether "Canonization" of new poetry is a valid term, because the time of generation and development of them is still short compared with that of Chinese classical poetry, and "classics" must go through layers of elision by years and readers, and through the heavy burden of generations. The reason is that the generation and development of contemporary new poetry is still short compared to that of modern new poetry, and the "classics" must go through the test of time. Of course, this is the general understanding of the generation of classics, but while seeing the ephemeral nature of the generation of "classics", we should also see the commonality of the generation of them.

By clarifying the defining characteristics of Chinese new poetry and classic works, this paper points out the difficulties and misunderstandings encountered in the classicization of Chinese new poetry today, and only by solving these problems and breaking these misunderstandings can the canonization of Chinese new poetry and “canonization” be put on the right track.

===Literature Review===

===Methods and Theories===

===Chinese Modern Poetry===
To solve the problem of canonization of Chinese modern poetry, first and foremost, it is necessary to have an understanding of it. This chapter introduces the development of new poetry, its representative figures, the literary characteristics of poetry and its achievements.

2.1 Development of Chinses Modern poetry
Compared with drama and fictional prose, the century-long development of Chinese modern poetry is relatively weak. Fiction, after all, still has Lu Xun, Ba Jin and Lao She; drama has Cao Yu, Lao She and; all these writers have been recognized by the world. Poetry, on the other hand, lacks such figures. New poetry faces two peaks that are difficult to surpass: one is Chinese classical poetry and the other is the poetry achievements of the West since Shakespeare. The existence of poetry requires the existence of a refined and mature national language, and poetry is most closely connected to language, while modern Chinese has only been existed around for a century. Nevertheless, achievements of Chinese modern poetry are remarkable. The most important development stage of it was the first thirty years after its birth.

2.1.1 The first decade

At the experimental stage, Hu Shi was regarded as "the first vernacular poet." His Trying Collection (1920) was "a bridge” between the old and new poetry. Individual poems at this time had modern lyrical forms, but most of them still could not escape from the formal tradition of classical poetry. The techniques of the new poetry were firstly, "line drawing" and secondly, metaphorical symbolism. The early vernacular poems are thus divided into two categories: the first is the objective realistic tendency of using white description; the second is the modernist tendency of putting things into context. The latter is not common in traditional poetry.

At the foundational stage, Guo Moruo's "Goddess" (1921) was the foundation of Chinses new poetry. The lyrical nature of poetry and the individuality of it were given full attention and play, and the strange and daring imagination really made the wings of poetry soar. " The free spirit of the May Fourth Era and the artistic rules of poetry itself are fully reflected in this collection.

At the normalization stage, if "Goddess" broke the traditional poetic rules with the spirit of "absolute freedom and absolute autonomy", the New Moon School was born in response to the need, with Wen Yiduo, Xu Zhimo, Zhu Xiang and Lin Huiyin as its representatives, advocating "rational moderation of emotions". " Wen Yiduo advocated the metricalization of the new poetry and proposed the theory of "three beauties" of poetry: music beauty (level and oblique tones and rhyme), pictorial beauty (the theory that Chinese poetry and painting are connected), and architectural beauty (proportionality of stanzas and evenness of sentences).

2.1.2 The Second Decade

The Chinese Poetry Society was a mass poetry group led by the Left League, inheriting the early proletarian poetry tradition of Jiang Guangci from the previous decade, with Yin Fu as its representative. The characteristics were: first, reflecting the revolutionary struggle and major events of the times; second, emphasizing the ideologization of poetry, the subject of poetry was not the poet himself but a fighting collective; third, focusing on realism in artistic expression. This somewhat deviated from the essence of poetry, which is the catharsis of individual's emotions.

In the later period, the poems of the New Moon School shifted the focus of their lyricism to the "trembling of the soul" and the alienation of the modern human spirit. Xu Zhimo's "Collection of Fierce Tigers" and "Collection of Cloudy Travels" are representative of this. "Farewell to the Cambridge" belongs to this period, but its mood is still a remnant of the previous one. New poets, such as Chen Mengjia and Fang Wei De, were students of Xu Zhimo. And the poetry at this period, borrowed the form of sonnets.

Shi zhe was another poet at this period. He emphasized the need to write purely modern poetry, which is genealogically related to the early Symbolist poetry and used modern rhetoric to arrange modern poetic forms. The "leaders of the poetry world" at this time is Dai Wangshu and Bian Zhilin. Dai Wangshu was known as the "Rainy Lane Poet" with his poem "Rainy Lane". Bian Zhilin, on the other hand, was influenced by Xu Zhimo and Dai Wangshu, and provided something new to the new poetry, namely, a shift from the main emotion to the main intellect. He was one of the poets in the history of new poetry who was consciously philosophical, and his poetry was surprising in its simplicity because he was good at penetrating and exploring the phenomena of daily life philosophically.

2.1.3 The Third Decade

Ai Qing accomplished the task of "synthesis" in the history of Chinese poetry. On the one hand, he insisted on developing the realistic and fighting tradition of the poets of the Chinese Poetry Society, on the other hand, he overcame and abandoned their weaknesses of "childish shouting", and at the same time, he critically absorbed some of the achievements of the modern poets in their artistic exploration of new poetry, further enriching and developing the art of poetry. He drew on the passion of Guo Moruo and the pursuit of external forms of the New Moon School, and Ai Qing began to pursue an inner beauty in Chinese new poetry. He became the most influential poet of the third decade. He was also one of the first new Chinese poets to go global.

At the beginning of the war, the Chinese Poetry Society, the New Moon School, and the Modernist poets all sang the battle hymn of national liberation. During the war period, the debate over the aesthetic and artistic characteristics of poetry and political propaganda brought people to a new level of understanding of the content and form of poetry. There were many academic works that raised the artistic discussion of new poetry to a theoretical level: Ai Qing's "Essay on Poetry", Zhu Ziqing's "Miscellaneous Discussions on New Poetry", Li Guangtian's "The Art of Poetry", and so on. Zang Kejia wrote "Songs of the Clay" and Dai Wangshu wrote "Years of Catastrophe", and there was a transformation of style, integrating the "small self" into the "big self". The most influential poetry school during this period was the July Poetry School. Under the influence of Ai Qing, this school of poetry was formed by Hu Feng as the center, with July and other publications as the main base. It advocated revolutionary realism and free verse as its main banner, and had a great influence in the National Unification Area.

After the end of the war, the new poetry took on a new life. In literary history, the Nine Poets school led by Mu Dan are known as the "New Chinese Poetry School". They emphasized, first, the modernization of the way of thinking about poetry. The second was the extreme importance attached to the application of everyday language and the rhythm of speech. "Only words and rhythms that are varied, flexible, fresh, and vivid can properly and effectively express the strange sensitivity of the modern poet's senses and the rapid changes in his thoughts." The emphasis on the basic transformation of poetic thinking and language, which characterized the Chinese New Poetry School, also concentrates on its rebelliousness and heterogeneity, which precisely echoed the claims of early vernacular poetry in a distant way.

2.2 Value of Chinses Modern poetry

The value and significance of modern Chinese poetry does not only lie in the depth and breadth of thought and emotion expressed in the works of its outstanding writers and artistic thinking, but is also closely related to the cultural characteristics it reflects. As representatives of modern Chinese intellectuals with the most prominent self-awareness, the cultural consciousness of modern Chinese poets and their many outstanding creations not only provides readers with a rich and unique scope of understanding and propositions at the level of ideology, but also gives a taste of the free power and will of their individual lives in the vibration of the intersection of different cultures and the care of national emotions.

Chinese modern poetry has been following the changes in the future and destiny of the nation, and has been deeply concerned with the suffering of the masses, especially the creation of realistic poetry, which integrates realism and lyricism into one, has gained great significance. Guo Moruo's "Phoenix Nirvana", Wen Yiduo's "Dead Water", Dai Wangshu's "I Use My Broken Palms", Zang Kejia's "Old Horse" and Ai Qing's "Snow Falling on the Land of China" all belong to this category, and they are all typical modern poems with the theme of worrying about the country and the people. As a "social discourse for the masses" with strong, sharp values and realistic concerns, they indeed disclose the heavy and oppressive environment of the time and the sense of suffering and crisis caused by the increasing destruction of modern China by the real oppressors and invaders, and those politicized complaints of grief and anger processed by the authors' reason and emotion also inherit the sense of historical mission of classical Chinese poetry: "Essays are written for the time, songs and poems are written for the matter. "The poetry of modern poets, however, is not as good as that of classical poetry. However, in contrast to classical poetry, modern poets have been able to consciously strengthen their "self-awareness" in the midst of successive social changes, national suffering, and political turmoil, thus examining the close relationship between the changes of the times, public suffering, and the poet with the poet's real identity and vision, and integrating the poet's independent "self-awareness" into the "self-awareness" of the poet. The poet's independent "self-consciousness" is integrated into the "social discourse of the masses"

Since the real feeling of individual independence and emancipation and its cultural and psychological structure have gained a dominant position in modern China, the modernization of Chinese poetry is gradually free from the traditional aesthetic thought's domination and bondage to the poet's personalized historical experience and unique feeling in the continuous farewell to the traditional consciousness of classical poetry. In other words, many modern poets have become the most important poets. In other words, many modern poets have achieved complete emancipation from the classical poetic consciousness with a very distinctive personal character. Nevertheless, modern poetry has clearly increased its tendency to express "motherly emotions" accompanied by sorrow and grief. Bing Xin's small poems, for example, have a great deal of motherly love and tenderness molten into the artistic world she has constructed, fully reflecting the modern woman's self-consciousness, and vividly embodying the modern intellectual woman's painful independent personality of "living in evil but loving goodness", which is a struggle of the inner soul. Classical poetry generally does not reveal the oppressive factors of women's existence from the perspective of women's care, and often examines women's lives with a tragic vision and a sense of suffering. In contrast, the new poetry tries to explore women's unique life consciousness, emotional imagery and their inner flashing moments of perception, in order to replace the vague and hazy or generally suppressed monotonous and long-lasting sadness of classical poetry, whose overall sense of life and overall mood underline the poet's deep concern for women's cultural consciousness. In this sense, modern poetry has gained its own vitality because of the significance of women's cultural awakening.

To sum up, the general awakening and vigorous exploration of the self-consciousness of modern Chinese poets has given modern poetry a more independent, profound, liberating and new way of thinking and value of thought and art, different from the classical poetry.

===What is Classic===

From the reality of Chinese literature in the 20th century, both the discussion on whether there are classics in modern literature and the sense of anxiety crisis about the classics of modern literature are greatly related to the understanding of the meaning of classics. I have the following four understandings of the connotation of the classics.

First of all, in terms of spiritual meaning, literary classics shine with the light of thought. It is often rooted in the times, showing the distinctive spirit of the times, with the character of historical reality, but also outlines and reveals the far-reaching rich cultural connotations and human implications, with the transcendent open character. It often raises fundamental questions about human spiritual life, such as man and nature, man and society, and man and himself. At the same time, classics and classical interpretation have a close relationship, and classics must be continuously compiled and organized, accepted and disseminated, and revered in order to become classics. Original classics also need original interpretation, and original interpretation may become new classics or have new classical characteristics.

Secondly, from the point of view of artistic aesthetics, literary classics should have a "poetic" connotation. It is the creation of an irreducible artistic world permeated by the writer's unique worldview, which can provide some kind of aesthetic experience that no one has ever provided before. It is a unique aesthetic grasp of the world based on sensual life, spiritual needs, and even the individual and collective unconscious. This aesthetic grasp, through original efforts, incorporates the rich and colorful world of the mind and the vivid and rich real life, and also absorbs the past and future life into the present with the "time field of presence" that is generated and acted upon. The literary classics created in this way can make the human nature and human heart connected, and the heart of literature and poetry connected, so that the culture and literature of different periods can get deep communication.

Thirdly, from the perspective of national characteristics, literary classics often open a new chapter in the history of national literature, with the value of "history". That is to say, the literary classics can promote a nation's language and thought to a new platform. Just like Shakespeare's modernity in English and English literature, Pushkin's modernity in Russian and Russian literature, Lu Xun and the new literary classics in the May Fourth era also pushed our national language and thought to a new height and a new platform through the original artistic world of modern Chinese. This made it possible for the writers and theorists of modern literature to operate, communicate and create on this platform, and thus a series of classical achievements emerged.

Fourthly, from the acceptance of the classics, literary classics must be accepted and appreciated by the majority of readers. There are indeed many classics of highbrow, but those that are loved, recognized, appreciated and enchanted by a wide audience are the classics of classics. The "Three Hundred Tang Poems" have been printed countless times, with billions of readers. Therefore, a classic work must be a work respected by the public, and it must conform to the public's value orientation, respond to the public's will and pursuit, in order to constantly renew new vitality and vitality in order to be immortalized.

===Problems about Canonization===
Although a number of well-received classics of Chinese modern poetry have emerged or are being classicized in its hundred years of development, there are still many problems that need to be solved. Only by solving these problems and recognizing some misconceptions can we better promote the process of canonization of new poetry.

The first problem is the vision of the selector. As it mentioned above: the classics are often rooted in the times, not only displaying the distinctive spirit of the times, but also summarizing and revealing the far-reaching and rich cultural connotation and the meaning of human nature and having the character of transcendent openness. Therefore, there is a need for selectors and editors with vision, thoughtfulness, noble character and culture to select and recommend Chinese modern poems that can be regarded as classics for us. However, some selectors and editors lack a comprehensive, objective and fair vision when they compile anthologies such as "New Poetry Classics of 100 years". They choose poems according to their own preferences, and choose whoever I want to choose, and let whoever I want to stand aside stand aside. In this way, some fine and classic works with superior ideology and art are blocked and rejected by him, while some unknown works with low artistic achievement and simple connotation are regarded as classics by him. In view of this we should strictly screen the professionals to ensure that they can take a serious and responsible attitude, be unbiased, to prepare an excellent collection of selected new poetry classics for everyone to appreciate, read and taste, and promote the process of canonization of new poetry.

The second problem is the vision of a literary historian. As mentioned above: literary classics often open a new chapter in the history of national literature, with the value of "history". Therefore, literary historians play a crucial role in the process of canonization of Chinese modern poetry. If a poet's poems enter the history of literature and new poetry, and are recommended and analyzed as a key poet, it seems that he will definitely be a "classic poet" and his poems "classic poems ". However, it should also be recognized that many literary historians are unable to be unbiased, and the literary and poetry histories they have written have obscured and blocked many new poetry works that have had a significant impact, and inappropriately regarded some works that readers know nothing about as masterpieces.

The third problem is the selection of Chinese modern poems in Chinses textbooks. The role of Chinses textbooks is crucial to the canonization of poetry. In my personal experience, those textbooks are more inclined to poems with aesthetic nature, complex connotations, focus on the experience of life, the beauty of humanity, etc.. However, the sense of the times is often not strong enough. Some "purely lyrical" poems are necessary, but masterpieces that reflect the spirit of the times and real life should not be completely excluded. Language teaching materials are responsible for the canonization of new poetry.

The fourth problem is the education and teaching of new poetry. When it comes to the selection and editing of new poems in Chinese textbooks, the issue of education and teaching of new poems is naturally inseparable. The canonization of poetry is inevitably associated with poetry reading, and the level, form and state of poetry reading are obviously subject to the various stages and levels of contemporary poetry education and literary education, the latter's influence on aesthetic ability and aesthetic intuition is evident to all. In reality, few teachers are willing to make great efforts to guide students to appreciate the beauty of Chinses modern poetry, and few students are really interested in them. The reasons for this are many. The first reason is that modern poetry has a low status. Chinese modern poetry is far inferior to classical poetry, which has a cultural history of several thousand years, in terms of quantity and quality, as well as the number of poets. Another important reason for the low status of modern poetry in language teaching is that it is not considered as part of the test in China's exam-oriented education. The appreciation of classical poetry, instead of modern poetry, is often taken as a key test in the examination of poetry appreciation, and when students are asked to write something, it is often explicitly state that the genre is not limited except for poetry, etc. Secondly, teachers' poetry literacy is not good enough. The poetry literacy of Chinese teachers directly affects the quality of poetry teaching. For a long time, modern poetry is a niche literature in Chinese literature, and people in general like to listen to stories but not to read poems, to read novels but not to read poetry collections, and even many Chinese teachers have very little experience of modern poetry, very little knowledge reserve of modern poetry, and not high poetry literacy. This directly leads to the fact that in order to complete the teaching plan, teachers will only boringly read from the text and cannot well guide students to appreciate the beauty of modern poetry. Some teachers even teach it quickly and do not seek for teaching quality, which greatly erases students' interest in learning poetry.

The fifth problem is the public's awareness. The making of "classic" new poems is closely related to society, media and education. The repeated selection and publication by publishers, the repeated broadcasting and promotion by TV, radio and newspapers, and the long-term "required reading" in Chinses textbooks are the most important channels for the creation of classics. In addition, the awareness of the public is also an important factor. However, Chinese modern poetry is still far from being publicized, and only a certain circle of people knows about the new poems, while the rest of the people can only recite or memorize few poems that are selected for language textbooks, which is far from enough. The most important factor in the highest achievement of Tang poetry in ancient China lines in the its high quality and higher production, while new poetry, except for the rapid development in the first thirty years, has seen fewer and fewer excellent poets emerge in the later period, gradually fading out of the ordinary people's view. In view of this, relevant institutions can organize some programs and activities, so as to publicize Chinese modern poetry; hold related competitions, so as to reward the creation of new poems.

===Subtitle 4===

===Conclusion===

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

==英语笔译刘瑶 Liu Yao 202170081587==
<center>'''On Mo Yan’s Representative Works Translated Overseas'''</center>

<center>Liu Yao 刘瑶</center>

===Abstract===
With the implementation of “Going Global” strategy of Chinese literature, more and more works of outstanding Chinese writers have been translated and published in countries around the world, and Mo Yan’s works are representative of them. In 1988, The Dry River was published in Japan, which started the overseas publishing of Mo Yan’s works. As of October 2019, there are 388 kinds of Mo Yan’s works published in 41 countries and Mo Yan has become a representative of contemporary Chinese writers to the world. A comprehensive discussion on the development history, geographical and language distribution, and audience acceptance of Mo Yan's representative works translated overseas is an important topic that can summarize some features of Chinese literature translated overseas, from which to gain some revelation related to Chinese literature's going global. This paper collects relevant papers and journals on the translation and dissemination of Mo Yan's works, based on which this paper reaches a conclusion of information related to Mo Yan's three representative works —''Red Sorghum''《红高粱家族》, ''Frog''《蛙》, ''Big Breasts and Wide Hips''《丰乳肥臀》. Taking masterpieces of well-known writers as examples, this paper is in the hope of offering new ideas for the translation and dissemination of Chinese literature.Through study and research on the topic, this paper concludes that the significance of Mo Yan's works translated overseas is mainly reflected in the following three aspects: first, showing the global influence of Chinese contemporary literature; second, contributing to the further development of the dissemination of Chinese culture; third, setting a model for cultural communications between China and other countries. The translation and dissemination of Mo Yan's works also inspire us that the spread of Chinese literature needs not only policy support from the government, but also high level translation from translators, both of which are key factors in terms of Chinese literature's going global.

===Key words===
Mo Yan; representative works; translation; dissemination

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译刘珍 Liu Zhen 202170081588 MW==

<center>'''A Study of Strange Stories From a Chinese Studio from the Perspective of Skopos Theory'''</center>

<center>刘珍</center>

===Abstract===
Liao Zhai Zhi Yi written by Pu Songling is a famous collection of more than 400 peculiar short stories. As a work coming into being at the very beginning of the 17th century when the classical Chinese writing was on the wane, the appearance of Liao Zhai Zhi Yi (or Liao Zhai in abbreviation) injected vigor and vitality into the classical Chinese literature. Among the many foreign translations of this book, the English version named Strange Stories from a Chinese Studio translated by Herbert Allen Giles is the most popular and influential one so far, thus becoming an indispensable part for the study of the English translation of Liao Zhai. At a time that we are calling for Chinese culture going global, as a successful case of Chinese literature work well-accepted by the foreign market, the English translation if sure of high research values and guiding significance. This thesis attempts to take Skopos theory as the theoretical basis, and take Giles’s Strange Stories from a Chinese Studio as the main research object to study the translator’s aims, the choices of translation strategies and the achievement of translation function.

===Key words===
Strange Stories from a Chinese Studio; Herbert Allen Giles; Skopos theory; Reader Expectations

===Introduction===

===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.

==英语笔译马艳焕 Ma Yanhuan 202170081591 CE==
The Translation and spread of Su Tong 's works Abroad

<center>'''The Translation and spread of Su Tong 's works Abroad'''</center>

<center> Ma Yanhuan 马艳焕 </center>

===Abstract===
Su Tong is one of the famous contemporary Chinese writers, whose works have been translated into a variety of languages and widely spread abroad. therefore, the writer Su Tong has also become one of the top three foreign translators of novels in China. Based on the present situation of the foreign translation of Su Tong's works, this paper will explore the reasons for the success or failure of its overseas dissemination, and put forward some countermeasures to provide a reference for the going out of Chinese literature.

===Key words===
Su Tong; Translation； Spread

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文.
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译聂薇 Nie Wei 202170081592 MW==

<center>'''Translation of Idioms in Howard Goldblatt's ''Life and Death are Wearing Me Out'''''</center>

<center>Nie Wei 聂薇</center>

===Abstract===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is full of vivid and interesting idioms, which make the language of this novel so unique and characteristic. Howard Goldblatt's translation of this novel has been a great success in the English-speaking world. In the translation of idioms in this novel, he mainly adopts the methods of foreignization and omission, and follows the translation principles of preserving the foreign culture and insisting on semantic correspondence in order to present the heterogeneity of the idioms, so that the Chinese culture contained in the idioms in ''Life and Death are Wearing Me Out'' is well presented to Western readers. His translation provides a more objective platform for Western readers to know the diverse cultures of the world. The study of Goldblatt's translation of this novel can help guide the English translation of Chinese literature, thus providing references for promoting Chinese culture abroad.
===Key words===
''Life and Death are Wearing Me Out''; Howard Goldblatt; translation of idioms; creative treason
===Introduction===
Mo Yan's novel ''Life and Death are Wearing Me Out'' is not considered the best novel in China, but Goldblatt's English translation has received much attention in the English-speaking world, won many international awards, and is even considered one of the most important works for Mo Yan to win the Nobel Prize in Literature. One of the most distinctive features of this novel is its unique language style. Goldblatt’s exquisite translation enables Mo Yan's style to be reproduced, and the strong local flavor and magical realism to be manifested, all of which is an important factor for the success of the English translation of ''Life and Death are Wearing Me Out''. This paper discusses the translation methods and principles adopted by Goldblatt in his translation of the idioms in this book, and analyzes its influence on the dissemination of Chinese culture, so as to provide reference for future translations of Chinese classics. (Shi Chunrang 2019, 94)
===Literature Review===
I searched CNKI with keywords "''Life and Death are Wearing Me Out'' and translation" (searched until May 29, 2022) and found 355 related papers. These papers analyzed the translation methods, strategies and Goldblatt’s translation style of ''Life and Death are Wearing Me Out'' from different perspectives, such as relevance theory, Bourdieu’s theory of field, Reception Aesthetics Theory, eco-translatology, translation aesthetics, the post-colonialism perspective, rewriting theory, translation ethics, hermeneutics and translators' subjectivity.

Among them, there are five papers related to the study of proverbs ( idioms). Wang Yiting and Lin Mei point out that Goldblatt mostly uses literal translation to translate idioms in the linguistic dimension, chooses both literal and free translation in the cultural dimension, and uses rewriting in the communicative dimension. Liu Geng and Lu Weizhong, with the help of conceptual metaphor theory, point out that the English translation of the idioms in ''Life and Death are Wearing Me Out'' has certain translator's subjectivity, and the translator's metaphorical way of thinking affects the use of different translation strategies. Ye Pingting, based on the cultural translation view, uses the idioms in Goldblatt’s version as a corpus to explore how translators effectively convey cultural information. Chen Qiansa analyzes the use of idioms and their translation methods in this novel based on the Chinese-English parallel corpus. Shi Chunrang and Shi Yan analyze the role of idioms in ''Life and Death are Wearing Me Out'' in constructing the "image of the other" for Western readers, as well as in deconstructing the cultural psychology of western readers.

The study of idioms’ translations in Goldblatt's version includes both case studies, in which a single idiom is selected for discussion, and quantitative analyses supported by definite statistics. This paper provides an overall study of the methods and principles of translating idioms, and suggestions for improvements to the mistranslations in Life and Death are Wearing Me Out, so as to provide a reference for the English translation of Chinese literary works in the future.
===Methods and Theories===
This paper focuses on the study of Goldblatt’s translation based on Venuti's theory of domestication and foreignization and the concept of creative treason.

Lawrence Venuti firstly formulated and introduced the theory of domestication and foreignization in the book ''The Translator’s Invisibility''. According to Venuti, domestication refers to the translation strategy in which a transparent, fluent style is adopted in order to minimize the strangeness of the foreign text for target readers, while foreignization refers to the type of translation in which a target text deliberately breaks target conventions by retaining something of the foreignness of the original.

The domestication method can express the language and culture of the source language with the language and culture familiar to the target language readers, and the translation is fluent and easy to read and accepted by the readers, but the "domestication method" tends to distort the facts of the original text, which is not conducive for the target readers to feel the "exoticism" of the foreign culture. On the other hand, the "foreignization method" can better maintain the style of the original text, convey the author's original intention, and let the target language readers truly feel the difference between the two cultures, but the disadvantage of it is that the translation may be obscure and difficult to understand, and may sometimes make the readers have cultural misunderstanding. (Zhu Zhouxain 2013,155)

Professor Xie Tianzhen published a book entitled ''Translation Studies'', in which he elaborated on the creative treason in literary translation in depth. In his book, he clearly pointed out that "the most fundamental characteristic of creative treason in literary translation is that it introduces the original work into a receptive environment that the original author did not originally anticipate, and changes the form originally given to the work by the original author."

Due to the specific differences in social, historical and cultural factors between the source language and the target language, the translator will certainly make appropriate and comprehensive "adjustments" to the specific differences in semantics between the two languages in different contexts during the whole process of translation. These "adjustments" are, on the surface, a "treason" against the original work, but it is not the translator's trampling on the original work at will, but the translator's attempt to make the translation convey the same meaning as the original work in the translated language environment. (Zhang Liyun 2019,141)

===1.Idioms in ''Life and Death are Wearing Me Out'' and their characteristics===
Idioms are simple and concise folk languages that are widespread and easy to understand. Most of them are short sentences that are transmitted orally by the laboring people, reflecting their experiences in production and life vividly. Idioms contain a great deal of background information and culture, and it is a form of language that has been developed over a long period of historical development and real life.

''Life and Death are Wearing Me Out'' is filled with lively and amusing idioms that bring uniqueness and vitality to the novel's language. This novel tells the story of joys and sorrows experienced by the landlord Ximen Nao’s family and the farmer Lan Jiefang’s family for more than half a century. The theme of the novel is closely related to the farmers and the land, which of course requires the use of a large number of idioms to narrate the story. (Shi Chunrang 2019,94)

Clearly, the idioms in this novel are diverse in form and peculiar in presentation. For example, when the donkey reincarnated from Ximen Nao bragged about being favored by the county chief, it said, "人们都知道，侍候好了县长的驴，就会让县长格外高兴。拍了我的驴屁，就等于拍了县长的马屁。" The translation is "Everyone knew that taking special care of the county chief's donkey made him very happy. Patting my rump was equivalent to patting the county chief's behind with flattery." Here cleverly, the common saying "拍马屁" in people's daily life is used as “拍驴屁”, which highlights the identity of the donkey, and also vividly and humorously depicts the complacency and arrogance of the donkey, while expressing its contempt for those who strive to curry favour with people in authority.

In addition, when the ghosts in the hell sneered at Xinmen Nao, they said, “猫改不了捕鼠，狗改不了吃屎”. The translation is “You can’t keep a cat from chasing mice or a dog from eating shit.” The language, though vulgar, is very common in people’s daily life and fits the overall style of the novel.

This kind of linguistic style is both traditional and innovative, both unbridled and unrestrained, and is highly effective for shaping the characters and plotting.
===2.Goldblatt’s translation methods of idioms in ''Life and Death are Wearing Me Out''===
(i) Foreignization

The method of foreignization is to deliberately make the translation violate the conventional linguistic models in target language and retain the exotic atmosphere of the original text, with the aim of "injecting the linguistic and cultural differences in the foreign text into the target language, sending the readers abroad" and providing them with an "unprecedented reading experience”. Goldblatt deliberately uses the method of foreignization to translate idioms in this novel.

Specifically, Goldblatt tries to convey the heterogeneity of idioms in the original text in the following ways.

First, he tries his best to show the target readers the meaning of Chinese idioms that is unique to China and not available in the Western culture. After all, idioms are developed in the production and life experiences of different peoples. Therefore, Goldblatt chooses literal translation whenever possible.

For example, “你是煮熟的螃蟹难横行了，你是瓮中之鳖难逃脱了” is translated into “You’re a cooked crab that can no longer sidle your way around，a turtle in a jar with no way out”. “瓮” is a unique Chinese utensil with rich Chinese cultural information. The image of "瓮" is missing in the English-speaking world. Therefore, he borrows the familiar apparatus "jar" from English to translate it, which is roughly similar to "瓮" in appearance. This translation uses an alternative image to convey the message of the original text, which reduces the connotative information of the original idiom but makes it easier for the target readers to understand the essential message of the idioms.

Second, for some idioms, Goldblatt translates them by literal translation with annotation. The literal translation is of course for presenting the original message of the idioms to the target readers, while the annotation is to help the readers better understand the essential message of the idioms, because some of them have complex metaphorical messages, so annotation is essential for understanding.

For example, “兔死狐悲，物伤其类” is translated into “When the rabbit dies，the fox grieves, for his turn will come.” This annotation “ for his turn will come” clearly illustrates the message of the original idiom and removes any confusion about why the fox grieves for the rabbit’s death. With annotation, the connotative meaning of the idiom becomes clearer.

Third, for some idioms that have exact equivalents in the target language, the translator deliberately translates them with explanatory literal translations instead of copying the idioms in the target culture. For example, “入乡随俗” is translated into “When you come to a new place，learn the local customs and follow them” rather than “When in Rome, do as the Romans do” in English. Obviously, the use of semantic equivalents of idioms in the target language cannot translate the information conveyed by the original context. An explanatory literal translation approach can help target readers better understand the plots of the novel and increase their interest in reading it. (Shi Chunrang 2019,95)

(ii) Domestication

Sometimes we may find that the Chinese idioms don’t have equivalents in the target language, so they can be translated through free translation, which means we can follow the principle of domestication by borrowing existing expressions in the target language, thus making the translation closer to the reading habits and cognition of the target readers. In Goldblatt's translation of idioms in ''Life and Death are Wearing Me Out'', about 30% of those idioms are translated through free translation. (Chen Qiansa, 2019,108)

For example, “洪泰岳你出口无信，食言而肥” is translated into “Hong Taiyue，your words meant nothing, you did not make good on your promise”. In this sentence, “食言而肥” and “出口无信” mean the same thing: not to keep one’s word. These two idioms came out of ''The Commentary of Zuo''. It is not possible for the translator to translate the allusions behind each idiom, which would result in a lengthy and unclear translation. So Goldblatt uses a phrase with similar meaning to express the idioms “食言而肥” and “出口无信”. He borrowed from the English idiom “not make good on your promise” and delivered an authentic translation cleverly.

Due to the differences between the English and Chinese languages and between Eastern and Western cultures, the “treason” of the original text in literary translation is inevitable. For example, in the novel ''Life and Death are Wearing Me Out'', there are many epithets such as "爷们" and "伙计", which are difficult to translate into English with full equivalence, and Goldblatt's creative "rewriting" of them also reflects his unique translation ideas. For example, according to different contexts, “伙计” is translated into “gentleman” “buddy” “old friend”; according to the specific meaning of the sentence, “掌柜的” is translated into “you are the head of the household” “my husband” “the old gentleman” “sir” and so on. (Zhang Qi 2019,329)

Although the domestication method changed the images or structure of the original sentence, Goldblatt's translation better conveys the original author's intentions and can be deemed as a kind of fidelity from a deeper level.

(iii) Omission

Omission means that the idiom is not translated from the original text. There are two kinds of idioms that Goldblatt did not translate. The first one is those idioms that contain distinctive local culture, which cannot adequately convey the content of the novel in the target language. For example, “我这哥，惯常闷着头不吭声，但没想到讲起大话来竟是‘博山的瓷盆——一套一套的’ ” is translated into “He was normally not much of a talker, so everyone was taken by surprise. To be honest, it turned me off.” The idiom “博山的瓷盆——一套一套的”(which means a set of porcelain pots from Boshan) has been omitted here because it contains an item known only to a small group of people, and the message it implies is so unique and unnecessary that the translator chose to omit it. (Shi Chunrang 2019,95)

In addition, Goldblatt chose to deliberately omit some idioms, such as “西游记”“小妖红孩儿”“封神演义”“哪吒”“天山童姥”. Because in his mind, "capturing the style, rhythm and imagery of the original work is the real task and challenge for the translator”. Omitting those idioms makes the storyline more compact and the language more straightforward and easily accepted by the target readers. (Zhang Qi 2019,329)

Second, some idioms that serve to add explanatory information and vividness to the original text are also often deleted by Goldblatt. For example, "出水才看两条腿" and "咱们骑驴看账本，走着瞧! " and other similar proverbs are omitted.

On the whole, however, the idioms in ''Life and Death are Wearing Me Out'' are very important for the novel’s general language style. Therefore, there are not many cases where the translators leave idioms untranslated.

(ⅳ) Mistranslation

In Xie Tianzhen’s article ''Mistranslation: Misunderstanding and Misinterpretation in Different Cultures'', he divides mistranslation into two types, namely intentional mistranslation and unintentional mistranslation. Intentional mistranslations are those in which the translator chooses to consciously misinterpret the meaning of the original text for some reason. Unintentional mistranslations can be divided into three types which are caused respectively by carelessness, poor linguistic skills and lack of knowledge of the cultural background of the original language. (Zhang Sen 2016,111)

Intentional mistranslation closely reflects the translator's creative treason and is also a major manifestation of the collision, distortion and deformation between cultures in literary and cultural exchanges. Therefore, this paper focuses on the current situation of intentional mistranslation in Goldblatt’s translation of ''Life and Death are Wearing Me Out'', and reveals how translators creatively fill the gaps between different cultures. (Zhang Liyun 2019,143)

For example, “……让老婆孩子吃糠咽菜的守财奴” is translated into “…made his wife and kids eat chaff and rotten vegetables”. The original text intended to use the idiom "吃糠咽菜" to depict the poor life of them, but in the translation it is translated into "eat chaff and rotten vegetables". In the original text, the word "菜" means "wild edible plants", because in the old days, Chinese people who could not afford to eat vegetables often used wild plants to fill the belly. But in the English version it is translated as "rotten vegetable". Why? Because with the improvement of people's livelihood, "wild edible plants" have become a delicious delicacy for people in both the East and the West. Therefore, in order to tell the target readers about the poor life of those people, he translated "糠咽菜" into "chaff and rotten vegetables", which makes it easier for the readers to accurately capture the meaning of the original text.

The translator plays an important role in this process, and the translator's personalized translations, mistranslations and omissions reflected in the translations are all manifestations of the translator's creative treason.
===3.Goldblatt’s principles for translating idioms===
(i) Preserving the culture of the original language

Generally speaking, idioms have deep semantic connotation and vividly reflect the material and spiritual culture with local characteristics. Therefore, when translating idioms, we should try to understand the deeper connotations of them and to express them clearly. By researching, communicating with the author and other methods, Goldblatt managed to understand the essential meaning of the idioms, their historical roots and the context in which they are used, so as to truly grasp their precise meaning. (Shi Chunrang 2019,97)

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopts the methods of foreignization and omission, so we can say that the principle he follows in translation is that of preserving the culture of the original language. He tries to highlight the heterogeneity of the original proverbs through literal translation, to reveal the uniqueness of Chinese culture, and to help Western readers understand the life experience of the Chinese people attached to the idioms through annotations.

Due to the cultural status of Europe and America, cultural differences and the marginal position of translated literature in the European and American literary world, European and American translators often choose to translate other countries' literary works by means of domestication, and the translation of ''The Story of the Stone'' by David Hawkes is an example of the use of domestication strategy. However, cultural hegemony and cultural colonization have led a group of translators with a sense of mission to choose a translation strategy that preserves the style of the original work, which is called foreignization.

The contradiction is obvious: the translator wants to preserve the taste of the original work, but the reader's difficulty in understanding the language and structure of the vernacular novel requires the translator to make concessions in the translation. Goldblatt's approach to translation reconciles this contradiction to a certain extent. He tries to strike a balance in the translated work so that it can be accepted by Western readers. (Tian Debei 2016,91)

(ii) Semantic correspondence

In translating the idioms in ''Life and Death are Wearing Me Out'', Goldblatt not only tries to reproduce the meaning of the idioms in the target language, but also strives to achieve an overall semantic correspondence between the proverbs and the context in which they are found. He helps to make the text more logical and readable by adding explanatory phrases, explicitly stating the implied meaning or adding connecting words. In achieving semantic correspondence, he tries to make the translation as close to the original text as possible, without adding or subtracting anything, and without creating ambiguity. In terms of choosing words, he tries to be as concise and appropriate as possible; in terms of sentence construction, he tries to achieve a sentence style that reflects some of the features of the original but is also in keeping with the conventions of the target language. (Shi Chunrang 2019,97)
===4.Implications of ''Life and Death are Wearing Me Out'' for the English Translation of Chinese Literature===
As mentioned above, guided by the principle of personalized translation, there is 'fidelity' in translating the idioms in ''Life and Death are Wearing Me Out'', as well as creative treason and omission of the original text. It can be seen that Goldblatt is not bound by the traditional dichotomy of literal translation and free translation. The language of his translation is authentic and fluent, reading like an original English novel but conveying exotic cultural imagery.

Goldblatt insists on translating for his readers, so he was selective in his translation strategies in order to make exotic Chinese literature accessible to western readers, thus allowing excellent literature to enter the field of foreign translated literature and achieving the effective dissemination of Chinese literature.

Compared with Western culture, Chinese culture is still in a disadvantaged position in the world cultural landscape. Therefore, if Chinese literature wants to “go global”, translators must take into account the special cultural background and general readers' acceptability.

Goldblatt’s choice and application of translation strategies carries with it the translator's subjectivity, and under the guidance of such translation principles, his translations meet both the literary standards of the Western world and the expectations of the Western readers for Chinese literature. (Zhang Qi 2019,330)

Whether Chinese literature has done a good job in “going global” is not only judged by the accuracy of their translations, but also by how well they are received by foreign readers. The difference between Chinese and Western cultures have resulted in readers’ different preferences for literary themes, so Goldblatt has paid great attention to the tastes of Western readers when selecting books he was going to work on, so that his translations can be better accepted by them. However, the mistranslation in his version has led to a deviation from the original Chinese works.

Compared with Chinese translators, Sinologists have a strong linguistic background, but their knowledge reserve of Chinese culture is still insufficient. So the best mode of translation is a kind of Chinese-foreign collaboration, in which the Chinese translators deal with the cultural challenges while the sinologists do the linguistic touch-ups, in order to ensure the integrity of Chinese culture in the West, and to achieve both fidelity to the original work and increased acceptance abroad, thus achieving success in the translation of Chinese culture. (Zhang Sen 2016,115)
===Conclusion===
In translating idioms in ''Life and Death are Wearing Me Out'', Goldblatt mainly adopted the strategies of literal translation (39.2%) and free translation(30.3%), supplemented by omissions, additions and borrowings, with a few mistranslations (about 10 cases). It is evident that he tends to retain the cultural image of the idioms in the source language, and tries not to add or delete; however, when those images in the source language don’t have equivalents in the target language, he will be bold enough to adopt free translation, so as to maintain the readability and fluency of the translated work. In the translation process, he stays true to the connotation of the text rather than the literal meaning, and stays true to the target readers rather than the readers of the source language. (Chen Qiansa 2019,110)

This helps us to reveal Goldblatt's faithful translation and reader-consciousness. In conclusion, in the process of translation, translators should preserve the style and image of the idioms in the original text as much as possible, so as to spread Chinese culture and enrich the English vocabulary; at the same time, they should take into account the readability of the translated work and adopt various translation approaches to deal with the Chinese idioms.

Goldblatt not only makes the message conveyed by the idioms and the proverb-rich language style of ''Life and Death are Wearing Me Out'' well presented to Western readers, but also makes them easily understood and accepted by Western readers. The translator does his best to spread Chinese culture and respect the culture clash between different cultures. His translation dares to face up to the cultural differences between China and English-speaking countries, and uses a unique translation method to strongly promote Chinese literature and culture to the Western world, which achieved good results, and also provides some useful references for us to do a good job in promoting Chinese culture to go abroad.

Therefore, we should not only consider the needs of Western readers at the expense of the dissemination of our own distinctive culture, instead, we should take the promotion of our own culture as our responsibility and take into account the reading needs of Western readers. The successful translation of idioms in Mo Yan’s novels is a good case in point. In the exchange between Chinese and foreign cultures, the translation of idioms in Mo Yan's novel adheres to the idea of faithful translation and mainly adopted foreignization, fully demonstrating the traditional Chinese culture with strong national flavor and distinctive regional characteristics, which is an important inspiration for the dissemination of Chinese culture today.
===References===
*Mo Yan 莫言. (2011). Life and Death are Wearing Me Out. tans. by Howard Goldblatt. New York: Arcade Publishing．
*Venuti, L. (1995). The translator’s Invisibility: A History of Translation. London and New York: Routledge．
*Xie Tianzhen 谢天振.(2012).创造性叛逆:争论、实质与意义[Creative Treason: Controversy, Substance and Meaning].''中国比较文学''Comparative Chinese Literature (2):33-40．
*Zhang Qi张琦.(2019).“创造性叛逆”:莫言《生死疲劳》英译特点及启示[Creative Treason: Characteristics and Insights of the English Translation of Mo Yan's “Life and Death are Wearing Me Out”].''上海理工大学学报''Journal of Shanghai University of Technology (04):327-330+337.
*Zhang Liyun, Wu Qingjuan张丽云,吴庆娟.(2019).创造性叛逆与葛浩文《生死疲劳》英译本的译介[Creative Treason and Goldblatt’s Translation of “Life and Death are Wearing Me Out”].''齐齐哈尔大学学报''Journal of Qiqihar University (10):141-143+172.
*Wang Yiting, Lin Mei王怡婷,林梅.(2014).翻译适应选择论视角下《生死疲劳》的习语翻译[The Translation of Idioms in "Life and Death are Wearing Me Out" from the Perspective of Translation Adaptation Selection Theory].''常州大学学报''Journal of Changzhou University (04):100-102+106.
*Shi Chunrang, Shi Yan石春让,石岩.(2019).葛浩文译《生死疲劳》中谚语的文化建构与解构[The Cultural Construction and Deconstruction of Idioms in Goldblatt's Translation of “Life and Death are Wearing Me Out”].''外国语文''Foreign Literature (01):94-99.
*Zhang Sen, Zhang Shijin张森,张世瑾.(2016).葛译《生死疲劳》中的误译现象与中国文化译介策略[Mistranslation in Goldblatt's Translation of Life and Death are Wearing Me Out and Strategies for Translating Chinese Culture].''河北大学学报''Journal of Hebei University (05):111-116.
*Liu Geng, Lu Weizhong刘庚,卢卫中.(2016).汉语熟语的转喻迁移及其英译策略——以《生死疲劳》的葛浩文英译为例[The Metonymic Migration of Chinese Idioms and Their English Translation Strategies - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''外语教学''Foreign Language Teaching (05):91-95.
*Chen Qiansa陈千飒.(2019).基于语料库的《生死疲劳》熟语英译研究[A Corpus-based Study on the English Translation of the Idioms in "Life and Death are Wearing Me Out”].''重庆交通大学学报''Journal of Chongqing Jiaotong University (01):105-111.
*Zhu Zhouxian朱周贤.(2013).论乡土小说翻译的难点——以葛浩文英译的《生死疲劳》为例[On the Difficulties of Translating Rural Literature - An Example of Goldblatt's English Translation of “Life and Death are Wearing Me Out”].''作家''The Writers (14):155-156.
*Tian Debei, Zhan Xuanwen田德蓓,詹宣文.(2016).入乡未能随俗:论葛浩文译《生死疲劳》的乡土气息[On the Local Flavor of Goldblatt's Translation of “Life and Death are Wearing Me Out”].''东北农业大学学报''Journal of Northeast Agricultural University (01):88-92.

==英语笔译孙丽君 Sun Lijun 202170081593 CE==

<center>'''An Analysis of English Translation of Luotuo Xiangzi from the Perspecctive of Rewriting Theory'''</center>

<center>Sun Lijun</center>

===Abstract===
Traditionally, translation is regarded as a kind of linguistic conversion, which means translating the source text from one language into another. And with further and deep study of translation, Bassnett and Lefevere went beyond the level of language, focusing on the mutual interaction between translation and culture, and the influences and restrictions of culture on translation. Therefore, the move from translation as text to translation as culture and politics is termed as the cultural turn. Rewriting Theory, proposed by Lefevere, is the representative fruit of the translation studies on culture, exerting profound influence on academia. Rewriting Theory shows that translation is regarded as rewriting, which is mainly constrained by the dominant poetics, ideology and patronage under certain backgrounds.
Luotuo Xiangzi, writtten by Lao She in the year of 1939, is one of the representative masterpieces of Chinese classics, gaining great popularity both at home and abroad since its first English version, translated by the American translator Evan King in 1945, came out. And this translated text obtained great success in America, which establishing Lao She’s reputation as a writer in the international literary circle. However, due to the inequivalence to the source text, Evan King’s translated work invited some critics from Chinese scholars even unsatisfied the original author Lao She himself. Thereafter, this short essay will briefly analyze the translation of Luotuo Xiangzi by Evan King from the perspective of Rewriting Theory, trying to find out the influences the dominant poetics, ideology and patronage exert on translation.

===Key words===
Luotuo Xiangzi; rewriting theory; translation

===Introduction===
As is known to all, translation is a kind of special and creative activity carried out in a certain context. And it is influenced by some certain activities of the society at one hand, while on the other hand, translation is also restricted by some factors of the works and the writers themselves. In a word, translation plays an essential and pivotal role in communicating and exchanging ideas in this global village. And with further cultural exchanges, some foreign masterworks have been introduced into China, broadening people’s horizon and enriching their daily life and spiritual life in China; also, some Chinese classics have been translated abroad and made foreign friends get a better understanding of Chinese culture. As one representative work of Chinese modern classics, Luotuo Xiangzi has been translated into several versions by some famous translators at home and abroad, including Evan King’s Rickshaw Boy, Jean M.James’ Rickshaw: The Novel Lo-t’o Hsiang Tzu, and Shu Xiaojing’s Camel Xiangzi. And due to the three English versions translated aboard, Luotuo Xiangzi turned out to be a huge hit as soon as it was published. However, as the first translated version in English, though wildly welcomed among American readers, it invited some terrible criticism made by the Chinese literary circles for Evan King broke the rule of equivalence and he did a lot of rewritings. Throughout the history of translation, we can tell that being true to the original text is of paramount importance no matter from the “faithfulness, expressiveness and elegance” proposed by the famous Chinese scholar Yan Fu or the “dynamic equivalence” or “functional equivalence” initiated by Eugene A. Nida. However, those translation theories concentrate on the source-text-oriented methods and techniques, paying much attention to how to translate the original text faithfully into the target text, which represents a kind of static status and mainly focuses on the linguistic level. However, as the march of translation studies, some scholars have studied translation approach from the perspective of culture, attempting to put translation into a larger context. Thus translation studies was labeled with cultural turn from then on. And the polysystem theory and rewriting theory were representatives in this regard. Taking the dominant poetics, ideology and patronage into consideration, Lefevere’s rewriting theory then exerted profound influence in the later translation studies, providing a brand new viewing angle for individuals who engage in the translation studies. Given the Evan King's translated version, it is of terrific significance to explore the underlying reasons why Evan King did a lot of rewritings to Lao She's Luotuo Xiangzi on the framework of Lefevere's rewriting theory.

===Literature Review===

===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.

==英语笔译仝雨梦 Tong Yumeng 202170081594 MW==

<center>'''A Comparison of The Analects Translated by James Legge and Ku Hungming'''</center>

<center>Tong Yumeng</center>

===Abstract===
Confucius is a great thinker and educator in ancient China, the founder of the Confucian school, and one of the world's most famous cultural figures. As the only book recording the sayings and discourse between Confucius and his disciples, The Analects is a classic of Confucianism as well as of Chinese civilization. Up to now, there have been nearly forty English translations of The Analects, which indicates the importance of this work in China and western countries. This paper mainly focuses on two English translations of The Analects published in 1861 and in 1898 respectively. One is translated by James Legge, a Scottish protestant missionary of London Missionary Society. The other is the translation of Ku Hung-Ming, an extreme cultural conservative and a strong advocate of Confucianism at the turn of the 19th and 20th centuries. By comparing the two English translations, the paper tries hard to trace back their translating processes, find out the criteria used in interpreting the original text, and summarize the strategies adopted to resolve cultural conflicts in translation. Besides adopting the traditional translation theories, this paper conducts its investigation from the perspective of functionalist "skopos theory" and theories of Lefevere. At last, the paper also mentions the influence of the two English versions of The Analects and the images of Confucius they have helped construct.

===Key words===
Confucius, Legge, The Analects, English Translation

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译童略雅 Tong Lueya 202170081595 CE==

<center>'''A Brief Analysis of Reading Strategies of Chinese Classics in a Digitalization Era'''</center>

<center>Tong lueya</center>

===Abstract===
With the rapid development of the society and the in - depth application of science and technology, people’s traditional production and living habits have been gradually changed. And their reading habits, reading time, reading preferences and reading content have also shown new characteristics. Especially with the mature application of science and technology such as Internet, intelligent handheld device, cloud computing, big data and so on in various fields, the reading mode of readers has gradually changed from systematic reading to fragmented reading. Classic works are the crystallization of human civilization. Reading classic works is of great significance to individual growth and social development. It cannot be overemphasized to promote classic reading. This paper analyzes the status of classic reading in a digitalization era, and then attempts to put forward some suggestions in classics reading. In this way, it hoped that people could realize the significance of reading classics and then form good habits to reading them.

===Key words===
Classics reading; strategies; digitalization

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===
正文. (Wang 2021:423)
===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译庹树梅 Tuo Shumei 202170081596 MW==

<center>'''The Cantonization of the Dream of Red Mansions'''</center>

<center>庹树梅</center>

===Abstract===
As a treasure of Chinese literature and an important source of cultural confidence for the Chinese nation, Dream of the Red Chamber has been disseminated in the English-speaking world for two hundred years. Under the multiple views of traditional historiography, neo-Hanology, neo-history and neo-Songology, Dream of the Red Chamber has been transformed from a "historical text" to a "classic text" and has undergone an evolutionary path from an academic research classic to a literary classic and then to a cultural classic. The first chapter of this paper discusses what classicization is. The second chapter discusses why Dream of the Red Chamber has become a classic work and analyzes its intrinsic literary value. The third chapter discusses the impact of the classicization of Dream of the Red Chamber on the influence of Chinese culture in the world.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译王思琪 Wang Siqi 202170081597 CE==
A Study on C-E Translation of The Book of Songs from the Perspective of Xu Yuanchong’s Theory of Three Beauties

==英语笔译王亚娟 Wang Yajuan 202170081598 MW==

<center>'''On the Overseas Transmission Paths of Journey to the West'''</center>

<center>Wang Yajuan</center>

===Abstract===
The continuous development of Internet technology has not only changed the way of reading classics, but also the path of classical communication. According to American scholar Harold Lasswell's 5W communication model, medium is the basic component of the communication process. And in the present time of continuous media convergence, the multidimensional transmission paths of classical works are formed. It is necessary to study the development of communication paths. As one of the Four Great Works of China, Journey to the West has been disseminated overseas for hundreds of years. It has not only been translated into many languages such as English, French, German, Italian, and Russian, but also a large number of film and television dramas, stage plays, animation, video games and other works of that adaptation have been derived.
This paper takes the overseas transmission path of Journey to the West as the research object, first discusses the reasons why it was spread from the perspective of its value, and then clarifies the transmission path of Journey to the West in overseas by analyzing relevant books and papers, and finds that the print publication path mainly relies on paper media to publish translated works; with the evolving of transmission paths with help of new media, the multidimensional transmission path has emerged. And then talks about opportunities for the innovation of classics transmission paths brought by the times. Then studies effects of changing of transmission paths on the classic communication and its prospect, hoping that analysis of the transmission paths of Journey to the West, can provide reference for the continuous dissemination of other classic works.

===Key words===
Journey to the west; transmission paths; classic dissemination; medium; 5W

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译肖冬晴 Xiao Dongqing 202170081599 CE==

<center>'''On C-E Translation of Lexical Gaps in Teahouse from the Perspective of Reception Aesthetics Theory'''</center>

<center>Xiao Dongqing</center>

===Abstract===
Representing as a masterpiece of Lao She, ''Teahouse'' works as a monument in the history of Chinese drama. From the perspective of reception aesthetics theory, this paper studies the translation of lexical gaps in ''Teahouse'' translated by Ying Ruocheng. It briefly introduces the content of reception aesthetics and its main concepts, expounds the basic conception of lexical gaps and classifies them into four types. In this thesis, the author mainly focuses on the translation strategies adopted by the translator to deal with the lexical gaps in ''Teahouse''. It is found that in the translation of lexical gaps the translation strategy of domestication dominates while foreignization works as a supplement, a tactic which caters to its reader’s expectation horizon.

===Key words===
Reception aesthetics theory; ''Teahouse''; lexical gaps

===Introduction===
''Teahouse'' is a work of monument in the history of Chinese drama and a sensational one in the world. The key to investigating its reception overseas lies in the studies on its translated versions. Currently, there are two impactful translations in the literary community: the one translated by Chinese scholar Ying Ruocheng and the one translated by the prestigious American sinologist Howard Goldblatt. Over the years, researches and studies on ''Teahouse'' have never ceased. For instance, Lu Jun and Ma Chunfen (2009) studied from the perspective of cultural translation theory the translation of names and idioms in the two translated versions mentioned above, Yu Yanqing (2016) investigated the metaphors in the source text and elaborated on their translation in the two different versions as she deciphered some of the special connotations in them, while Jin Yan (2022) focused on some of the mistranslation phenomena in the English and Korean translated books based on cultural amnesia and memory reconstruction.

In cross-cultural communication, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.
Researches on the theory of vacancy and lexical gaps were initiated in the west when the distinguished American linguist Hockett put forward the idea of “random holes in patterns” (Hockett, 1954:106-123) in the comparison of the linguistic models between two languages. In the 1970s, the discussion over cultural vacancy attracted more scholars, among whom the American cultural anthropologist Hall took the lead. He used the term of “gap” (Hall, 1959:32) to describe the kind of absence in the study of the colour words of the aborigines when he noticed a lack of necessary colour words in the culture of those natives. In the 1980s, vacancy theory was officially put forward by Russian psycholinguists Jurij Sorokin and Irina Markovina as they conducted their research on the discourse and the characteristics of its national culture, dividing vacancies from the perspectives of linguistics, culture and discourse (Xu Gaoyu & Zhao Qiuye, 2008).

Reception aesthetics theory was first proposed in the 1960s in Germany. Unlike previous theories, it shifted its focus from the author and the original work to the role that the audience play in the process of cultural reception. The traditional translation view holds that translation is to convey the "meaning" of the original text into the target language. Reception aesthetics believes that the meaning of the text is uncertain, and it needs to be made concrete in reading by readers (including translators here). The most direct philosophical basis of reception aesthetics is philosophical hermeneutics. In China, many scholars have also worked a lot on this topic. For example, Qu Suwan (2019) studied on the translation of dialect words under the guidance of the reception aesthetics theory while Yu Shan (2015) conducted a comparative analysis of the translation strategies of culture-loaded terms in the two mentioned English versions.

From all the above, it’s clear that efforts have been made in the search of Chinese culture and Chinese classic translation based on aesthetics theory. Inspired by all the predecessors, this thesis is going to adopt the reception aesthetics theory to investigate the translation of lexical gaps in the English version translated by Ying Ruocheng. It will cover the basic outline of the theory itself, classify the lexical gaps in the work as it gives an overview of all the lexical gaps in the book and finally discuss the translation strategies used in Ying’s processing of the lexical gaps.

===Reception Aesthetics Theory===
Reception aesthetics is a theory of literary criticism raised by the German literature theoretician and aesthetician Hans Robert Jauss in the 1960s, in which the focus of literary studies is shifted from the author and text to the reader. It emphasizes reader's participation and acceptance during the text understanding, by shifting the central position of studies from the author and work to the reader. It claims that only the works that have been comprehended and delivered by readers possess artistic value and meaning.

'''2.1 The Role of Readers'''

“Literature and art only obtain a history that has the character of a process when the succession of works is mediated not only through the producing subject but also through the consuming subject, through the interaction of author and public” (Jauss 1989:43). Here the "consuming subject" refers to readers. Reader-centred status is underlined and more attention should be paid to reader's active role, subjective reception ability and creativity in literary works.

Reception aesthetics believes that the reader is an active or determinant factor in the process of text interpretation. In the process of translation, translator, as a reader, can only enter the world of text based on the vision developed by his pre-understanding and abilities. In the process of realization, the translator's pre-understanding plays an important role. The translator's pre-understanding and ability determine his understanding of the text world. It can be seen that in order to promote the meaning of the text, translators must pay attention to their own pre-understanding and the horizon of expectations of the reader. The translator must deeply understand the similarities and differences between the two languages in terms of language, history, and culture. They should use their subjective initiative and appropriately adjust their translation strategy to fill the gap in text understanding. After entering the text world, translators begin to analyse, judge and summarize until they are integrated with the text horizon. Iser believes that literary texts have a structural "blank". The so-called "blank" is the unwritten or unclear part of the text. Only in the specific process of reading and the reader's participation, these “blank” can be filled or explained.

To sum up, three points should be paid attention to in the process of translation. First of all, the interpretation of the original text is open. Secondly, the translator as a reader has a subjective position during the translation process. Thirdly, target readers' responses should be taken into consideration. Reception Aesthetics enables the translation work to centre on readers instead of texts. Therefore, the translator believes that the excerpts of this book can achieve its translation goal under the direction of reception aesthetics theory.

'''2.2 Blank'''

Reception aesthetic theory advocates the openness of the text, which undoubtedly helps to define the text in the process of translation. The text of literary works is a complex system full of blanks and uncertainties, which resonates well with the concept of “vacancy” or “gaps” this thesis is going to talk about. And according to Iser, the meaning of the works is not included in the text itself, but is obtained during reading.

Due to the uncertainty of the meaning of the text, there is no definite answer to the understanding of literary texts, so there is a saying that "a thousand readers have 1000 Hamlets". As far as translation is concerned, the uncertainty and openness of the text are the important reasons that lead to interpretative interpretation. It provides a broad space for translators to give full play to their imagination in the translation process, so that translators can interpret the text from different perspectives, thereby forming different translations.

'''2.3 Horizon of Expectation'''

Horizon of expectation is another important concept of reception aesthetics theory, which includes three kinds of meaning. Firstly, based on the readers experience, the horizon of expectations can be formed before reading. Secondly, even a literary work appeared in a new form, it cannot be regarded as absolutely new in the information vacuum. It reminds readers of the past reading memories and brings readers to a special feeling, and then calls for the expectations. At last, the horizon of expectations is changed accordingly.

There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text. As the source text is Chinese drama aimed for a larger audience abroad, more attention should be paid to its audience.

===An Overview of Lexical Gaps in ''Teahouse''===
''Teahouse'', a three-act play, is one of Lao She's most successful plays which represent the highest artistic achievement of Chinese drama writing. At that time, a teahouse is not only a place for the customers to kill time, but an epitome of Chinese society. The dialogue between characters has the unique national characteristics. It summarizes the sharp antagonism and conflict of various social strata and forces in China, and reveals the historical fate of semi-feudal and semi-colonial China.

'''3.1 The Definition of Lexical Gaps'''

As was mentioned in the first chapter, cultural vacancy occurs when some linguistic phenomena or cultural items which exist in one language fail to find their equivalents in the language of the other culture due to cultural differences in historical background, social customs, religious beliefs and ideology (Gao Fengxia, 2010:112-115). Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field. Lexical gaps, therefore, are in essence the embodiment of cultural vacancies at the vocabulary level.

'''3.2 The Classification of Lexical Gaps'''

Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps. Here we will have a detailed discussion on them respectively.

Material lexical gaps refer to those words reflecting certain ways of life of a certain society, including things as daily material, tools of production and transportation, household appliances, products, food and so forth. For example, in ''Teahouse'', “盖碗茶” is unique to Chinese culture. Before the invention of this teacup, people could easily be burned or hurt when trying to drink from the tea bowl which was made of porcelain, and it could transmit heat quickly. To prevent getting hurt while drinking tea, ancient Chinese invented something similar to a wooden plate to support the tea bowl, which was becoming more and more delicate and eventually developed into the shapes and size that we see today. Obviously, “盖碗” is very culturally specific. The unique material life will produce the unique material culture. Here is a list of material lexical gaps appeared in ''Teahouse'':

盖碗茶 lidded cups of tea

绫罗绸缎 brocades

小叶茶 a cup of very best tea

马褂 jacket

满汉全席 imperial-style banquets

杂和面儿疙瘩汤 a bowl of dough drop soup with maize flour

五供儿 incense burner

纸钱 paper money

Social lexical gaps are the reflection of customs, ways of life, social life, historical background and behaviour of a nation or a country, including address and folk adage. The address can be a direct reflection of the personality of character. In ''Teahouse'', “唐铁嘴” is a fortune teller and a regular at the teahouse. His way of life was to persuade people to believe what he said, and to some extent he had to lie to make a living. “铁嘴” is literally a personal mouth made of iron, which is also a metaphor for the eloquent and plausibility of Mr. Tang. The list below provides an overview of social lexical gaps in the translated work:

相面/算命 fortune-telling

善扑营 Imperial Wrestler

说媒拉纤 go-betweens and pimps

庞太监 Eunuch Pang

唐铁嘴 Tang the Oracle

说评书的 story-teller

数来宝 improvised doggerel recitation

蹓鸟 strolling about with caged birds

北衙门 Northern Yamen

手相 palm-reading

“爷” master

旗人 bannerman

请安 bow

三教九流 people from all walks of life

Religious lexical gaps are those expressions relate to religion, for Chinese especially those words relate to Buddhism and Taoism. In ''Teahouse'', there are many lexical gap words related to the religious beliefs, for example, “念佛” means expressing sincere thanks to Buddha for all the good luck in your life. In Buddhism, “佛” refers to Buddha, an immoral person who is regarded by the Buddhists that can offer blessings to the human being. The following is a list displaying further religious lexical gaps in the work:

造化 a lucky fate

天师 Heavenly Teacher

“醉八仙” intoxicated eight immortals

财神龛 shrine of the god of wealth

念经 chanting Buddhist scriptures

八卦仙衣 special robes

Linguistic culture-loaded words and phrases reflect the characteristics of the phonetic, grammatical and formal systems of a certain language including pun and idioms. For example, in ''Teahouse'', the suffering Chinese drinkers who frequent Yutai always use “好死不如赖活着”(meaning “it is better to live in this world than to die under terrible circumstances”) to comfort themselves or others to show them the bright side and to endure seemingly persistent bad conditions. It is an idiom well reflects the wisdom and unremitting hope of the Chinese people in the act play, even when it was during the darkest times. Here are more examples of linguistic lexical gaps translated in the book:

化干戈为玉帛 restore peace

拿刀动杖 spoil for a fight

八仙过海，各显其能 try one’s best

“好死不如赖活着” a dog’s life’s better than no life

改良,改良,越改越凉!冰凉！ Reform indeed! Soon you’ll have nothing more left to reform!

“包圆儿” “it's all yours.”

According to calculation, there are altogether 34 lexical gaps in various in ''Teahouse'', of which the 14 social lexical gaps take the lead, accounting for about 41%, followed by 8 material lexical gaps which take up about 23%. There are only 6 religious and linguistic gaps, each of the two categories covering about 18% of all.

===The Translation Strategies of Lexical Gaps===
In 1995, American translator Lawrence Venuti discussed hand in hand invisibility in his work ''The Translator’s Invisibility'': domestication and foreignization. He (2008:15) bemoans the phenomenon of domestication since it involves ‘an ethnocentric reduction of the foreign text to receiving cultural values.’ Venuti allies it with Schleiermacher’s description of translation that ‘leaves the reader in peace, as much as possible, and moves the author toward him.’ Foreignization, on the other hand, ‘entails choosing a foreign text and developing a translation method along linnes which are excluded by dominant cultural values in the target language.’(ibid;242) From then on, domestication and foreignization were borrowed into the field of translation as two translation strategies.

According to calculation, of all the 34 lexical gaps in Teahouse, only three were translated using foreignization strategy, accounting for about 9%; the rest 31 lexical gaps taking up around 91% were translated under the guidance of domestication. Taking a closer look, there are 7 material lexical gaps out of 8, 13 social lexical gaps out of 14 and 5 religious lexical gaps out of 6 translated using domestication. All of linguistic lexical gaps were translated under the guidance of domestication strategy.
Given the translation by Ying Ruocheng was published and put into the market in the opening stage of the reform and opening-up in 1979, the sweeping domestication strategy applied in the translation is understandable.

'''4.1 Domestication'''

In the translation of lexical gaps, the translator adopted domestication strategy the most of times, which was especially true when it comes to the translation of linguistic lexical gaps. For example:

(1) ST：那总比没有强啊！好死不如赖活着，叫我自己去谋生，非死不可！

TT：Still that’s better than nothing! A dog’s life’s better than no life. If I were to earn my own living, I’d surely starve.

In this example, when dealing with the idiom“好死不如赖活着”，the translator didn't take it at face value reproducing it into“it is better to live in this world than to die under terrible circumstances”. Instead, he translated it based on his own pre-understanding as he took the readers’ expectation horizon into consideration. In selecting the similar expression“to live a dog’s life”from the target language, the translator managed to achieve fusion of horizons.

The phenomenon of homophones in Chinese linguistics is partly determined by the four tones in the language, each one containing a large collection of words capable of creating “puns” in daily use. For instance, the following marks a quotation taken from ''Teahouse'':

（2） ST：改良，改良，越改越凉！冰凉！

TT：Reform indeed! Soon you’ll have nothing more left to reform!

In the excerpt above, the Chinese characters“良”and“凉”are homophones with completely opposite connotations. Concerning this example, there was no equivalents in the target language able to convey exactly the same meaning. As a result, the translator dealt with the idiom liberally and represented the irony in the sentence thereby.

Unlike foreignization, domestication is more audience-friendly when it comes to understanding. However, this thesis believes that if the translator adopted the strategy of “overwhelming domestication” and used some expressions in the target language which failed to be the equivalent of the original, the meaning of the source text would be distorted, making it even harder for the translator to secure the readers’ horizon of expectation.

The following is an example taken from the translation of a material lexical gap “五供儿”:

（3）ST：娘娘，我得到一堂景泰蓝的五供儿，东西老，地道，也便宜，坛上用顶体面，您看看吧？

TT：Your Imperial Majesty, I managed to get hold of a set of cloisonne incense burners, five pieces in all. Antiques! The real thing! Dirt cheap too! Just right for the altar of our secret society. Why not have a peep of them?

Known as a set of vessels carrying the sacrifice during worship rituals in ancient China, “五供儿” first got its name from the amount of pieces of wares. In Teahouse, although the translation of “incense burner” kept some of its sacrificial usage, the actual meaning of the phrase was lost. After some research, therefore, the author believes it is more accurate if the translation would be changed into “sacrificial vessel”.

'''4.2 Foreignization'''

When it comes to the translation of “vacancy” or “gaps” in cross cultural communication, foreignization could help to narrow a bit through retaining the exotic feelings and traces of the original. However, little of lexical gaps in ''Teahouse'' were translated under the guidance of this strategy, which is partly due to the fact that most of the lexical gaps in the work were members of “absolute vacancy” which were unable to find their corresponding or even similar equivalents in the target language society. For instance, the material lexical gap“杂和面儿疙瘩汤”was translated literally into“a bowl of dough soup with maize flour”, an expression showing the ingredients of the snack. Meanwhile, the social lexical gap “北衙门” was translated into “Northern Yamen”, which combined both literal translation and transliteration conducive to meeting the innovative expectation of the audience of Beijing in modern China.

===Conclusion===
Drama is a unique literature genre with dual identities, both on the page and on the stage. The dual characteristics of dramatic text make drama translation distinct from other forms of literary translation. Reception aesthetics theory has practical guidance for the translation of drama works. Through the analysis of the translation strategies of various lexical gaps in ''Teahouse'', it has been found that at the early stage of reform and opening up when the Chinese literature was eager to go abroad and be well-received by the audience overseas, the translator had to adopt the strategy of domestication most of the time so as to cater to their horizon of expectation, even when it came to the translation of lexical gaps which may find no natural equivalents in the target language. Therefore, it could be concluded that translation literature is closely linked with politics, a notion echoing with the background witnessing the birth of reception theory.

The contents and key notions of reception aesthetics theory are discussed in this paper, which is helpful to have a more comprehension understanding of this theory. Then there is the definition and classification of lexical gaps in ''Teahouse''. As the treasure in the history of Chinese modern drama, the study of ''Teahouse'' is arousing more and more attention and academic interest both in China and abroad. Translation strategies --- foreignization and domestication in translation are highlighted in this paper, which has been elaborated by examples. In translation practice, only when the conceptual meaning and cultural meaning of lexical gaps are taken into account can the translator convey the meaning of words accurately and meet the readers’ horizon of expectation.

However, limitations are inevitable in this thesis due to the pressing time. Due to the writer’s limited knowledge and capacity, the analysis of the lexical gaps of ''Teahouse'' can never be all-inclusive. Yet it’s worth noting that researches on the Chinese drama ''Teahouse'' and the reception aesthetic theory should never come to a halt now that the background has changed from the way it used to be more than 40 years ago.

===References===
*Hall, Edward (1959). The Silent Language[M]. Garden City: Doubleday.

*Hockett, Charles (1954). Chinese Versus English: An Exploration of the Whorfian Theses[A]. Harry Hoijer(ed.). Language in Culture[C]. Chicago: University of Chicago Press.

*Jauss, Hans (1989). ''Question and Answer''[M]. University of Minnesota Press.

*Venuti, Lawrence (2008). ''The Translator’s Invisibility: A History of Translation''[M], London and New York: Routledge.

*Gao Fengxia 高凤霞. (2010). 跨文化交际中的文化空缺现象探讨[A Study of Cultural Vacancy in Intercultural Communication]. 社科纵横Social Sciences Review (03): 112-115.

*Lu Jun, Ma Chunfen 陆军, 马春芬. (2009). 从文化翻译观的角度看老舍《茶馆》两个英译本中文化信息的处理[Cultural information processing in Lao She's Two English versions of ''Teahouse'' from the perspective of Cultural Translation Theory]. 安徽文学Anhui Literature(10): 293-294.

*Jin Yan 金艳. (2022). 老舍《茶馆》翻译的文化记忆再现研究[A Study of Cultural Memory Representation in the Translation of Lao She's ''Teahouse'' ].中国朝鲜语文Korean Language in China(02): 83-89.

*Qu Suwan 渠苏婉. (2019). 接受美学视域下《茶馆》两译本中方言词汇的翻译[Study on the Translation of Dialect Words in ''Teahouse'' from the Respective of Reception Aesthetics]. 齐齐哈尔师范高等专科学校学报Journal of Qiqihar Junior Teachers' College (05):62-64.

*Xu Gaoyu, Zhao Qiuye 许高渝, 赵秋野. (2008). 俄罗斯心理语言学和外语教学[Russian Psycholinguistics and Foreign Language Teaching]. Beijing: Peking Univesity Press北京大学出版社.

*Yu Shan 于杉. (2015). 接受美学视角下《茶馆》两译本中文化负载词的比较研究[A Comparative Study of Culture-loaded Terms in Two English Versions of ''Teahouse'' from the Perspective of Reception Aesthetics].吉林大学Jilin University.

*Yu Yanqing 于艳青. (2016). 老舍作品《茶馆》的隐喻研究和文化解读——以霍华和英若诚英译版本为例[A Study of Metaphor Translation of Lao She’s ''Teahouse'' and Its Cultural Interpretation——A Case Study of Howard and Ying Ruocheng’s Versions]. 济宁学院学报Journal of Jining University(06):93-97.

===Terms and expressions===
Reception aesthetics theory 接受美学

Blank 空白

Horizon of expectation 期待视野

Fusion of horizons 视域融合

''The Translator’s Invisibility'' 《译者的隐身》

Material lexical gaps 物质类词汇空缺

Social lexical gaps 社会类词汇空缺

Religious lexical gaps 宗教类词汇空缺

Linguistic lexical gaps 语言类词汇空缺

===Questions===
1. How does the two reception activities work in the process of translation?

2. What is the definition of lexical gaps?

3. How many categories did the thesis divide the lexical gaps into?

===Answers===
1. There are two reception activities in the process of translation. The first one is the translator and source text communication. The translator fuses her horizon of expectation to the source text, and the reception level of horizon of expectation has a great influence on the quality of the translation version. Therefore, Translators should strive to improve their translation literacy and cultural level, consider the acceptance level of target readers and make the translator and the text achieve the first vision integration. The second is the target readers and target text.

2. Representing as the result and reflection of cultural vacancy on the lexical level, lexical gaps emerge as the absence of a lexeme at a particular place in the structure of a lexical field.

3. Inspired by Nida’s classification of culture, this thesis divides lexical gaps into four kinds, namely material lexical gaps, social lexical gaps, religious lexical gaps, and linguistic lexical gaps.

==英语笔译肖佳莉 Xiao Jiali 202170081600 MW==

<center>'''The Canonization of Tao Te Ching'''</center>

<center>Xiao Jiali</center>

===Abstract===
Tao Te Ching can be divided into two parts.The first part of the moral Sutra is called the Taoist chapter, and the second part is called the moral chapter.The philosophical works written by Lao-tzu in Luoyang during the Spring and Autumn period.Taoism focuses on the view of the universe and nature.The moral focuses on social outlook and outlook on life. What does this mean?
First of all, we should know that all the schools of pre-Qin in China are concerned about the sociology of human relations, and almost no one cares about the problems of nature, which is in sharp contrast to ancient Greek philosophy. With the exception of Socrates, all the ancient Greek philosophers were concerned about the view of nature and the universe. Thales, the first philosopher in ancient Greece, left famous allusions, which were summed up by later generations into four words, called "looking up at the starry sky". However, it is strange that all the hundred schools in the pre-Qin period in China are all concerned with the sociology of human relations.

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译谢晓莹 Xie Xiaoying 202170081601 CE==
<center>'''On the English Translation of The Analects in the Contemporary Era'''</center>

<center>谢晓莹</center>

===Abstract===

===Key words===

===Introduction===

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

===References===

==英语笔译熊嘉玲 Xiong Jialing 202170081602 CE==
On the C-E Translation of The Book of Songs
<center>'''On the C-E Translation of The Book of Songs'''</center>

<center>Xiong Jialing</center>

===Abstract===
The traditional culture of the Chinese nation is a cultural treasure house with long history. In this treasure house, the variety of classical literature, especially the elegant, beautiful and profound ancient poetry, is undoubtedly the most dazzling pearl. As the source of Chinese literature and the prototype of classical poetry, The Book of Songs is one of the oldest collections of poetry in the world, dating from about the same time as Homer's Epics (about 8th to 6th centuries BC). The Book of Songs "embodies the Confucian thought of cultivating one's moral character, putting one's family affairs in order, and governing the country with rites and music" (Wang Rongpei, Ren Xiuhua,1995: Preface 1). As one of the Confucian classics and the oldest textbook in China, The Book of Songs plays a very important role in Chinese culture, so its English translation is bound to build a bridge for westerners to understand and appreciate traditional Chinese culture.
===Key words===
The Book of Songs; poetry; traditional Chinese culture
===Introduction===
The Book of Songs, the earliest collection of poems from the beginning of ancient Chinese poetry, has collected 311 poems from the early Western Zhou Dynasty to the middle of spring and Autumn Period (11th to 6th century BC), among them 6 for sheng poems, namely the title only, no content, known as sheng six poems. Some scholars argue that the poems actually date“from 1713 BC (hymn 304 'Rise of the House of Shang') to 505 BC(song 133 'Comradeship')"”(Xu,1994:17). The authors of The Book of Songs are unknown, and it is said to have been collected by Yin Jifu and compiled by Confucius. In the pre-Qin period, The Book of Songs was called Shi, or Three Hundred Poems. In the Western Han Dynasty, the Book of Songs was regarded as a Confucian classic.

Whether Confucius was in charge of the compilation of The Book of Songs is difficult to be verified, but it is true that this anthology was highly admired by him and has an indispensable position in Confucian classics. In The Analects of Confucius, he says that a man ignorant of the“three hundred poems”was “like one who stands with his face towards a wall，limited in his views, and unable to advance”(Legge,1960a:prolegomena 7). In his opinion, reading the songs can "enable us to incite other men to desirable courses, help us to observe accurately their inmost feelings and to express our won discontents, to do our duty both to parent and prince, and finally to widen our acquaintance with the names of birds, beasts, plants and trees”(Waley，1960:335). Thus, it was applied as one of the major textbooks by Confucius and his followers for moral educations.

To some degree, classical Chinese poetry is the most expressive and the most charming literary form in Chinese literature. The charm of ancient Chinese language comes from classical poetry, which mainly refers to Shi of the Tang Dynasty (618-907 AD), Ci of the Song Dynasty (960-1279 AD), and Qu of the Yuan Dynasty(1206-1368 AD). All these three forms had their origins in The Book of Songs. There appeared many prominent poets who have won immortal fame, such as Li Bai, Du Fu, and Bai Juyi, and the poems written by them have become the most precious literary relics in Chinese history.(Yan, 2006)

Besides its educational and literary function ,The Book of Songs is also like a window through which we can appreciate the splendor of Chinese civilization over 2,500 years ago. Those poems reflect various aspects of Chinese life at that time. Some depict emotion and feeling of people of different classes of the society, and some describe events and issues of state. Different kinds of buildings, food, musical instruments, metals, clothing, etc. are frequently reported by those poems. It is an invaluable resource for those who long to get a deep understanding of the ancient Chinese civilization.

In terms of content, In The Great Preface of the Poetry of Mao, there is the following statement: "Thus it is that in the [Book of] Poems there are six classes:-- first, the Fung; second, descriptive pieces; third, metaphorical pieces; fourth, allusive pieces; fifth, the Ya; and sixth, the Sung.(故诗有六义焉，一曰风，二曰赋，三曰比四曰兴，五曰雅，六曰颂。)(Legge,1960a:prolegomena 34)And in the same page, he adds,"... the names Fung, Ya, and Sung are those of the three Parts into which the She-king is divided，intended to indicate a difference in the subject-matter of the pieces composing them; while Foo, Pe, and Hing are the names applied to those pieces,intended to denote the form or style of their composition. They may, all of them, be found equally in all the Parts. (ibid.)

This is a common opinion held by most scholars. In other words, Feng, Ya and Song refer to the three sections of The Book of Songs; while Fu,Bi and Xing are the artistic features used by the poets in composing those poems.(Yan, 2006)

===The History of English Translation of The Book of Songs===
Though Chinese poetry has a tradition of about 3,000 years, the time when Chinese poetry was introduced into the english-speaking world, dating back to the late 16th century. The book written by G. Putenham, published at 1589, was the first to introduce Chinese poetry and translated two poems.(Huang,1997:50).

Since the 17th century, Christian missionaries in China have become the earliest messengers of cultural exchanges between the East and the West. These missionaries, in order to make the west understand and learn more from China, but also to promote Christianity, began to translate Confucian classics. As a Confucian classic and the source of Chinese literature, the Book of Songs is highly paid attention to.

In 1626, the Belgian Nicolas Trigault translated the Five Classics, including the Book of Songs, into Latin. It is the earliest known Western translation of the Book of Songs. A Frenchman, J. H. Mariede Bremare, came to China in 1698 and translated eight poems from the Book of Songs. The translation was collected by French missionary and Sinologist Du Haldle and published in Paris in 1735 in The General Annals of China. It was translated into English by R. Brokes in 1736 and E. Cave in 1738 respectively. In 1829, J. F. Davis, a British Sinologist, took the Book of Songs and the folk songs of the Qin to The Six Dynasties as examples to discuss the Chinese poetry pattern in his monograph Interpretation of Chinese Poetry, creating the first translation of source text of the Book of Songs into English.

In the 19th century, with the expansion of Britain, France and other capitalist countries to China's power, The European "sinology fever" further heated up. People's understanding of the Book of Songs gradually got rid of the shackles of early church scholarship and began to explore the value of this ancient poetry collection from the perspective of culture and literature. At this time, the translation of the Book of Songs flourished, with complete translations available in all major European languages.

In 1871, British Sinologist James Leggle (1814-1897) published his The She-King in London. It was The first complete English translation of The Book of Songs, and it was a milestone in The history of The English translation of The Book of Songs. With a solid foundation in Chinese and the help of Wang Tao, a Chinese scholar from Jiangsu province, He was able to translate the poem faithfully. Leggle's translation not only provides the text for English readers to read the Book of Songs, but also shows the rich connotation of the Book of Songs. It has a great influence in Europe and has become the English classic of Sinology. Many later translations have drawn on it.

The Shi King by William Jennings, a Briton, was published in 1891. He was inclined to rhyme translation, and The translated poems adopted The form of ballads with interlaced rhymes, which had a quaint flavor of traditional English poetry. In 1891, Alan (C. F.R. Allen published his English translation of The Book of Songs (The Shih-ching) in London. He also adopted rhyming translation, but in order to harmonize rhyming, he often adopted some flexible methods, such as replacing biological proper names with general reference. His translation makes many changes to the original, with additions and deletions, bordering on rewriting.

In the late 19th century, a certain number of selected translations of The Book of Songs were published. A typical translation is by Herbert A. Gilles (1845-1935). Gilles Is a famous British Sinologist and former British Consul in China. He is familiar with Chinese language and fond of Chinese literature. He has long devoted himself to the translation and research of Chinese literature.

In the first half of the 20th century, the English translation of The Book of Songs flourished and appeared in large number of full and selected translations. These translations were more and more faithful, elegant and expressive. One of the most representative works is the translatitons of Arthur Walley, 1889-1966) and Bernhard Karlgren (1889-1978).

Walley is a famous British Sinologist. He began to study and translate the Book of Songs in 1937 and published it in London. Walley focus on the literariness of the Book of Songs. Therefore, fifteen political plaintive poems with little literary interest were deleted in translation. The rest of the works were broken the original Feng, Ya and Song to the arrangement of the order, according to the theme rearranged, divided into courtship, marriage, warriors and wars, farming, feasting, singing and dancing. This is convenient for readers to understand the ideological and artistic nature of the original poem from the literary perspective.

As a world-renowned Swedish Sinologist and linguist, Karlgren came to China to study Chinese for six years and has a profound knowledge of ancient Chinese books. He believed that the book of Songs was produced in a long time, and the text was complicated. Only by mastering the traditional Chinese exegesis and phonology methods, supplemented by the scientific methods of modern linguistics, and really understanding the text, can the book of Songs be translated better. For this reason, he spent a lot of time on the interpretation of the book of Songs, and annotated the book with a rigorous and scientific attitude. In 1946, he published Commentaries on the Book of Songs in Stockholm. It represents the highest level of research on the Book of Songs in The Sinology circles of Europe at that time, and is still the classic of English annotations on the Book of Songs until today.

In the second half of the 20th century, international poetics research centers moved from Europe to the United States. The study of the Book of Poetry in The United States can develop comprehensively and deeply from a higher starting point due to its advantages in capital, talents and materials, as well as the input of Chinese American scholars and the application of new theories and methods. Many scholars of the Book of Songs, such as J. R.Hightower and W. McNaughton, have been translating the book into English simultaneously.

Ezra Pound (1885-1972), a famous American poet and translator, was the representative figure in translating the Book of Songs into English in this period. In 1908, he went to England and became the leader of modern poets in London. He loved ancient Chinese culture all his life. As early as 1915, when Pound could not speak Chinese, he translated 19 ancient Chinese poems, including the Book of Songs, on the basis of the will of American orientalist Ernest Fenollosa (1853-1908). The publication of Cathay was not faithful to the original in translation and was largely a re-creation of the author. This book has become the representative work of Imagist poetry in Britain and America, and has far-reaching influence. (Bao Yanxin, Meng Wei, 2002)

Compared with the various translations of the Book of Songs in Europe and America, there are not many local translators and translations in China. There are two complete English versions of The Book of Songs translated by native Chinese scholars: one by Prof. Xu Yuanzhong, and the other by Prof. Wang Rongpei and Prof. RenXiuhua. The former was published in 1994 by the Chinese Literature Press, and the latter in 1995 by the Liaoning Education Publishing House.(Yan, 2006)

===An Introduction to Four English Translations of The Book of Songs===
The four translation versions analyzed in this paper are ：Firstly, The She King: Or The Book of Ancient Poetry by James Legge; Secondly, Shih-ching: The Classic Anthology Defined by Confucius by Ezra Pound; Thirdly, The Book of Poetry by wang Rongpei; And a 1993 translation of Xu Yuanchong's Book of Poetry.

The She King: Or The Book of Ancient Poetry by James Legge were published in 1871, 1876 and 1879 respectively. The 1871 edition is a complete translation of blank verse, and its style features are mainly reflected in three aspects. First, the introduction is detailed and lengthy. The 182-page introduction includes five chapters, seven sections and seven appendages, which respectively introduce the compilation, contents, annotations, rhyme and rhythm of the Book of Songs. Secondly, the text part has corresponding translation and critical notes. On each page of the text, the Chinese original text is listed first, in the form of vertical song style sections, with the Corresponding English original text in the middle and the comments at the end. In addition, the translator's treatment of "preface" adopts the form of appendix and explanation, or occasionally add personal understanding. In addition, the translator also compiled three indexes after the main text, namely, the English subject index, the English proper noun index and the Chinese phrase index, which provided great retrieval convenience for overseas researchers of the Book of Songs. The 1876 version is different from the 1871 version in style and many other aspects. The 1876 translation is a complete version of the rhyme system, showing a strong English poetic style. Although there is an introduction to this edition, it has been simplified. The translated contents of the main text are still arranged in the traditional order of the Book of Songs, but the answers to the questions are generally shortened. The original text and lengthy notes of the Book of Songs are missing, and there are only two parts left in the index: the English subject index and the English proper nouns index. The 1879 edition is an selected translation of the prose style, and its influence is relatively small.(Liu, 2016）

James Legge spent more than fifty years, built a bridge between Chinese and western, his life is from the missionary to the Sinologist's life, his life activity, began to preach Christianity to the east, but is prominent in the dissemination of Chinese culture to the western has more than one hundred years, his translations is still considered the standard translation of Chinese classics, He ended the amateur study of Chinese literature by western scholars and embarked on the road of specialization.
Pound's English translation of The Book of Songs came into being with the second World War. The outbreak of the Second World War made the poet Pound realize the collapse of the western moral system, so he eagerly hoped to introduce Chinese Confucianism to the West through translation, and rebuild the western moral system.

His translation of The Book of Songs not only reproduces the image of Chinese poetry collected in Cathay , but also shows his strong appreciation for the sound effects and phonological masks of ancient Chinese poetry. Pound's English translation of Chinese classical poetry not only introduces Chinese culture well, but also properly applies the essence of Chinese poetics to the development of Modern English poetry, and at the same time shows his creative translation method. This creative English translation has formed a translation trend in the United States for a period of time.(Wang, 2005)

Pound's translation has two main characteristics: one is to make use of the past to compare to the present to spread Confucianism, and absorb the essence of Confucianism to rebuild the value system of the West. The other is to promote the development of imagist poetics. Pound's translation follows the principles of imagist poetics and adopts a highly imagistic translation method to make the translation full of poetics, thus becoming the first choice in the study of poetic image.

In 1995, the Liaoning Education Publishing House published The Book of Poetry (Chinese-English bilingual version) by Prof. Wang & Prof. Ren. It is a thick book of 1657 pages, divided into four parts: prefaces, verses, appendices and references. There are two simple prefaces of 10 pages, one written by X.Y.Z. in Chinese, and the other by the authors in both Chinese and English. The poems are written according to the original sequence in both Chinese and English,and after each poem, there is a very brief annotation concerning the contents of it. The unique point of Wang's version is that under each Chinese character, there is the Chinese Pinyin to show the pronunciation of the character. In the Appendices, there are three kinds of indexes of first lines: English-Chinese, Chinese-English and in order of Pinyin.This makes it very easy for the reader to locate the poem.Wang's English version is a plain and natural one, close to the simple style of the original songs.(Yan, 2006)

The English translation of The Book of Songs by Wang Rongpei and Ren Xiuhua is the second complete English translation of the Book of Songs by A Chinese author after Xu Yuanchong. Wang and Ren were among the first scholars to emerge from new China. Wang Rongpei graduated from Shanghai International Studies University in the early 1960s. He studied postgraduate courses under ge Chuan, a famous scholar of the older generation in China. He is a well-known contemporary translator with extensive knowledge and abundant writings. On the basis of summing up the gains and losses of previous translators, their translation of the book of Songs and the culture of The Times, combined with their own unique aesthetic observation, makes the translated poems present a fresh, natural and smooth style. The flexible and ingenious art of translation reveals the translator's unique artistic ingenuity in the reconstruction of images, the transmission of beauty and the elucidating of meaning and interest. After that, this translation does have new pursuit and improvement in artistic aspect.(Bao Yanxin, Meng Wei, 2002)

Wang Rongpei's translation of The Book of Songs is deeply influenced by the theory of traditional Chinese artistic realm. He attaches importance to the "verve" of ancient Chinese poetry and tries to reconstruct the unique form characteristics of the Book of Songs in his translation, which reflects the cultural consciousness of the Chinese translators to explore the translation theory of Chinese classic books based on the standpoint of Chinese culture.

"The Three Beauties Theory” is the ontology of Xu Yuanchong's translation theory, which is also the highest standard of poetry translation proposed by Xu Yuanchong. The "three beauties" refer to "beauty in sense", "beauty in sound" and "beauty in form" respectively. "beauty in sense" mainly means that the translated poem should be as touching as the original poem, and the translated poem should be consistent with the original poem in spirit or substance. "beauty in sound" means that poetry should be well-tuned, rhymed, smooth and easy to listen to; "beauty in form" mainly refers to the "antithesis" or "general orderliness" of poem lines (Xu, 1984).

Xu yuanchong graduated from Southwest Associated University in his early years, and later went to Paris University to study. After returning to China in 1950, he taught English and French in foreign language schools in Beijing, Zhangjiakou in Hebei province and Luoyang in Henan Province. In 1983, he was transferred to Peking University. In the past 20 years, he has published more than 40 translated works, starting from "The Book of Songs" and "Ci of Chu", to the modern huang Xing, MAO Zedong and other people's poetry selected into English verse and French verse published. The translation of Chinese and foreign literary masterpieces and the promotion of Chinese culture are his persistent goals.(Bao Yanxin, Meng Wei, 2002)

Xu Yuanchong's translation of the poems strictly follows the theory of "three beauties", striving to achieve beauty in sound, meaning and form, which not only effectively conveys the meaning and rhythm of the original poem, but also preserves the rhythm and rhetoric of the poem, reproducing the beauty of the original poem, making it catchy and memorable to read. . Xu Yuanchong's translation practice illustrates the translatability of poetry, with beauty in sense, sound and form being the criteria for poetry translation and the goal to be pursued. The sense is the soul of the poem, the essence of the poem. Sound and form are also essential to poetry, so in translating poetry, it is important not only to pursue the beauty of sound and form, but also to attach importance to the subjectivity and creativity of the translator.(Wang, 2011)

In his translations, Mr Xu partially adopts domesticating translation. As the source language and the target language are of different times and cultural backgrounds, the translator must also translate the original poetry from the reader's perspective, so that the reader can grasp the understanding of the original text, while at the same time being faithful to it. The translation of the Poems by James Legge mostly adopts the literal translation method, faithfully preserving the original cultural imagery and adding detailed notes and commentaries, without considering the domesticating translation method and the rhythmic beauty of the original poem, which makes it difficult for readers who do not understand their own culture to understand the contextual beauty of the original poem. Both translations are of great academic value to the study of The Book of Songs.

Xu Yuanchong's translation of The Book of Songs aims to promote the excellence of traditional Chinese culture and to develop literary translation into translated literature in the target language. Xu Yuanchong was very concerned with the 'Western transmission' of The Book of Songs, and since the Western reader was an important force in the spread of culture, he adopted a translation strategy based on domesticating translation. Xu Yuanchong's profound knowledge of Chinese and English and his poetic sensibility enabled him to regenerate the cultural ideas and artistic values of The Book of Songs in a foreign soil.

===The Significance of Translating the Book of Songs into English===
The Book of Songs is the earliest collection of Chinese poetry, which contains more than 300 classical Chinese poems in the five hundred years since the western Zhou Dynasty. It is famous at home and abroad for its unique beauty of rhythm and occupies an important position in traditional Chinese culture. In order to promote more effective, diversified and multi-perspective dissemination of China's excellent traditional classics, it is necessary to increase the multi-perspective research on the translation of classic books, which is an important part of Chinese culture going abroad. Therefore, the in-depth study of the Book of Songs and its English translation is of great significance and value. The theoretical value of The Book of Songs is also reflected in the fact that its 305 poems contain abundant images of animals and plants. According to the statistics of Mr. Hu Miao, a famous agronomist, there are 141 mentions of animals, a total of 492 times, involving 133 species; 144 articles mentioned plants, 505 times in total, involving 152 species. In addition, the classification of names is very fine (Chen, 2017 (3) : 61). Some medicines recorded in The Book of Songs are still commonly used in traditional Chinese medicine today, which is undoubtedly a model reflecting the value of traditional Chinese medicine. Li Shizhen, a famous ancient doctor, widely quoted The Book of Songs in Compendium of Materia Medica, and the Book of Songs became the best evidence for Li Shizhen to explain the medicinal names of plants and animals (Zhou, 2010 (12) : 3369). The medicinal names in The Book of Songs are also of great literary value, which reflects another unique phenomenon in traditional Chinese culture, that is, the ancient literati's "combination of Confucianism and medicine". Since ancient times, the ancient scholars of our country have "not for good to save the country, but for good doctors to save the people"（不为良相救国，便为良医救民）, so there is no lack of traditional Chinese medicine content in the literary creation of the ancient literati "patriots". According to the statistics of scholars, there are 41 kinds of medicine names quoted in the Book of Songs, thus it can be seen that the Book of Songs is not only the source of Chinese poetry, but also the cultural source of integration with traditional Chinese medicine culture.(Qu, 2018)

The so-called historical culture refers to the culture formed by the specific social development process and the accumulation of social heritage. Different nations and countries have different historical backgrounds and different historical cultures accumulated in their long history of development. Poetry is one of its important forms of expression. It can be said that poetry is the treasure of history and culture. It has a strong national culture personality, contains rich historical and cultural information, and can best reflect the characteristics of different history and culture. However, due to the unique wording and profound cultural connotations of Chinese classical literature works, there are many obstacles in the process of foreign language translation, such as language, rhetoric, cultural concepts, etc. In order to translate these poems properly and reasonably, we must understand the rich historical and cultural connotations hidden behind them and master appropriate translation methods.(Huang, 2008)

As treasures in the history of Chinese national literature, Chinese classical literary classics have been translated into various languages by Chinese and foreign translators and spread to all over the world with their unique linguistic art and cultural accumulation, and are highly respected by literature lovers in different countries. Among the excellent Chinese classics, there are many chapters explaining the excellent cultural genes such as "fraternity" and " harmony". The Book of Songs is the classic of Chinese culture, which contains rich national spirit and culture. These precious cultural wealth is a powerful magic weapon to enhance China's comprehensive national strength and improve China's coping ability. Translating traditional Chinese classics is a good opportunity to spread Chinese stories and propagandize Chinese ideas. We should pay attention to the translation of The Book of Songs, tell Chinese stories well, and let the world hear the voice of Chinese culture.

The English translation of The Book of Songs has come a long way. In the future, while continuing the previous studies, we should conform to the needs of the development of The Times, explore the value of The Times from different aspects of the Book of Songs, and promote the diversified interpretation of the Book of Songs into English.

Poetry, as a kind of literary form expressing human emotions and thoughts, can have deep cultural roots in the specific object of expression, and is a highly condensed language artistic expression that embodies the essence of a specific culture. Cross-cultural translation of Chinese poetry is of great guiding significance.(Huang, 2008)

===Conclusion===
This paper gives a general description of The Book of Songs, from the overall introduction of the Book of Songs, the historical development of the English translation of the Book of Songs, the characteristics of the four English translations of the Book of Songs, to the significance of the English translation of the Book of Songs. We can better understand the history of the Book of Songs and its translation into English, as well as its important role in promoting the spread and development of Chinese culture. The poems written by ancient people are full of the historical and cultural connotation and local customs of that era. As precious cultural heritage, they are worth our careful reading, savoring and appreciation.
===References===
*Legge, James(1960a). The Chinese Classics,Volume 4. Hong Kong: Hong Kong University Press,prolegomena 7
*Waley, Arthur(1960). The Book of Songs. New York: Grove Press,Inc, 335pp.
*Xu, Yuanzhong(1994). An Unexpurgated Translation of Book of Songs. Beijing: Chinese Literature Press, 17pp.
*Bao Yanxin, Meng Wei包延新, 孟伟(2002). 《诗经》英译概述[Overview of English Translation of The Book of Songs]. 晋东南师范专科学校学报Journal of Southeast Shanxi Normal College(06): 36-38.
*Chen jia, zhang ling陈佳, 张凌(2017).《诗经》动植物英译生态翻译探微[On the Ecological Translation of The Book of Songs into English]. 河南机电高等专科学校学报Journal of Henan Mechanical and Electrical College3(25): 61-65.
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==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，

==英语笔译赵宇翔 Zhao Yuxiang 202170081609 CE==
<center>'''Research On Problems And Strategies Of Translation of Chinese Classics'''</center>

<center>Zhao Yuxiang</center>

===Abstract===
The translation of Chinese classics into foreign languages has lasted for more than a century. From the cultural exchanges along the ancient Silk Road to the "One Belt and One Road" initiative to spread Chinese classics to the West, the translation of Chinese classics into foreign languages has always played an important role in the process of Chinese culture going out. This paper analyzes the purpose of the translation of Chinese classics into foreign languages, discusses the current situation and problems of the translation of Chinese classics into foreign languages, and looks forward to the new future of the translation of Chinese classics into foreign languages under the background of the "Belt and Road" initiative in the new era. In the new century and new era, to tell Chinese stories well, it is necessary to vigorously promote the process of translation and dissemination of Chinese classics and accelerate the pace of "going out" of Chinese culture.

===Key words===
'''Chinese Classics Translation; Purpose; Situation; Future'''

===Introduction===
This paper discusses the purpose, current situation and problems of the translation of Chinese classics into foreign languages, and looks forward to the future of the translation of Chinese classics into foreign languages under the background of the "Belt and Road Initiative." Chinese cultural classics are the crystallization of the Chinese nation's inheritance and conclusion for more than 5000 years. Under the background of economic globalization and the impact of various cultures, it is necessary for citizens to have a clear understanding of Chinese cultural classics and their current situation, which is also necessary to improve the soft power of Chinese culture. The translation of Chinese classics is the main way to spread Chinese culture. Translation is an effective way to spread the excellent culture of Chinese classics. The quality of translation also determines whether Chinese classics culture can go out and be deeply understood by western readers. Similarly, it also affects China's impression and status in the eyes of all countries in the world. Therefore, the quality of translation is very important. At present, the quality of Chinese classics translation is not uniform, and there are still many problems.

===Literature Review===

===Methods and Theories===

===1.The Purpose of Translating Chinese Classics into Foreign Languages===
Although all translation activities are purposeful activities, the purposes of translation activities in different fields are different. For example, the translation of machine operation manuals is to enable the translated language operators to operate according to the chapters without accidents; Therefore, the translation of any text will be directed to specific audiences, and the translated text produced must first meet the needs of these specific audiences.
The translation of Chinese classics into foreign languages has a special purpose in contemporary China. From the introduction of western learning to the east in the late Qing Dynasty and the early Republic of China to the active participation of domestic scholars in the western spread of middle schools today, the time span has reached as long as one hundred years. It has been a hundred years since Chinese intellectuals translated a large number of western works from seeking the truth of saving the country and the people from foreign countries to today's translation of excellent Chinese literature and classics to foreigners in order to spread and carry forward Chinese culture and tell Chinese stories well.
Although the western translation of Chinese classics is the main text channel, it has a strong direction of cultural communication to the outside world, with the direct purpose of "telling a good Chinese story" and the ultimate purpose of "promoting emotion with culture, promoting emotion with culture and building trust with culture", so as to let the world understand China, let the world understand China, let the world accept China, and jointly build and maintain a peaceful and prosperous new world. But for now, it seems that there is still a long way to go to achieve this goal.
So there is such a situation: In this sense, the direct purpose of translating Chinese classics into foreign languages is probably to give priority to the translation of those parts of Chinese traditional culture that best reflect the universally recognized beauty of human nature and nature and are unique to China and easy to arouse the interest and resonance of foreign readers in ways and means easily accepted by the people of the target language countries, so as to have an impact among those readers and spread them. In other words, we need to find the greatest common divisor between Chinese culture and civilization and its evolution and western culture and civilization, and try our best to explore and translate.
===2.The Status Quo of Translation of Chinese Classics into Foreign Languages===
Cultural exchange is a two-way street. In the process of communication, the two sides are subject and object of each other, and the world culture can develop in the understanding, collision, absorption and fusion of cultures. But the two sides of the cultural exchange is not equal. This is the weak culture and strong culture. According to statistics, every year China imported from abroad as many as tens of thousands of this translation, and introduced to foreign language translation of Chinese culture is only a few hundred poor, this is the obvious cultural asymmetry.
According to the Global Survey Report 2019 of China's National Image released by the Foreign Communication Research Center of China Foreign Languages Bureau, Chinese food, traditional Chinese medicine and martial arts are still the most representative elements of Chinese culture considered by overseas respondents (55%,50% and 46% respectively); The report did not translate the classics into Chinese, which is both unexpected and understandable. Because can be called the classics of literature, mostly not ordinary people can easily accept. Its audience, especially the initial readership nature is limited. At the same time, the translation of Chinese classics is actually the reverse flow of the weak culture, resulting in the translation of our classics in China, but it is relatively calm abroad.
Taking The Analects of Confucius as an example, The Analects of Confucius is one of the Confucian classics, which mainly embodies Confucius 'political thought, moral principle and educational idea. there have been more than 60 English translation and abridged version of that analects of Confucius since the publication of the first English literal translation by Marshall in 1809. Although it started late, its English versions are numerous and have great influence. The extroversion of Chinese culture is inseparable from the spread of Confucianism, which is based on the English translation of the Analects of Confucius. Therefore, the English translation of The Analects of Confucius is like a "source of flowing water" for the outward dissemination of Chinese cultural classics. We should make full use of its "leading" effect to continuously convey Chinese cultural classics and open the door for the outward dissemination of cultural classics. However, Yin Qing ( 2020) found that the overseas sales of the English versions of The Analects of Confucius, whether as a public reading material or an academic reference, are far from satisfactory, especially the English versions of Chinese translators. The influential English translation of The Analects of Confucius has sold so much, and the situation of other Chinese classics can be imagined. The English versions of Chinese cultural classics are not widely used overseas. There are three main reasons:
Another example is the "Guan Ju" in the Book of Songs, where the interpretation of "Guan Ju" has been controversial since ancient times, and its English translation shows more obvious diversity. Li Linbo ( 2011) collected 22 representative English versions of "Guanju" for research. Through analysis of translation structure, text details, semantic differences and cultural words with Chinese characteristics, the 22 texts were divided into three types: traditional translation, modern translation and poetic creation translation. He believes that through the study of the English translation of the poem "Guan Ju," we can see some common problems in the translation of Chinese classics: This means that the translator must have a clear version of the awareness, the annotation of the text should also have a good ability to identify, which is the basis of translation. 2. Positioning: The same classic text has different values for different translators. Some translators attach importance to its cultural nature, some translators attach importance to its literary nature, and some translators have no clear orientation. Different orientation determines different translation strategies. Some translators have definite translation purpose and consistent translation strategies, while some translators choose translation strategies randomly, and the value of their versions is bound to be different. The value of a translation does not necessarily depend on whether it is based on the traditional authoritative annotated version or the modern popular annotated version, because the two versions complement each other, but it inevitably depends on whether there is a clear translation purpose and consistent translation strategies. 3, language problems: There are two kinds of language problems: Regional characteristics of the performance of the dialect, such as the "Book of Songs, Guofeng" language, its geographical characteristics have a lot of untranslatable factors, but still need the attention of the translator, a dialect lost, easy to cause differences in the interpretation of the second dialect with cultural and stylistic characteristics, even if not translated, should also consider whether some compensation. Historicity is manifested in semantic changes, changes in characters, etc. Many of the characters have different meanings from the present, such as "wife" and "civilization," which are easily ignored by translators who are not aware of the classics. The change of characters is mainly manifested in the conversion of traditional characters and simplified characters. Many traditional Chinese characters correspond to simplified yu based on their pronunciation similarity, which has semantic deviation. For the translator, only according to the simplified Chinese version, even today's translation, without studying the traditional Chinese version, mistranslation, missing translation, inadequate translation. 4, cultural issues: cultural issues, including macro and micro aspects of the problem. The difference in the origin of Chinese and Western thoughts determines the unique cultural spirit of Chinese classics, such as Lao Tzu's "Tao" and Confucius '"benevolence." These cultural terms are the core of their thoughts. Different translations of them will cause differences in their overall interpretation, which can be said to have the key to affecting the whole body by pulling one hair, which is a macro issue. Microscopic aspects of the performance of the material culture, such as the "Book of Songs,""Chu Ci" recorded in some animals, plants, clothing names, some due to species evolution or changes in time variation, or even extinct, for the translator not only need rigorous research, but also to face the problem of how to find the counterpart, or how to compensate or deal with transliteration, omission, generalization and other translation methods caused by the loss.
To sum up, through a number of researchers on the translation of Chinese classics, the author summed up the current translation of Chinese classics facing three main problems: Although there are many professional translators, few are proficient in translation.
===3.Strategies for Translating Chinese Classics into Foreign Languages ===
The translation of Chinese classics into foreign languages needs to follow some necessary principles if it wants to realize its original intention. This not only refers to the transformation of linguistic signs between the source text and the target text, but also refers to the comprehensive consideration of all aspects of the translation process. For example, how to choose the texts of classics, how to choose publishers, how to examine and approve the quality of target texts, how to select translators, how to determine the printing circulation of translated texts, how to publicize and build momentum in the target countries after publication, and whether it is necessary to carry out readers 'follow-up survey, etc., I'm afraid all need to be discussed so as to establish corresponding regulations. Should we focus on the translation of classics that we think foreigners should know and understand, or on the translation of classics in related fields that foreigners want to know? As for the above-mentioned status quo and problems of translation of Chinese classics,
According to the published catalogue of the Great China Library so far, the Great China Library has selected 21 kinds of ideological and academic classics such as the Book of Changes, Lao Zi, the Analects of Confucius and Mencius, 10 kinds of historical classics such as Shangshu, the Biography of Zuo's in the Spring and Autumn Period, Guoyu and Historical Records, and 55 kinds of literary classics such as The Book of Songs, Songs of the South, Three Hundred Tang Poems, The Romance of the West Chamber and A Dream of Red Mansions. At the same time, the second phase of the project will be carried out. The most representative 20 Chinese cultural classics will be selected and translated into 7 languages such as France, Russia, Spain, Arabia, Germany, Japan and Korea, and 9 languages will be introduced to the world.
Obviously, among the 110 kinds of literature, literature books accounted for 50%, ideological and academic books accounted for 19.09%, traditional Chinese medicine and technology books accounted for 13.63%, history books accounted for 9.09%, and military books accounted for 8.18%. This reflects the editorial board's principle of focusing on the selection of classics and documents, as well as the principle of "self-centered" in the translation of classics.
From the point of publishing library text press, all of them are China's press, and a foreign press. It now seems that when the texts of the classics are completed, they would be better if they were published in the country where the target language is the mother tongue. Therefore, in the publishing and distribution of this link, if we adopt the mode of foreign publishing or joint publishing, the way of transmission will be wider and the effect of transmission will be better. This is the principle of international cooperation in the translation and publication of classics.
From the perspective of translators, more than 90% of the 142 published classics are completed by individual translators in China alone, and there are few cooperative translations like Yang Xianyi and Gladys Yang, and even fewer translations by foreign translators. The author believes that in the field of traditional literature, history, and even thought of classics translation work by individual translator is appropriate, but in other fields of strong professional, I'm afraid to set up by the industry experts (preferably know a foreign language) and the translator team to complete. In this way, to a great extent, it can be guaranteed that the translator as a layman will avoid the omission of principles, intellectual errors and layman's words as much as possible when translating the text. This is the principle of cooperation between translators and experts in non-literary, historical and philosophical fields.
As a representative of the country's foreign translation of classics, its translation level also represents China's national image. Therefore, it is the most important task to train excellent translators who are proficient in translation, fully understand the historical and cultural characteristics of the target country and the source country (China), and understand the knowledge background of the translated classics. At the same time, in order to improve the quality and speed of translation, the cultivation of machine-assisted translation ability is also an indispensable part. At the same time, minority language talents are scarce. Nowadays, English and Chinese are more and more widely used, so we should turn the steps of translating Chinese classics into other small languages.
===Subtitle 4 A New Opportunity for Translating Chinese Classics into Foreign Languages===
The long road of cultural exchange between China and foreign countries has been continued up to now, and the translation of Chinese classics has been quietly carried out in different ways. Entering the new era of the 21st century, the Chinese government attaches more importance to cultural exchanges with other countries in the world. In 2014, the "Belt and Road" initiative was put forward, which further demonstrated the determination of Chinese culture to go global. The translation of Chinese classics is the most direct means and way for Chinese culture to go out. The Belt and Road Initiative, as a channel for cultural exchange, provides new opportunities for the translation of Chinese classics into foreign languages, and will directly promote the development of the translation of Chinese classics into foreign languages.
Buddhism and Buddhist classics were introduced to China through the ancient Silk Road, and now Chinese Confucianism and Confucian classics will be spread to the world through the "Belt and Road." First, in the construction of the Belt and Road Initiative, Chinese builders sent to various countries and regions along the route will spread Confucianism and Chinese culture in their daily exchanges with local people. In addition, China actively promotes Confucius Institutes along the "Belt and Road" route, which directly promotes the external dissemination of Confucian ideas and classics. Finally, with the help of the construction of the "Belt and Road" economic belt, Xinjiang, Tibet and Taiwan are connected in the Greater China Cultural Circle3, which can not only enhance national identity, but also increase the public's recognition of ethnic classics and promote the development of English translation of ethnic classics.
At the same time, the types of translated classics began to diversify. At the "Belt and Road" International Summit Forum, the "Action Plan for Chinese Social Organizations to Promote the" Belt and Road "People's Livelihood ( 2017 - 2020)" was released, and the "Civil Society Organization Cooperation Network along the Silk Road" and the "Belt and Road" think tank cooperation alliance project were launched. At the same time, CDB will also hold "the belt and road initiative" special multilateral exchange training and set up "the belt and road initiative" special scholarship. This has promoted the translation of excellent classics in many fields of Chinese culture. Take the "Greater China Library" project as an example. Since its formal establishment in 1995, the project has selected many most representative classics from the fields of culture, history, philosophy, economy, military affairs, science and technology from the pre-Qin period to modern times in China, translated by experts and published, which has greatly promoted the dissemination of foreign translation of Chinese classics.
===Conclusion===
The "Greater China Library"-led China Translation and Introduction Project shows us that in the new era of the new century, the pace of translation of Chinese classics has never stopped, and China's determination to make Chinese culture go abroad has never wavered. Although there are still many problems in translating Chinese classics into foreign languages, I believe all these problems will be solved in the near future.
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==英语笔译郑冬琴 Zheng Dongqin 202170081610 MW==

<center>'''The Development and Spread of Chinese Network Novels'''</center>

<center>Zheng Dongqin</center>

===Abstract===
Chinese online literature has had a history of more than 20 years of development, and it has gradually formed a mature development system. In recent years, with the rapid development and popularity of the Internet, online literature has played an increasingly large role in people's daily lives. Among them, online novels play a particularly important role in people's lives. Moreover, the development and dissemination of Chinese online novels overseas has also achieved great success. However, there are still some problems and shortcomings in the field of online fiction that need to be addressed. Therefore, in order to better promote Chinese cultural exports, we need to create our own cultural calling cards and promote Chinese network novels "go globle". In this paper, I will discuss five aspects of Chinese online fiction: definition, development, pros and cons, current situation and overseas dissemination.

===Key words===
Chinese Network Novels; Development; Dissemination; Value; Adaptation

===Introduction===
This paper focuses on the history of the development of Chinese online novels and the current state of their dissemination overseas. This essay is divided into five main parts. In the first part , it mainly gives a brief introduction to online novels, which includes three aspects of the definition, creative characteristics and main classifications of online novels. In the second part, it gives a brief overview of the history of the development of Chinese online novels, which includes the exploration stage, the transition stage and the maturity stage. In the third part, it discusses the pros and cons of Chinese online fiction in a dialectical manner. It mainly mentions the influence of online fiction on the younger generation, especially teenagers. In the fourth part, it analyses the current situation and trends of Chinese online novels, and it highlights the phenomenon of product homogenisation and the film and drama adaptations of popular novels. In the fifth part, it introduces the achievements of Chinese online novels in their overseas distribution by discussing two examples, namely The Legend of Zhen Huan and Ten Miles of Peach Blossoms. Finally, the paper provides a brief summary of the issues explored, with a view to offering some suggestions and help for Chinese culture to go global.

===1.A Brief Introduction to Network Novels===
1.1 Definition of network novels

Network novels are novels published by online writers relying on the web-based platform. It is a new genre of fiction that has emerged with the rapid development of the Internet. It is characterised by a wide variety of styles, unlimited genres, and simple publication and reading methods. Its main genres are fantasy and romance. The language of online novels is more colloquial and full of Internet buzzwords.(Cui Feng 2010) Besides, in addition to differences in textual content, network novels also make use of variations in symbols, patterns and typography compared to general novels. Online fiction is the main form of online literature.
Generally speaking, there is a broad and narrow definition of online fiction. Broadly speaking, it can include all fiction published and circulated on the Internet. However, on the narrower level of the origins of online fiction, it mainly refers to forms of fiction written by online writers and first published online, and then circulated.
Online novels fall into two main categories. One category is novels read by boys, which are generically referred to as male channel novels(男频), and the other category is novels read by girls, which are generically referred to as female channel novels(女频). Most novels read by boys seek to be powerful from body to power, while most novels read by girls are from the perspective of love. And the influence of these two types of novels depends on the ratio of males to females on the internet.

1.2 Creative characteristics of network novels

There is no doubt that online literature still belongs to the category of literature. Therefore, online novels naturally have the basic characteristics of all literary works. However, due to some characteristics of the Internet and the influence of the commercial model of literary websites, online literature has gradually formed its unique creative and artistic characteristics. The characteristics of online novels are mainly manifested in the following four aspects:
Firstly, the length of the network novel is very long. Because an online novel is usually formed in a long serial mode, it has a considerable number of words. Among them, long female channel novels are at least 600,000 words, while long male channel novels are up to millions of words.Secondly, online fiction is highly interactive. Because of the instantaneous nature of the Internet, authors and readers communicate online far more quickly than the previous correspondence. This makes online works naturally a little more interactive. What really determines the interactivity of an online novel, however, is its serial nature. Because online novels are often divided into chapters and sections, presented and completed gradually over a long period of serialisation, readers are able to express their views on the work at any point in its creation, expressing their appreciation or dissatisfaction, and offering suggestions and expectations for subsequent content. These comments will be seen by the author in the first instance. They can then influence the creation of the work to a large extent.Thirdly, the threshold for the creation of online novels is low. Generally speaking, the threshold for the creation of traditional literature is very high, and not any work can be published. However, the editorial and vetting standards for online literature are very low. Anyone who is literate and can tell a story has the opportunity to become an online writer, or even an online author. In other words, in the realm of online fiction, anyone who publishes and gets a certain number of readers can generate income. As a result, more and more people are becoming online writers and the creation of online novels is gradually becoming a way to earn an income.Fourth, online fiction is like a kind of fast food literature. The evaluation criteria of traditional literature are mainly reflected in values, outlook on life, and the author's writing skills. However, the focus of online novels is on entertainment and the reader's pleasure in reading them. In order to cater to the needs of readers, most online writers overly pursue the quantity of novels at the expense of quality. They over-express the reader's desires in their works, which makes them lack artistic and emotional value. Internet novels are like a kind of fast-food literature, which lacks nutrition and is difficult to be remembered and loved in the long run.

1.3 Classification of network novels

Online novels can be broadly classified into the following genres: fantasy novels, martial arts novels, immortal novels, science fiction, urban novels, romantic novels, supernatural novels, historical novels, mystery novels, military novels, sports novels, game novels, fan fiction, boy’s love novels, two-dimensional space novels and etc.According to online reader statistics, the ten most popular online novels are：

1、The Legend of Goku - Now Where 《悟空传》- 今何在

2、Ghost Blows Out the Light - Blogging site 《鬼吹灯》- 天下霸唱

3、Purple River - Old Pig 《紫川》- 老猪

4、Blasphemy - South of the Smoke 《亵渎》- 烟雨江南

5、Nebulous Journey - Potential Flute 《缥缈之旅》- 萧潜

6、How Bad Men Are Made - Six Paths 《坏蛋是怎样炼成的》- 六道

7、Time Raiders - Uncle Three of Southern School 《盗墓笔记》- 南派三叔

8、Kill the Immortals - Pot Flute 《诛仙》- 萧鼎

9、Fights Break Sphere - Silkworm Potato 《斗破苍穹》- 天蚕土豆

10、AutoFull - Wind Blow Strong 《傲风》- 风行烈

===2.The Development History of Chinese Network Novels===
Chinese online literature has had a history of over 20 years of development. Throughout the history of the development of online literature, we can divide it into three development stages: the exploration stage, the transition stage and the mature stage.

2.1 Exploration stage

During this period, online novels were mainly carried on computers and the payment model was established. In 1998, Riffraff Cai's The First Intimate Contact 《第一次亲密接触》was published on the Bulletin Board System(BBS), which opened the era of Chinese online novels. For the next 10 years, the computer served as the main vehicle for users to disseminate and read online literature. In October 2003, the business model of online literature became clear when the Starting Point Chinese Network Fiction(起点中文网)pioneered the paid online reading model. Some of the so-called "gods" of online fiction began to appear, and online fiction had its own stable, youth-centred and relatively small reading group. Annie Baby, Li Xunhuan and Xing Yusen were also representative online writers of that period.

2.2 Transition stage

From 2008 to 2014, online literature entered a transitional period, when reading behaviour began to penetrate into mobile smart devices. Around 2011, the proportion of users who read online literature on computers declined year by year, while the number of users on mobile smart devices grew rapidly. At the same time, reading platforms in the form of apps also sprang up, and mobile bookstores such as QQ Reading and Palm Reader became increasingly popular. After 2014, smartphones, tablets and other mobile smart devices became popular in China, making mobile phones the largest reading channel for online literature users. Novels in genres such as tomb raiding, mystery and romance have seen rapid development. Representative works of this period include Time Raiders, Tomb of the Gods and Fights Break Sphere.

2.3 Mature stage

As the scale of the online literature market continues to expand, Internet giants have become involved in online literature, and online literature enterprises have embarked on a stage of large-scale group operations. (Zhang Hainan,Han Lei 2021:79-83)In 2013, Tencent and the core team of the former Starting Point Chinese website (起点中文网)cooperated to establish Genesis Chinese Website(创世中文网); Baidu acquired 100% of the equity of Zongheng Chinese Website (纵横中文网)for 191.5 million; In 2014, Zongheng Chinese Website, 91 Panda Book (91熊猫看书)and Baidu Book City (百度书城)merged to form Baidu Literature(百度文学). In 2015, Chinese Online (17K Novel Website) was listed on the A-share GEM board with a $2 billion capital increase to build a pan-entertainment ecology. After Tencent's $5 billion acquisition of Shanda Literature Limited(盛大文学), it merged with Tencent Literature to form China Reading Limited(阅文集团); Ali acquired Shuqi Novel (书旗小说)and UC Book City (UC书城)and merged them with its own mobile reading business to form Ali Literature. At this point, the industry pattern of domestic online literature has basically taken shape.Since 2018, online literature has entered an era of convergence. The IP operation of online literature has gradually matured, film and television dramas and games adapted from online literature are favoured by the market, and free reading has gradually emerged, creating a new model of "free + advertising". Internet literature has established its own unique literary system and has received widespread attention from society. It has also become an important source for film and television adaptations. Nowadays, it seems that many important film and television works have come from online literature, and these super IPs have had a huge impact on the development of film and television culture. Representative works from this period include The Legend of Zhen Huan《甄嬛传》, The Legend of Mi Yue《芈月传》, The Journey of Flower《花千骨》, and Nirvana in Fire《琅琊榜》.

Nowadays, Chinese online literature has become an important literary phenomenon that cannot be ignored and has become an indispensable cultural resource for the younger generation. At the same time, from the perspective of world literature, China-centred online literature written in Chinese can be considered a unique phenomenon. Its unique creative characteristics and mode of operation are incomparable. It now seems that Chinese online literature has also gained its own unique status and significance in the development of literature across the globe. The wide distribution of The Three Bodies overseas in recent years is a good example of this.

===3.The Pros and Cons of Chinese Network Novels===
As a new form of literature, online literature has had a huge impact on people's daily lives. Like a double-edged sword, online fiction has its unique value and significance, but also has many problems and shortcomings. Therefore, we should adopt the right attitude towards it and take the essence and remove the dross.

3.1 The Pros of Chinese Online Fiction

3.1.1 Reading online novels can develop literary literacy

Firstly, there are many excellent works in online fiction that deserve to be read and appreciated with care. Outstanding online novels are characterised by their dramatic storylines, superb writing skills and meaningful themes. By learning from the authors' writing methods, we can develop our imagination and creativity, and thus improve our own writing skills.(Li Xin 2016:172) At the same time, by reading excellent works, we can increase our knowledge, broaden our horizons and improve our literary skills.

3.1.2 Reading online novels can improve reading skills

Secondly, because the online novel is serialized, it is updated very quickly and in very large numbers of words. Readers have something new to read almost every day. This means that in order to keep up with the author's updates, the reader needs to be able to read very quickly. If the reader is reading several online novels at the same time, then he needs to be able to read faster. Thus, by exercising over time, the reader can develop a good habit of reading every day and can improve his or her reading skills and abilities to a great extent.

3.1.3 Reading online novels can relieve stress

Thirdly, online novels can help readers to vent their negative emotions and relieve stress to a certain extent. In today's highly developed economic, political and cultural world, people face a variety of challenges and pressures in their daily lives, such as the pressure of marriage, interpersonal relationships, mortgage repayments, further education and job promotions, and so on. They are reluctant to face the cruelty of reality and need a space where they can forget their worries and keep their mood happy. Therefore, the beautiful virtual worlds created by online novels have gradually become a place for people to vent their emotions, express their desires and seek solace. Moreover, with the rapid development of the Internet, mobile communication devices have become widely popular. Nowadays, almost everyone, young and old, has their own mobile phone, which makes it possible for people to read online novels through various mobile apps and websites anytime and anywhere. We have found that the majority of readers of online novels in China find themselves relieving their stress and gaining a great deal of pleasure from reading online novels. For female readers, they tend to read romance novels and urban novels. For male readers, they prefer to read mystery novels and tomb raiding novels. In short, for those devoted novel lovers, the virtual world constructed by online novels is a perfect, utopian ideal society. As the characters and storylines portrayed in online novels are very close to life, such a setting easily arouses readers' emotional resonance, thus giving them a strong sense of vicariousness. In this virtual world, they can relieve the stress and worries brought about by the real world, allowing them to relax their long-tightened nerves. This is also a form of stress relief for the young generation of today.

3.2 The Cons of Chinese Online Fiction

3.2.1 Adverse effects on people's daily habits

In this highly developed society with the Internet, people can use mobile phone apps to read online novels anytime and anywhere. It is because of this convenience that online novels are having an increasing impact on people's daily lives. Online fiction is like a drug that makes people addicted to them. For adult readers who are addicted to online novels, they read all day and night and do not even feel hungry. As a result of staring at their mobile phone screens for long hours, some suffer from myopia, while others are so addicted to the pleasure and thrill of reading online novels that they miss work. Faced with online novels, they lack self-control and self-discipline, which makes them break the regular routine of life. When reading online novels, they see themselves as the protagonists in the novels, causing them to be unable to distinguish between real life and the virtual world. Over time, this group of people who are obsessed with online novels may suffer from severe procrastination, which then puts their lives in a vicious cycle.
While for young readers, the dangers posed by online novels seem to be even more serious. Some online novels are not suitable for teenagers. If young readers are exposed to these novels, it is inevitable that they will become too precocious and may even lead them astray. For example, one of the most iconic Internet classics, The First Intimate Contact, is very popular among secondary school students. The author tells a poignant love story that expresses a common ideal in metropolitan life, namely the desire to make romantic love denied in reality a reality in the virtual world. (Li Xin 2016:172) Many teenagers have admitted that they have imagined or even actually experienced online romance after reading The First Intimate Contact. In addition, many urban and romance novels such as Laugh Slightly Very Bend City, The Left Ear and Fleet of Time also have had an impact on teenagers.

3.2.2 Causing distortion of values

Because of the low threshold for the creation of online novels and the lax regulation of the market, there are many low-quality works on the Internet that contain unhealthy information. These vulgar novels are filled with many contents that are not conducive to the healthy physical and mental development of young people, such as violence, cruelty, pornography, selfishness and so on. In the process of reading online novels, readers will unconsciously accept these wrong values. As the main force of the online novel reading group, teenagers are often more susceptible to the influence of bad values. On the one hand, as the minds and hearts of teenagers are not yet mature, they lack the ability to select works and self-discipline. On the other hand, as teenagers are more curious about the unknown, they are more likely to be attracted to the characters portrayed in online novels and develop a stronger sense of immersion. Moreover, as teenagers are in the process of forming their values and worldview, the harmful information in online novels can have a huge negative impact on their values, and may even cause distortion of values. For example, some reported cases of school bullying, murder and rape are related to the harm caused by vulgar online novels.

3.2.3 Fast food novels waste time

Many online novels are fast food novels. It would be a mistake for people to devote too much time and energy to these online novels. Due to the low threshold for the creation of online novels and the lax regulation of the market, various genres of online novels are springing up in the world today, which makes many online writers see their creation as a way to make profit only, and they devote more time and energy to the quantity rather than the quality of their novels. As a result, most online novels are written with a tumultuous plot to capture the reader's attention and interest. These novels often lack depth of thoughtfulness, and some even contain frequent misspellings, misuse of idioms and grammatical errors. If we fail to spot these errors in time, this can inadvertently deepen our impression of the wrong usage to the extent that these errors may appear in our own writing.
In addition, readers tend to read online novels at a very fast pace. Some can even finish reading several online novels in a day. However, these fast-food novels, which lack nutrition and value, do not give readers a great deal to gain. When people are reading these online novels, the content of the novels hardly cause the readers to think. As a result, readers are not impressed with the content of the novels after reading them. This kind of reading behaviour without value and meaning is in essence a waste of time. Instead of wasting our time and energy on these unproductive online novels, it would be better for us to choose a classic work of literature to read and appreciate its connotations and meanings by heart. By reading and appreciating the classics, we can communicate with great souls across time and space. In this way, our literary skills can be improved, our minds can be sublimated and our souls can be purified. So, from now on, please take the time to develop a good habit of reading classics again, which will benefit you for the rest of your life.

===4.The Status and Trend of Chinese Network Novels===
4.1 Homogenization of products

Although the market is flooded with online novels of various genres and themes, only truly outstanding works are accepted and loved by the public. As a result, there is serious vicious competition in the field of online fiction, which has led to the homogenisation of products in the current online fiction market. When a work becomes successful, there will be many imitations. Many novels have highly similar themes, motifs and plots, and even have very similar backgrounds, characterisations and life settings. Once these popular characterisations have formed a fixed format, they become as similar as industrially produced products. As a result, these similar novels will cause aesthetic fatigue among the audience and their dissemination will be greatly reduced. (Qin Junxiang,Li Ting 2017:38-42)For example, online novelist Qiong Yao publicly reported on Weibo that Yu Zheng's Palace 3:The Lost Daughter《宫锁连城》had copied several plots from her work The Plum Blossoms《梅花烙》. In addition, when the TV series Jade Palace Lock Heart《宫》 started to make a splash on TV screens in 2011, there were many other similarly titled dramas. Some authors ignored historical facts and made a mess of historical adaptations in order to cater to the taste of their audience, which reduced the literary, artistic and aesthetic value of the work itself. Some authors even deliberately make up all sorts of fascinating but unethical plots in order to gain high click-through rates, which has caused a distortion of the values of some works. This series of homogenisation and vicious competition has not only led to infringement and plagiarism, but has also led to monotonous content of works, aesthetic fatigue among readers and an impact on the market order. In short, homogenisation and plagiarism are not conducive to the innovation and development of online literature.The relevant government departments should strengthen the supervision and regulation of the online literature market. They should establish a sound copyright protection mechanism, improve the professionalism and aesthetic level of online authors and film producers, and raise audiences' awareness of copyright protection, so as to promote the healthy and benign development of the online literature market and the film industry.(Liu Yang 2017:95)

4.2 Adaptation of novels into film and TV series

The emergence of film and television adaptations of online novels can be traced back to The First Intimate Contact , an adaptation of the novel of the same name by Chinese Taiwanese author Tsai Chi-hang. This novel was made into a film in 2000 and adapted into a TV series in 2004. This was the first time in the history of Chinese film and television that an online novel was adapted into a film or television production. (Xiao Yudi,Ouyang Changlin 2021:33-38)However, the audience response at the time was poor, with fans who had read the original novel not liking the format and content presented in the TV series very much. Although the audience response did not meet expectations, it made the novel an instant hit. The first trial of a web novel adaptation showed its potential and problems, drawing the attention of some film and television producers. After six years of hibernation, the adaptation of web novels for film and television finally made its official entry onto the television screen in 2010. The first wave of Chinese online novels adapted for film and television was marked by the TV series Beauty's Rival in Palace《美人心计》.Subsequently, costume dramas such as The Legend of Zhen Huan《甄嬛传》, Startling by Each Step《步步惊心》, Princess Dumping World《倾世皇妃》and Jade Palace Lock Heart《宫锁心玉》received high ratings and were unanimously praised and recommended by the public. Soon, with the rise and development of online video platforms, China ushered in a second wave of web novel adaptation dramas. In 2015, there were a number of web novel adaptations represented by The Journey of Flower《花千骨》 and Nirvana in Fire《琅琊榜》, which not only achieved high ratings during their television broadcast, but also reaped superb viewership and buzz on major video platforms. In 2017, the online novel adaptation television series Ten Miles of Peach Blossoms《三生三世十里桃花》began to dominate the public's attention, marking the arrival of the third wave of adaptation boom. The drama took over Weibo's top searches and headlines almost every day, and its original novel, plot, cast, headgear, make-up, costumes and soundtrack became a daily topic of conversation for the public at their leisure. In recent years, popular costume dramas such as East Palace《东宫》, Qing Yu Nian《庆余年》 and The Untamed《陈情令》have brought the craze for web novel adaptations to a peak.In terms of film and TV drama adaptations of novels, costume and romance novels have become the main trends in Chinese online novels.

===5.The Overseas Dissemination of Chinese Network Novels===
In recent years, Chinese costume novels have become very popular overseas. There are websites dedicated to Chinese novels such as "Wuxia World"(武侠世界) and "Webnovel"(起点国际). There are even people overseas who read serialised novels to kick drug addiction and treat depression. This shows the huge influence of our online novels overseas.

For example, in recent years, Legend of Concubine Zhen Huan has become popular in Japan, South Korea and some countries and regions in Southeast Asia. In addition, the cast of The Legend of Concubine Zhen Huan has joined forces with the American television station HBO to edit the original 76-episode series into six short episodes (each 90 minutes long) for broadcast overseas. The release of Legend of Concubine Zhen Huan on the US pay platform Netflix a few years ago also created a national sensation, and Legend of Chu Qiao《楚乔传》and Ten Miles of Peach Blossoms have long been officially synchronised on Youtube at the time of its launch. This marked the successful spread of Chinese costume novels overseas.

Take Ten Miles of Peach Blossoms as an example, the translator of Ten Miles of Peach Blossoms, Poppy Toland, is a British freelance translator who studied Chinese at the University of Leeds and lived in Beijing, China for four years. She was commissioned by Amazon.com, the copyright holder of the novel, to translate Ten Miles of Peach Blossoms into English before the TV series hit the airwaves.(Ma Xiaoxing,Zhao Mengyuan 2020:59-62) In order to ensure that the translation does not lose the flavour of the original, she insists on using the translation strategy of domestication to deal with the linguistic forms. However, for the cultural elements in the original work (such as mythology, religion and other cultural factors), she introduces Chinese culture directly to Western readers through the method of foreignization. On 23 August 2016, To the Sky Kingdom, the English translation of Ten Miles of Peach Blossoms, was released on Amazon in the United States. Upon its release, the translation reached number three on Amazon's Asian Literature bestseller list and number one in the Asian Literature section of the Kindle Edition bestseller list. The translation was recommended to foreign readers on Amazon.com, along with other famous novels such as Three Bodies《三体》and Wolf Totem《狼图腾》, and was once ranked the third best-selling Chinese novel on Amazon.com.It shows that Chinese online novels have achieved great success in overseas distribution.

===Conclusion===
After more than two decades of development, Chinese online novels have developed a relatively mature industry system, not only in terms of accumulation in the domestic market, but also in terms of expansion in overseas markets. However, there are still some problems and shortcomings in the process of its domestic development and overseas distribution. Therefore, we need to further improve the quality and value of Chinese online novels and strive to build a unique international cultural brand of our own. We need to help Chinese culture go overseas through cultural branding so that more foreign friends can understand and enjoy traditional Chinese culture. In short, it is the duty of every Chinese to strengthen our cultural soft power and enhance the cultural confidence of the Chinese nation.

===References===
*Cui Feng 崔冯.(2010).网络小说的文体特征研究[Research on the Genre Characteristics of Online Novels].重庆师范大学Chongqing Normal University.
*Li Xin 李昕.(2016).网络小说利弊纵横谈[The Pros and Cons of Online Novels].西部皮革Western Leather(12):172.
*Liu Yang 刘杨.(2017).中国网络小说改编剧的困境与建议[The Dilemma and Suggestions of Chinese Online Novel Adaptations].参花Participation Flowers(16):95.
*Ma Xiaoxing, Zhao Mengyuan 马孝幸,赵梦源.(2020).中国文化“走出去”背景下的网文出海研究——以《三生三世十里桃花》外译为例[A Study on the Overseas Translation of Chinese Culture in the Context of "Going Global"--The Foreign Translation of "Ten Miles of Peach Blossoms].新阅读New Reading(08):59-62.
*Qin Junxiang,Li Ting 秦俊香,李婷.(2017).网络小说改编剧的同质化现象批评——以权谋宫斗题材古装剧为例[Criticism of the Homogenization Phenomenon of Online Novel Adaptations - Taking Ancient Costume Dramas on the Theme of Power and Palace Combat as An Example].中国电视China TV(06):38-42.
*Xiao Yudi, Ouyang Changlin 肖雨笛,欧阳常林.(2021).网络小说改编剧的狂欢与思考[The Carnival and Reflection on the Adaptation of Online Novels].肇庆学院学报Journal of Zhaoqing College(03):33-38.
*Zhang Hainan, Han Lei 张海楠,韩磊.(2021).网络小说创作主体迅猛发展成因探析[An Analysis of the Causes of the Rapid Development of the Main Body of Network Novel Creation].兰州文理学院学报(社会科学版)Journal of Lanzhou College of Arts and Sciences (Social Science Edition)(03):79-83.

===Terms and expressions===
*The Legend of Goku 《悟空传》
*Ghost Blows Out the Light 《鬼吹灯》
*Purple River 《紫川》
*Blasphemy 《亵渎》
*Nebulous Journey 《缥缈之旅》
*How Bad Men Are Made 《坏蛋是怎样炼成的》
*Time Raiders 《盗墓笔记》
*Kill the Immortals 《诛仙》
*Fights Break Sphere 《斗破苍穹》
*AutoFull 《傲风》
*Wolf Totem《狼图腾》
*Nirvana in Fire《琅琊榜》
*The Legend of Zhen Huan《甄嬛传》
*The Plum Blossoms《梅花烙》
*Jade Palace Lock Heart《宫》
*Laugh Slightly Very Bend City 《微微一笑很倾城》
*The Left Ear 《左耳》
*Fleet of Time 《匆匆那年》
*Startling by Each Step《步步惊心》
*The Journey of Flower《花千骨》
*East Palace《东宫》
*The Untamed《陈情令》
*Qing Yu Nian《庆余年》
*Legend of Chu Qiao《楚乔传》
*To the Sky Kingdom《三生三世十里桃花》
*The First Intimate Contact 《第一次亲密接触》
*The Legend of Mi Yue《芈月传》
*Palace 3:The Lost Daughter《宫锁连城》
*Princess Dumping World《倾世皇妃》
*Beauty's Rival in Palace《美人心计》
*Men's Channel 男频，即男生频道，是网络小说网中对男生爱看的网络小说的一种称呼。男频以玄幻、推理、盗墓等题材的小说为主。
*Women's Channel 女频，即女生频道，是网络小说网中对女生爱看的网络小说的一种称呼。女频以都市、言情和穿越等题材的小说为主。

===Questions===
1.Which of the following is a common genre of male channel fiction?

A.Time Travel Fiction

B.Fantasy Novels

C.Romance Fiction

D.Urban Soap Novels

2.When was the online novel The First Intimate Contact published?

A.In 1996

B.In 1997

C.In 1998

D.In 1999

3.How many stages does the author of this article divide the history of Chinese online fiction into?

A.2

B.3

C.4

D.5

4.Which of the following is not a work by Yu Zheng?

A.Jade Palace Lock Heart

B.Palace 3:The Lost Daughter

C.Beauty's Rival in Palace

D.The Plum Blossoms

5.Which of the following novels is a work of transition stage?

A.The First Intimate Contact

B.Nirvana in Fire

C.Time Raiders

D.The Untamed

===Answers===
1.B

2.C

3.B

4.D

5.C

==英语笔译钟青 Zhong Qing 202170081611 CE==
On the Translation and Spread of Three Kingdoms

==英语笔译周皓熙 Zhou Haoxi 202170081612 MW==
On the Translation and Spread of Guanzi

==英语笔译周哲 Zhou Zhe 202170081613 CE==
<center>'''On the Translation of Peony Pavilion'''</center>

<center>周哲 Zhou Zhe</center>

===Abstract===
The Peony Pavilion, also known as "The Return of the Soul", is a masterpiece by Tang Xianzu (1550-1616), an outstanding Chinese opera singer of the 16th century. Compared with the script, The Peony Pavilion has not only been greatly changed in terms of plot and description, it has also improved greatly in terms of theme and thought. The Peony Pavilion has also reached an unparalleled artistic level in terms of diction, singing, music, stance and performance. In this essay, the full translations by Wang Rongpei, Cyril Birch, and Zhang Guangqian are selected for analysis and comparison, and their translations are abbreviated as follows: Wang's translation, Birch's translation, and Zhang's translation.

===Key words===
conveying the meaning in its full flavor; The Peony Pavillion;

===Introduction===
''The Peony Pavilion'', with its dizzying plot and magnificent structure, is especially good at portraying characters. With more than 160 characters, the play is a living panorama of the times. The artistic and literary value of ''The Peony Pavilion'' has been highly praised in both China and the West. The ''Drama 100: A Ranking of the Greatest Plays of All Time'' (2008) by Daniel S. Burt ranks ''The Peony Pavilion'' at number 32, and he (2008:184) comments that Tang Xianzu's ''The Peony Pavilion'' is the first great work to feature a female protagonist, and from it the reader can enter the tradition of Chinese classical literature.As you can see, this is still a very high opinion.

The earliest English translation of ''The Peony Pavilion'' is Acton's hybridity of translation "Ch'un-hsiang Nao Hsüeh" in Tian Hsia Monthly, vol. 8, no. 4, 1939. Cyril Birch translated some scenes of The Peony Pavilion in 1965 in Selected Readings in Chinese Literature, and published a full translation in 1980 at Indiana University Press; Zhang Guangqian's full English translation was published by Beijing Foreign Language Press in 2001; and Wang Rongpei's full English rhyming translation was first published by Shanghai Foreign Language Education Press in 2000. In 1999, an English version of the novel ''The Peony Pavilion'' was published. One adaptation, by Chen Meilin, was published by New World Press, and another adaptation was published by Seahorse Books, New Jersey, USA.

===Translator Introduction===
1. Wang Rongpei's Translation

Professor Wang Rongpei began his translation of The Peony Pavilion in 1996, which lasted for more than three years. In order to get a sense of Tang Xianzu's life and writing, he visited Tang's hometown of Fuzhou, Jiangxi Province, which was called Linchuan in the old times, in March 1999. In the preface to his translation, Professor Wang said that he set the goal of "conveying the meaning in its full flavor" for his translation. Specifically speaking, first, the translation should creatively and accurately reproduce the style of the original. In the process of translation, he tried to recreate the original in English to reflect the beauty of the original text, so he translated the prose dialogues or monologues into understandable English as much as possible. For example, he translated “吾今年已二八,未逢折桂之夫” as "I've turned sixteen now, but no one has come to ask for my hand". At the same time, when translating the lyrics and verses, the original imagery of the author is kept as much as possible without affecting the understanding of the English readers, otherwise it is rather sacrificed and replaced by corresponding expressions in English. Second, for the poetic and lyric parts of the original text, some forms of traditional English metrical poetry are adopted in translation. In addition, the lyrics of Tang Xianzu's The Peony Pavilion follows a strict tune, and the poetic part is also in the form of metrical poetry. Therefore, Professor Wang uses the iambic pentameter as the basic format and adopts a variety of different rhyme schemes when translating them.

2. Birch’s Translation

Birch was born in Lancaster, England, in 1925. He studied Chinese at the Institute of Oriental and African Studies at the University of London, where he received his Ph.D. in Chinese literature in 1954, taught Chinese at his alma mater from 1948 to 1960, taught in the Department of Oriental Languages at Berkeley University in 1960, and later became Professor of Chinese and Comparative Literature and Head of the Department, retiring from Berkeley University in 1991 as Professor Emeritus. Birch 's writings cover traditional Chinese fiction and drama as well as modern Chinese literature, and he is best known for his translations of Ming dynasty plays and stories. His translations of The Peony Pavilion (Acts 1-5, 7, 9, and 10) were published in the third issues of The Translation Series, respectively. Although Birch had edited many anthologies of Chinese literature in verse and verse, his favorite of all literary genres was classical drama. Bai's translation of The Peony Pavilion was published by Indiana University Press in 1980. Birch is a leading contemporary American sinologist who, in addition to his translation of The Peony Pavilion, has translated works such as Chinese Gods and Monsters, Selected Stories of the Ming Dynasty, and Selected Plays of the Chinese Ming Dynasty, and has edited books such as Selected Readings in Chinese Literature and Studies in Chinese Literary Genres. His essays on The Peony Pavilion include "(The Peony Pavilion) or (The Return of the Soul)," "The Structure of The Peony Pavilion," and "The Winter's Tale> and The Peony Pavilion.

Birch 's English translation reproduces the original in fluent modern English and is generally faithful to the original text, with free verse in both the choral and poetic sections (Wang Rongpei, 2000:33). This is evidence of his rigorous academic attitude. It took at least seven or eight years from the earliest translation to the final revision of the text. In general, Birch's translation was a success, and all performances of The Peony Pavilion in the West were based on Birch 's translation, but his translation was not immune to the errors of understanding that are common among Western translators.

3. Zhang Xianqian’s Translation

Zhang Guangqian's translation of The Peony Pavilion was published by the Travel Education Press in 1994 and reprinted by the Beijing Foreign Language Press in 2001, the first full English translation done independently by a Chinese translator.

In his preface to The Peony Pavilion, Professor Wang Rongpei (2000:35-36) also comments on Zhang's translation, arguing that, compared to Birch's translation, Zhang's translation has the greatest advantage of being more accurate in conveying the meaning of the original, which is a clear strength of Chinese translators in translating Chinese classical masterpieces. It is clear from the translation that Zhang's mastery of ancient literary knowledge is very solid. In his translations of the lyrics and verses, he uses the format of sung poetry on most occasions, with iambic pentameter as the basic rhythm, and occasional rhymes that follow their nature. On the whole, Zhang Guangqian's translation is successful, and in many places it is more accurate and refined than Birch's translation.

===Examples and Analysis===
Example 1:（柳梦梅）：谩说书中能富贵，颜如玉，和黄金那里?

Wang: The saying goes that studies bring the wealth, but where is pretty lady and

where is gold?

Birch: "In books lie fame and fortune," they say—then tell me, where are the jade-smooth cheeks, the room of yellow gold?

Zhang: Some say that books will provide you with what you need, Yet, where is the promised beauty, where the gold?

The Peony Pavilion is a masterpiece of Tang Xianzu. Tang Xianzu is good at quoting scriptures and references, and there are countless allusions and proverbs in the book, which gives the text a deep cultural connotation. From the perspective of "reaching the meaning", when translating this kind of text, we should not only pay attention to the semantic meaning of the language, but also pay more attention to the semantic meaning and cognitive meaning. Specifically. This is reflected in the translation of words with profound cultural connotations. In this sense, it is not easy to translate classical operas to "reach the meaning", but it is even more difficult to "convey the spirit".

For the understanding of "In books lie fame and fortune", there is a problem with the translation of Birch, which does not mean that books themselves can give people wealth, but that they can create wealth only after learning and mastering knowledge. And Zhang's translation "Some say that books will provide you with what you need" does not clearly translate what "wealth" is. The chorus also contains two words with cultural connotations: "Yan Ru Yu" and "House of Gold". Birch's translation literally translates "the jade-smooth checks" and "the room of yellow gold," but not the true meaning of these two words. On the issue of cultural treatment, Prof. Wang's strategy is to reflect his own understanding directly into the translation, as his translation is intended for a general Western audience, and therefore does not add additional notes on the words that contain cultural connotations. The strategy adopted by the Zhang translation is consistent with that of the Wang translation.

Example 2:（柳梦梅）：敢甚处里杨曾系马?

Wang: Are you an old acquaintance to see me now?

Birch: In some former time and place, did we "tie our steeds beneath green aspen"?

Zhang: Or, is it because your horse was once attached to my tree?

This is the phrase that Liu Mengmei asked Du Liniang, who guessed where they had met before? The phrase "敢甚处里杨曾系马" is a cultural phrase related to the times. In feudal China, unmarried girls could only stay in their boudoir. Therefore, it is not logical to translate it as "met somewhere". However, the literal translation

The literal translation does not reflect the cultural connotation of the sentence, so the paraphrase is used. Both Bai and Zhang translate literally, which may not be understood by readers of the target language and may even cause misunderstanding. Wang's translation is more appropriate and better conveys the connotation of the original text, achieving a high level of "reaching the meaning" at the linguistic and cognitive levels.

Example 3:（陈最良）： "玉不琢，不成器；人不学，不知道。"

Wang: As The Book of Rites says, "Uncarved jade is unfit for use; uneducated men

are unaware of Tao."

Birch: "Jade unsculpted unfit for use; person untutored unaware of the Way."

Zhang: It's said, "Unpolished jade has little worth; untutored man has little wit."

The phrase "If jade is not cut, it does not become a tool; if a man does not learn, he does not know" is from the Book of Rites, and for Western readers who do not know Chinese culture, they do not know the context of the phrase, so Wang adds "The Book of Rites" in the translation to make it clear to readers at a glance, and it is easier for them to understand the context after understanding the cultural background of the phrase. Although Zhang's translation adds "It" to indicate that this is a well-known thing, it does not specify the specific source, so the reader still cannot understand it. If we look at this sentence from the perspective of "conveying the meaning", its "conveying the spirit" lies mainly in its simplicity and neat syntax. If we look at these three translations only from the perspective of "conveying the meaning", they are indeed comparable, but a careful reader will find that Wang's choice of words is actually very careful. Normally, "Uncarved", "unsculpted" and "Unpolished" seem to have the same meaning, but when they are placed in the whole sentence, the difference appears. If the word "Uncarved" in Wang's translation is replaced by "unsculpted" or "Unpolished", the rhythm of the whole sentence will be incongruous, and it will be awkward to read. This is the same reason why Wang used "islet" instead of "isle" in his translation of the Book of Psalms. Obviously, Wang's translation has paid attention to the problem of rhyme, so it reads with a particularly strong sense of rhythm.

Example 4:（杜丽娘）：先生万福。

（春香）：先生万福。

Wang: I wish you happiness, respected tutor.

I wish you kindness, respected tutor.

Birch: Our best respects, esteemed sir.

We hope you're not vexed, esteemed sir.

Zhang: Boundless happiness to my teacher.

Boundless kindness to your pupils.

These are the words spoken by Du Liniang and Chunxiang as they salute Chen Milliang. Although the words spoken by the maids are the same as those spoken by the ladies, the translation should be different to show their different linguistic characteristics. Wang and Zhang did notice this point, but from the point of view of "expressing the meaning", it is Birch's translation that is more accurate. Since they are late in entering the school, the teacher is already a little upset, so Chunxiang says "Don't be angry, teacher!" when greeting her. This accurately conveys the quick-talking character of Chunxiang, a maid, and also fits the situation at that time.

The author keeps emphasizing that the parameters of "conveyance" are analyzed for expository reasons, but in specific texts, many of them are integrated with each other, as in this case. The previous paragraph is analyzed on a pragmatic level, but it does not reflect the "transmission"! The wording, tone, and inflection of Duliniang and Chunxiang's speech all reflect the translation's grasp of the style and emotion of the original text. Still, "convey the spirit and meaning" should be grasped as a whole, as can be seen from this example.

Example 5:（杜丽娘）：以后不敢了。

（春香）：知道了。今夜不睡了，三更时分，请老师上书。

Wang: I won't be late from now on.

I see, I won't go to the bed tonight and I shall ask you to give me lessons at midnight.

Birch: We shall not be late again.

We understand. Tonight we won't go to bed so that we can present ourselves for our lesson in the middle of the night.

Zhang: I won't be late again.

I see. Tonight I won't go to bed at all so that teacher can start the lessons at midnight.

Du Liniang and Chunxiang both bowed to the gentleman, Chen Miliang said: "Girls, you should get up immediately after the rooster crows and greet your parents first. After eating breakfast, you should do whatever you want to do. If you are studying, you should get up early" (Zhao Shanlin, 2002:11). These two lines are their response to Chen Milliang's rebuke, in which Chunxiang's reply is relatively sharp, which on the one hand reflects Chunxiang's quick-talking character, and on the other hand, reveals On the one hand, this reflects Chunxiang's quick-talking character, but on the other hand, it also reveals her attitude of not being convinced by Chen Miliang's words.

Looking at the three translations from the perspective of "expressing the meaning", Wang and Zhang have no problem with their translations, but Birch has a deviation in his understanding. The deviation of Birch's translation does not occur at the semantic level, but at the pragmatic and cognitive level, which is reflected in Birch's insufficient understanding of traditional Chinese culture. According to the old rituals and customs, the rich and noble families had a very strict hierarchy of respect, and the young lady and the maid had to take into account their status and position when they spoke, so the "We" in Birch's translation is inappropriate, and in addition, Birch's translation of the latter paragraph does not express the meaning of "asking the teacher to write a letter".

In terms of "evocative", Wang's translation is better overall. The mischievous Chunxiang hates reading the boring Confucian classics and deliberately messes with Chen Mingliang, while Duliniang originally shares Chunxiang's feelings, but she still acts serious in front of Chen Mingliang due to the constraints of ritual. Compared with the Birch translation, the Wang translation pays more attention to observing the psychological changes of the characters, especially highlighting the word "please" in the original text, which accurately conveys the characteristics of Chunxiang's sharp tongue and her defiant state of mind at that time, and well captures the change of emotions in the "transmission".

Example 6:（杜丽娘）（作恼介）：劣丫头那里去?

（春香）：溺尿去也。原来有座大花园。花明柳绿，好耍子哩。

Wang: Where have you been, nasty maid?

I've been to the toilet. I went by a big garden overgrown with flowers and willows. It's fun over there.

Birch: (annoyed)： What have you been doing, silly creature?

Peeing. But I found a lovely big garden full of pretty flowers and willows, lots of fun.

Zhang: Naughty girl, where have you been?

Pissing. I happened to have discovered a huge garden, with lush trees and bright flowers. A very nice place indeed.

After Chen Miliang finished explaining the "Poetry", he asked Du Liniang to write again. Chunxiang stayed at one side really impatient, excuse to go to the toilet to sneak out to play. After a long time, when Du Liniang saw that Chunxiang had not come back, she said, "Why hasn't Chunxiang come back yet? Du Liniang scolded: "Bad girl, where did you go"? Chunxiang replied: "I went to pee. There is a big garden behind the house, with red flowers and green willows, which is very interesting!" (Zhao Shanlin, 2002:12).

This play is called "Make Trouble in School", and this "trouble" is mainly manifested in Chunxiang's body, but of course, it is only with Du Liniang's tacit approval. The difference between the two of them in status, position and upbringing is so great that it is not possible for Du Liniang to make a scene like Chunxiang, but Du Liniang's "scene" is in the dark, elegant and clever. In fact, this is Du Liniang in front of Chen most Liang fake anger at Chunxiang, but in fact full of pity for her; and Chunxiang also know Du Liniang will not really blame her. Chunxiang's mischievousness is also obvious.

The above three translations are more accurate in terms of "conveying the meaning", but the subtle differences are reflected in "conveying the spirit", which is also expressed in the transmission of "emotion". Reading through the context, we know that Chunxiang's answer of "peeing" is actually an excuse, not really going to "pee", but the transitive word "But" in the Birch translation gives the impression that Chunxiang really went to pee, but happened to find a garden when she returned. Wang and Zhang are more accurate in handling this detail, and they are in the middle of the pack.

From the above examples, we can see that there are many factors to be considered in the translation process, such as character characteristics, tone of voice, psychological state, language characteristics, etc., but it is not easy to take into account the overall situation, which is a test of the translator's language mastery and skills.

Example 6:（柳梦梅）：好一座宝殿哩。怎生左边这牌位上写着＂杜小姐神王＂，是那位女王

（石道姑）：是没人题主哩。杜小姐。

Wang: What a magnificent hall! On the memorial tablet on the left is the inscription "The Spiri of Miss Du". What's the meaning of "spiri"? To complete the service, we need someone to add the final letter. It's "The Spirit of Miss Du" .

Birch: What a majestic temple! By the way, which queen is that memorial tablet

Oh, it's Miss Du's memorial tablet. The last stroke hasn't been added onto it yet.

Zhang: What a magnificent shrine! But I don't understand the inscription on this tablet: "The Ruler, Miss Du." Which "ruler" was this? The character that looks like "ruler" needs an extra dot on top to make it read “host”, that is to say, “tablet lodging the spirit of Miss Du.” We are waiting for some person of distinction to inscribe the dot.

This dialogue is from the 33rd episode of The Peony Pavilion, "Secret Discussion". Liu Mengmei was entrusted by Du Liniang to dig a grave for her, but he was a scholar, so he had to follow Du Liniang's suggestion and come to Shi Dao Gu for discussion (Zhao Shanlin, 2002:127). Then Shi Dao Gu leads Liu Mengmei to visit the temple, and Liu Mengmei exclaims: What a precious temple. Why does the tablet on the left say "Miss Du, God King"? Shi Daoist nun replied: "No one is the subject. Miss Du." In the olden days, when the deceased was given the sign of the gods, a point was deliberately missing from the 'main' and a prestigious person was asked to put a dot on it with a vermilion pen on a certain day, and this ceremony was called "dotting the main" or "inscribing the main" (ibid., 2002:128).

From the translations of the three translators, they all have a certain understanding of the ancient customary ritual of "inscription of the Lord", among which Wang and Zhang express the meaning more clearly, while Birch omits the phrase "How can the left side of this tablet have Miss Du's divine king written on it", which is unknown whether it is a mistake of the translator or some other reason, and cannot be verified.

This is particularly evident in Wang's translation, where "convey the spirit" is the sublimation of "reach the meaning". Zhang's translation basically conveys the meaning, and the language is more plain. The treatment of Shan in the Qian translation is very impressive. It can be said. The words "stem" and "main" in the text are word games. This is a difficult point in translation. It is very tricky. But at the same time. If handled properly, it will add an unexpected effect to the translation. Wang's translation is very creative, as he creates his own word "Spiri" and "Spirit" to echo each other, bringing out the effect of "王" and "主" in the original text.

Example 7:

（杜丽娘）：晓妆台圆梦鹊声高，

闲把金钗带笑破。

博山秋影飘，

盼泥金俺明香暗焦。

Wang: When magpies greet me for my happy dream,

I tap my golden hairpins with a smile.

The incense smoke coils in autumn breeze

And makes me anxious for news all the while.

Birch: Noisy magpies greeted my rising

Presage of dream's fulfilment;

With happy smile I set my gold hair ornaments.

Fragrant smoke mingled with autumn haze,

Hopes of gilded placard of success Burned bright as incense glow.

Zhang: The chirping magpies are discussing last night's dream;

Smile creeps on my lips as I tap the golden pins.

Autumn wavers in incense smoke.

Yearning for word of success,

My heart burns like the incense sticks.

On the day of Liu Mengmei's examination, Du Liniang was at home waiting for the result of the examination. When Du Liniang got up early in the morning to do her make-up in the mirror, the sound of magpies reported the good news, which was in accordance with the auspicious omen in her dream, so she was in a particularly good mood. Among them, "博山" refers to the Boshan stove, a kind of incense burner; "泥金" refers to the mud gold post, which is used to report the joy of the new entry into the earth and the enrolment in the university; "焦" is a semantic double meaning: one refers to the incense burning into ashes, and the other refers to the anxiety in Du Liniang's heart.

Double meaning refers to the use of speech, a word, or a sentence in a certain linguistic environment, while associating two different things, expressing double meaning, and the words in this meaning in the other, also known as "multiple meaning association". The literal meaning of double meaning is clear; the implicit meaning is implied. From the point of view of "expressing the meaning", the three translations are inaccurate: first, the use of "Noisy" to describe the magpie's cry is inaccurate, as we know from the above analysis that the magpie's cry here means "announcing good news". The second is that the phrase "盼泥金俺明香暗焦" is inaccurate, not like "hope for good news is burning", but that Du Liniang's heart is very anxious.

From the point of view of "conveyance of spirit". Let's look at the problem of form first. It is obvious that the original text has only four lines, but Zhang's translation has one more line; Wang's translation is relatively concise and clear, and while paying attention to rhyme, it also uses the rhyme scheme of xava without losing time, which has a strong sense of rhythm. In terms of conveying emotions, Wang and Zhang are comparable in that they both express the anxious mood of Duliniang, but the difference between them lies in the fact that Wang uses implicit metaphors while Zhang uses explicit ones.

Example 8:（杜丽娘）：可知我一生儿爱好是天然。

Wang: （DuLiniang）：But love of beauty is my natural design.

Birch: （Du）：Always my nature to love fine things.

Zhang: （Du）： My love of beauty is of natural build.

This is one of the more famous lines in The Peony Pavilion, which is usually widely recited as a clear and beautiful phrase. However, there are two ways to interpret these two lines: First, it can be seen that my lifelong hobby is "天然", that is, I like things in their natural color; second, it can be seen that my lifelong love of "好" is natural, that is, the love of beauty is my nature. In the absence of context, both understandings are fine. However, the difference will be obvious. The difference will be obvious. This has to be inferred from the context of the chant. This is the tenth play "dream" in the singing words. It was a beautiful day. In the morning, the sound of birds and swallows woke up Du Liniang from her sleep, and Chunxiang brought Du Liniang dressing clothes, and Du Liniang dressed up in the mirror. Chunxiang saw the beauty of the lady, could not help but say: "today’s dressing is really good"! This immediately resonated with Du Liniang. With this context, the meaning of this line is obvious: "It is my nature to love beauty". Among the above three translations, Wang's and Zhang's are accurate, while Birch's does not match the original. This shows that reasonable logical reasoning in context is also necessary in translation.

Example 9:（杜丽娘）：原来姹紫嫣红开遍，似这般都付与断井颓垣。良辰美景奈何天，赏心乐事谁家院!

Wang: (Du Liniang)：The flowers glitter brightly in the air,

Around the wells and walls deserted here and there Where is the "pleasant day and pretty sight"? Who can enjoy the "contentment and delight"?

Birch: (Du)： See how deepest purple, brightest scarlet Open their beauty only to dry dwell crumbling. "Bright the morn, lovely the scene," Listless and lost the heart—where is the garden "gay with joyous cries"?

Zhang: (Du)： So the garden is all abloom in pink and red, yet all abandoned to dry wells and crumbling walls. The best of seasons won't forever last; can any household claim undying joy?

These are the four most famous lines of the Peony Pavilion. When Du Liniang finished dressing, Chunxiang reminded Du Liniang that it was time for breakfast, so they walked out of the room and came to the garden with spring colors. Looking at such a beautiful scenery in front of her. Du Liniang could not help but exclaim: "the original flowers bloom so bright and beautiful". But at the same time see the dilapidated walls, wells, can not help but be sad: "Such a beautiful scenery, how is in such a dilapidated courtyard it? This is just like their beautiful youth is buried? As the old saying goes, ''It is difficult to combine the four: good time, beautiful scenery, pleasure and joy. (Zhao Shanlin, 2002:29-30).

From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".

The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Khan's translation. First of all, the "spirit" of Khan's translation is reflected in the form. The original rhymes with "abab", while the Wang translation rhymes with "aabb", and what is even more remarkable is that the Wang translation also takes into account the rhythm of the translation while rhyming, which gives a sense of intonation and staccato. Secondly, Wang's translation is very good at conveying emotions. The lyrics make one feel the faint sorrow of Du Liniang: she is enchanted by the beauty in front of her, and on the other hand, she is saddened by the spring sorrow she has nowhere else to go. The lyrics include "姹紫嫣红" and "断井颓垣", "良辰美景奈何天" and "赏心乐事谁家院!" One happy and one sad corresponding to the state of mind of Du Liniang depicted to the fullest, sad! It must be admitted that the words are emotionally charged. The words used by the translator indicate the kind of emotion he wants to express. The words "pleasant", "pretty", "contentment" and "bright" in Wang's translation are all words that mean "beautiful", but the addition of a "?" at the end of the sentence has the opposite effect. The effect is the opposite after adding a "?" at the end of the sentence, and the use of two "?" in a row in the third and fourth sentences to enhance the effect. It can be seen that Wang's translation conveys the emotion in a very clever way, so that people can appreciate the meaning of the original text without realizing it.

===Conclusion===
From the perspective of "expressing the meaning". The translation by Birch and Zhang is basically faithful to the original text. In terms of "conveying the spirit".The meaning conveyed by Birch and Zhang is basically accurate. However, they are not as detailed and precise as Wang Peirong's translation.

===References===
*Wang Rongpei (2000). The Peony Pavilion. Changsha: Hunan People's Press
*Zhao Shanlin. Selected Reviews on The Peony Pavilion. Shanghai: Shanghai Ancient Books Press

==英语笔译朱丽娟 Zhu Lijuan 202170081614 MW==
The Sinicization of Religion And its Development in China

==英语口译段小蝶 Duan Xiaodie 202170081615 CE==

<center>'''Difficulties and Countermeasures in the Translation of Chinese Classics'''</center>

<center>Duan Xiaodie</center>

===Abstract===
The translation of Chinese classics is an important part of the external transmission of Chinese culture. However,the translation of China classics into foreign languages faces many difficulties and problems. This paper aims to analyze the current situation of Chinese cultural transmission to the outside world, explain the causes of the above obstacles, and put forward several personal thoughts trying to overcome these obstacles like using diversified media, flexible presentation means and flexible cooperation with foreign companies, changing the way of the training translation talents in colleges and universities in order to achieve better Chinese culture transmission.

===Key words===
Chinese Classics; Translation and Transmission; Difficulties and Countermeasures

======The Definition of the Chinese Classics===
Chinese culture is a general term for the spiritual accumulation and material creation of the 56 ethnic groups in China. I don't know when, once chinese cultural classics are discussed, scholars must say that ancient classics such as the "Four Books" and "Five Classics" will invisibly weaken the works outside the central members of this family category, which in fact confuses the boundaries between Chinese cultural classics and their lower categories——— the boundaries between Chinese cultural classics. In fact, the category of Chinese cultural classics includes not only Chinese cultural classics, but also derivative and deductive works of traditional Chinese classics, because they also contain cultural contents such as "Red Sorghum," "Wolf Totem," "Ordinary World," and "Old Children," as well as epic poems, poems, religious doctrines, witchcraft, oral literature, and songs created by ethnic minorities. Therefore, this is because the Chinese nation is composed of 56 ethnic groups, and the cultural crystallization of each ethnic group constitutes the Chinese cultural classics; Moreover, ethnic minority epics, poems, religious doctrines, and other works have naturally become indispensable members of Chinese cultural classics, some of which have been disseminated abroad, and some of their works also have a certain overseas audience. Therefore, Chinese cultural classics should not only include classics dominated by the Han nationality, but also classics of other nationalities, and more importantly, other non-classic works with national characteristics and identified as excellent works (including academic works, journal papers, conference papers, etc.) with certain influence.

===The Significance of Translating Chinese Classics into Foreign Languages===
The Chinese nation is a nation with a long history and profound tradition. For thousands of years, it has left behind unparalleled cultural classics, mainly based on language and written texts.These books constitute the spiritual level and value core of the history of Chinese civilization, which is a heritage worth inheriting and spreading.Therefore, in the modern society, the information is developed, the communication is frequent, the need for a foreign translation promotion process.Such a process and the resulting results, that is, translated and published text, not only allows the Chinese people to review the history and tradition, change the status quo and progress, but also for the development and progress of other nations in the world, there is also a certain reference value. Of course, in this translation process and products, China's original cultural traditions will also experience a change from ancient times to the present, from the inside out changes, and modern society, modern ideas, relationships and collisions. And thus become a part of modern civilization and ideological values, or as a basis, or as a cultural form, to be retained and continued, development and progress. This is our current translation of Chinese cultural classics of cultural history, but also have to change China and the world, as well as the relationship between China and the world of modern academic significance.

===Current Situation of Chinese Classics Translation===
As the carrier of China history and culture, the translation of Chinese classics further promotes the cultural exchange between China and the world. In the late 20th century, the National Library of China (NCLC) was established. The "Great China Library" is a major publishing project listed in the national plan and supported by the national finance. This project is officially regarded as the first major cultural project in the history of our country to systematically and comprehensively introduce the collation and translation of China ancient books to the world. It is also a basic project to carry forward the excellent traditional culture of the Chinese nation.In recent years, the academic attention to the translation of classics has increased significantly, and the publication rate of relevant articles has also increased. Although these articles have different intentions, emphases and academic contents, they reflect that the translation of Chinese classics has become a hot topic in the translation circle in China. With the continuous development of the depth and breadth of Chinese classics translation studies, new progress and trends have emerged in terms of scope and perspective. According to Chen Li (2014), this new progress is mainly reflected in two aspects: (1) The number of papers has increased steadily, especially in recent three years, compared with previous years, the number of papers published has increased significantly; (2) The relevant research of domestic scholars mainly focuses on the English translation of Chinese classics, the time of translation of Chinese classics by applying translation theory, and the standards, principles and strategies of English translation of Chinese classics. However, in fact, Chinese cultural classics are still rarely known to the world. "Statistics show that there are about 35,000 kinds of classical books in China, but only about two thousandths of them have been translated into foreign languages." Thus, it is not easy to make Chinese cultural classics go out. The translation of classics into foreign languages still faces great challenges. The research of Ye Huijun and Chen Shuangxin (2015) shows that in the process of translating classics into foreign languages, there is an imbalance in the translation of terms in classics and related studies, which is mainly reflected in the following aspects: (1) the imbalance between the translation of cultural terms and the translation of classics, the former's attention and research results are much less than the latter; (2) that selection of term source is unbalanced; (3) imbalance of target language; (4) cultural terms translation study itself is not balanced. Therefore, the relevant departments need to develop practical and specific measures to implement, to carry out a full range of multi-angle study, to achieve China cultural classics "going out," there is still a lot of work to do.
With the implementation and promotion of China's book promotion plan, Chinese culture going global, Chinese cultural works translation and publishing project, Chinese literature overseas dissemination project, China National Knowledge Network international publishing project, National Social Science Fund Chinese academic translation project, Chinese ideological and cultural terminology dissemination project, the belt and road initiative and other strategies, the State Administration of Press, Publication, Radio, Film and Television recently joined forces with the central and state organs, the Propaganda Bureau of the Political Work Department of the Central Military Commission, the competent units of various publishing units, The publishing group launched the Classic China International Publishing Project, Silk Road Book Fragrance Project and Chinese Contemporary Works Translation Project, aiming to "launch more export-oriented fine books that tell Chinese stories, spread Chinese voices and explain Chinese characteristics, so that overseas readers can know, understand and understand China through Chinese books, and effectively improve the soft power of national culture"(State Administration of Press, Publication, Radio, Film and Television 2017).Later, the General Office of the CPC Central Committee and the General Office of the State Council issued the Opinions on Implementing the Project of Inheriting and Developing Excellent Traditional Chinese Culture, which aims to "adhere to the position of Chinese culture, absorb Chinese wisdom, inherit Chinese cultural genes, carry forward Chinese spirit, spread Chinese values, and continuously enhance the vitality and influence of excellent traditional Chinese culture" and "safeguard national cultural security and enhance national cultural soft power"(General Office of the CPC Central Committee and General Office of the State Council 2017).Therefore, the translation of Chinese cultural classics is facing an excellent opportunity for great development.

===Difficulties in the Translation of Chinese Cultural Classics ===
It is difficult to ensure the quality of translation of Chinese cultural classics because some translators do not have the relevant knowledge of cultural transmission and translation, and blindly pursue speed. Many people think that they can engage in translation activities if they know and understand a foreign language, so the return is not proportional to the government's investment, and at the same time, it has not reached the original intention and established goal of the state to publicize Chinese culture to the world by translating Chinese classics into foreign languages. As Qian Dingping evaluation zhi-wei feng's "the history and present situation of Chinese characters"(1994) of the Greek translation: "The traditional culture of our country is the most important part of our national culture."But to observe, the effort to the great and the effect to the small.All in all, the translation of Chinese cultural classics exist the following problems: (1) inadequate preparatory work for translation of Chinese classic: first, did not grasp in what circumstances what works by whom translation, accept how, what works to be translated; Second, they failed to identify the "tastes" and needs of the target audience, so the former Soviet Union, Russia and South America Paraguay ignored Chinese and foreign translation works and abandoned them on the pile of waste paper. This is an important lack of mapping work. If they still blindly choose their own intentions to translate and introduce, the result is likely to repeat the same mistakes. (2) no full and comprehensive understanding of the objective reality of the current translation work: the scale of foreign language training in China has been greatly improved compared with the past, but the foreign language ability and level of the current "talents" cannot meet the requirements of conveying Chinese culture. Not only can they not read through ancient books, but they also do not have the basic knowledge of national culture. What's more, some people are not familiar with the languages of ethnic minorities, nor understand the cultural traditions of ethnic minorities, so they are forced to do secondary translation through Chinese translation. However, the total number of ethnic minority books and records exceeds 8,000. The Chinese translation of less than 1000, even if the interests of the meter is feasible, it can not complete all the ethnic minority classics translation of this arduous task. (3) no understanding of the target audience's recognition and identity issues: even if the translation of classics can reach the same level as foreign scholars, the target readers do not trust Chinese publishing institutions and hold prejudice against the level of Chinese translators, which inevitably doomed the fate of translation of classics into foreign languages. Moreover, due to the limitation of subjective and objective factors, most of the translations are planned to be published and distributed by relevant domestic publishing houses, which makes it difficult to enter the foreign target group market. As Yang Junfeng said at the 5th International Forum on Language, Literature and Translation in Northeast Asia: In the United States in northern Illinois, all libraries, in possession of English translation of Chinese cultural classics, the proportion of less than one-third, and on these are mostly Chinese or English native speakers of the translation, which to some extent also reflects the Chinese cultural classics English translation of recognition with the problem. (4) unfavorable publishing and marketing: good translation works also benefit from feasible and effective sales channels in many ways. At present, the foreign translation of Confucian classics mainly relies on domestic publishers for active export, the sales channels are limited, and no time, energy and financial resources are not spent on publishing and marketing, or the work in this area is not enough, resulting in the target readers in the translation and language culture system have little understanding of the translation and introduction literature exported in China, and cannot build an effective communication and connection between the translation literature and the translation language culture system. Translated literature in a marginal position must move away from its weak position and move closer to the central position, except that it depends on translation. In addition to the unchangeable state of the language and culture system itself, it is also necessary to rely on certain external forces, such as increasing the interaction between translated literature and internal factors of the translation language culture system, and enhancing the understanding and recognition of translated literature by translated readers, which can be completed with the help of effective marketing means. At present, the foreign translation of Confucian cultural classics only follows the old traditional translation and introduction method: topic selection - translation - publication and distribution, and insufficient efforts have been made in effective publication marketing, resulting in the low awareness of the Translated Confucian cultural classics in the target culture, which is not conducive to the other party's understanding and acceptance of our translation works. In the future process of foreign translation of Confucian cultural classics, multi-channel marketing and publicity means can be adopted, such as making full use of the network platform and adopting various forms of interactive activities to enable target readers to further understand the Confucian classic cultural works exported by China, so as to expand the awareness of the cultural classics exported by China in the translation language and culture system.In view of these practical problems, we may refer to the Indian Buddhist scriptures into the experience, as well as the late Ming Dynasty and foreign missionaries translated Chinese cultural classics lessons learned. This paper trys to provide some useful promoting and teaching suggestions for the translation of Chinese cultural classics.

===Reasonable Approaches to Promote the Translation of Chinese Cultural Classics ===
At the beginning of the introduction of Buddhist scriptures, the mode of interpretation and oral interpretation by Buddhist monks and written records by Chinese people were adopted, and the concepts and terms of Confucian and Taoist classics were used to convey Buddhist scriptures, so as to close the distance between Chinese Buddhist scriptures and Chinese audiences psychologically and achieve the purpose and goal of Buddhist dissemination.Foreign missionaries also adopted the mode of translating Buddhist scriptures into Chinese, first oral by missionaries and written down by China believers, then learning Chinese and translating the Bible in person.Missionaries translation of the bible, follow the experience of buddhist scriptures using Confucianism and Taoism classic words, first use buddhist terms convey the bible thought, the result is not very ideal, hence to Confucianism, Taoism words convey the bible thought, achieve the purpose of han missionary.(Xu Guangtai 2008:20) The success of the translation of Buddhist scriptures and the translation of the Bible borrowed the resources and talents of the target audience countries, which was not only of great reference at that time, but also of some inspiration today. In The translation of China language of literature (The Language and Literature of China: Two Lectures) (1875), the pen is found: Both James Legge's translation of The Sacred Books of The East (1879) and The Orphans of Zhao, the first to be put on the European stage, were translated by native speakers or by native speakers and Chinese scholars.In addition, there are three "meta-hybrid anthologies" published in the United States States between 2010 and 2014, which are translated into English by native speakers and co-translated by Chinese and native speakers. These works are highly recognized in the United States and have been widely disseminated.Therefore, the author of Buddhist translation and missionary translation of 'Bible' lessons learned and related overseas Sinology is made as a reference to make the following reference recommendations: (1) The modes of carrying and disseminating the translated works of classics can adopt flexible modes according to the time, people and circumstances. We should not only adhere to the traditional print media as the means, but also adopt non-traditional media-self media, mobile phone network, cultural exhibitions, cultural relics exhibitions, expositions, book fairs, film festivals, populist performances, sports activities, tourism promotion and brand activities organized by overseas China cultural centers, Confucius Institutes and other governmental and non-governmental organizations. It is also necessary to expand the target audience with the variation mode based on ancient books, such as songs, songs, dances, dramas, plays and other popular literary and artistic forms. (2) The contents of the translated classics can be based on the original classics, but in order to achieve the purpose of easy acceptance by the audience and obtain the greatest impact, the translator can be flexible and flexible, and does not have to adhere to the faithful translation, but can change, compile and extract the translation, which also follows and embodies Deng Xiaoping's concept of economic governance,"No matter whether the cat is black or white, it is a good cat that catches mice." (3) The mode of cooperation between the government and non-governmental organizations and individuals as well as Chinese and foreign subjects can be adopted for the translation of classics into foreign languages: First, adhere to the government-led model, the Chinese and overseas Chinese as the main body of the non-governmental organizations to unite in, at the same time to achieve constant and moderate monitoring; Second, will be dominated by China publishing agency, to sino-foreign cooperation as the leading, government agencies responsible for the audit and supervision work; Third, unite sinologists, publishers, middlemen (such as copyright agents) and overseas students, change the main body of China translators to the composite body of Chinese and foreign translators, and use the trust and influence of overseas people to invite them to be the voice of Chinese culture so as to better serve Chinese culture. For example, the Germany Sinologist Gu Bin wrote the German version of the History of China Literature in the 20th Century, which was published in the Chinese translation by East China Normal University Press in 2008. United States professor mulberry mission to China (Sabina Knight) and Jin Kaijun (Karen Kingsbury) writing "essence of Chinese Literature theory"(Chinese Literature: A Very Short Introduction), etc.Overseas sinologists can read China cultural classics, read thousands of modern literary works, write works of Chinese literary history, and publish them in various countries at home and abroad. The reading level of sinologists can be seen, which is just the external force that can be relied on for the translation of Chinese cultural classics and the going out of Chinese culture.As stated in the Opinions (2017):"Promote international sinology exchanges and cooperation between Chinese and foreign think tanks, strengthen the international promotion and dissemination of China publications, support sinologists and overseas publishing institutions to translate and publish Chinese pictures and books, and rely on overseas Chinese, cultural and sports celebrities, and outbound personnel from all walks of life, relying on China's overseas institutions, Chinese-funded enterprises, friendly and cooperative institutions with China, and Chinese restaurants around the world to tell Chinese stories, spread Chinese voices, and explain Chinese characteristics well. Specifically, the China-foreign cooperation model can invite overseas translators, overseas Chinese, humanities and social researchers who do not understand Chinese culture, especially overseas sinologists, to cooperate. The Chinese are responsible for interpreting classic works, and the sinologists are responsible for transcribing the translation, jointly refining the translation, and submitting it to the relevant government departments for final review; Invite overseas Chinese culture lovers, researchers and Chinese cooperation, Chinese scholars responsible for the classic content, foreign scholars responsible for the transcript of the translation, and then by the Sinologist scrutiny translation, submitted to the relevant government departments audit; Scholars in foreign language circles should refer to existing materials to translate relevant classics and submit them to foreign scholars or relevant China departments for examination and approval. In addition, overseas sinologists (such as Du Bin of Germany, Fu Yunbo of Canada, Du Boni Australia, etc.), Chinese culture lovers, overseas Chinese (such as Shen Guowei Japan), high-level Chinese translators (such as Mr. Xu Yuanchong of Peking University, Professor Yue Feng of Fujian Normal University, China academy of social sciences professor zhu hong, etc.) separate translation, the Chinese government funding, at the same time held the work before publication audit; Encourage the establishment and improvement of international copyright dealers and agents system; Encourage overseas publishing institutions such as Colombia University Press to come to China to solicit foreign translation business, and boost the international publishing, sales and cooperation path of China publishing institutions; Strengthen and enhance the translation and introduction of China cultural centers, Confucius Institutes, non-governmental organizations, Chinese students, visiting scholars, students and visiting scholars in China. For the translation and introduction of Chinese students and visiting scholars and related activities, the government can provide financial support, assign collaborators who are familiar with the contents of the works, and assist them in publishing translated works. Finally, it can also cooperate and cooperate with famous foreign journals by professors with international reputation. We should set up special columns on the translation of China classics into foreign languages, the study of Chinese classics, and the study of overseas Sinology to promote the strategy of Chinese culture going global. No matter which model is adopted, the government departments must keep a close watch on the examination and approval. Therefore, it is suggested that the government set up a Chinese classics translation examination committee composed of experts from foreign languages and Chinese languages in the China Foreign Languages Bureau or other relevant departments to be responsible for the examination and revision of the translations of Chinese classics and make professional evaluations of the translated texts. Provide professional advice and guidance on issues arising from the translation.
Among the above-mentioned main cooperation modes, the first one is the best way for ancient classics to go out. Overseas scholars, especially sinologists, can be invited to visit China. The additional condition is that cooperation with China scholars to translate classics can not only enrich the scientific research strength of universities or relevant institutions, but also find foreign well-known publishing houses to publish translations with the help of joint translators and their relations, so as to promote the translation of classics with their influence. The purpose of publicizing Chinese culture to the world is achieved; Article 2 is due to cost and various subjective and objective factors, Sinologist cannot come to China, the record of the translation work by the China foreign language scholars do, the Sinologist is responsible for the embellish color translation, can be attached to the revision of names, in an attempt to use its influence, looking for a well-known publishing house translation, expand the sales of translation, and achieve the purpose of promoting Chinese culture; The third is the last resort. If the translation is successful and the relevant foreign publishing houses are selected, the purpose of promoting China culture can also be achieved, but the effect will not be as good as the first two.It can be seen that sinologists and overseas lovers of China culture are effective resources worth using to let Chinese cultural classics go abroad.finally, that translation of China cultural classic should learn from the experience and lessons of the translation and publication of classic after 1949, take into full consideration the autonomy of the target readers, the readers 'read psychology and language habits, and pay more attention to the correspondence of terms in the classics, or make up their own terms. or use that inherent term of the target culture to supplement the relevant knowledge in the form of annotation.
In addition, we can also focus on the reader's needs, the characteristics of the translation, the translator's identity, the style of translation, the way of presentation, the way of promotion and other related factors.1)Readers 'needs.Because the reader identity background, education background, reading habits is not 86 figure 4 classics translation dissemination elements analysis, the demand is quite different.The translation of classics into foreign languages shall give consideration to the integrity of information and the acceptance of readers. While providing full-text translation, it shall also provide versions with low reading difficulty, such as section translation, selected translation, excerpt translation and translation compilation, so as to provide readers with a short time to get a full picture.For example, the book Chinese Wisdom (Zhang Zheng 2019) selects famous sayings from Chinese classics and publishes them in both Chinese and English, with pinyin, interpretation and provenance, so that English-speaking readers can quickly understand the essence of Chinese studies and the general appearance of classics.Both the "desk book" and the "pillow book" are indispensable carriers of classics, and the full translation and the verse translation are in parallel, providing readers with more choices.2)the characteristic of that translation.The selection of the completed translation to promote, not only to pay attention to the Chinese nation's literature and philosophy books, but also to pay attention to ethnic minorities and other disciplines books, constitute a complete system of Chinese classics translation promotion.At the same time, we should pay attention to the choice of translation to match the latest research results of scholars at home and abroad, so as to realize the synchronization of academic achievements and the promotion of classics translation.3)The translator.Translators can be overseas sinologists, Chinese translators with overseas living and working backgrounds, or China scholars and translators. Chinese-foreign cooperative translation mode or Internet crowd translation mode, which has become increasingly popular in recent years, can be adopted.In the process of translation promotion, the promotion plan can be formulated according to the characteristics of the translator.4)Translation style. In the translation of the text to promote the process, should pay full attention to the differences in translation style. Such as 'On the language' of the most influential English translation, James Legge (Legge 1861) version of the academic is stronger, and waley (Waley 1938 edition is more inclined to popular books. Two United Kingdom Sinologist, but because of different goals, translation strategies reflect the greater differences. Targeted to recommend to the reader community to achieve the exact match between the translation and the reader. 5) Presentation. Classics translation of the presentation is not limited to the traditional paper media, but also can use electronic publishing model, easy to carry and spread, To provide more convenience for readers. Social networking platforms can also be used to provide elite versions of Chinese classics for foreign translation to meet the needs of fast-paced and fragmented reading. 6) Promotion methods. Try to combine various modes such as official promotion, publishing house promotion, education institution promotion and celebrity recommendation promotion, and grasp the prominent characteristics and interrelations of various modes, which can provide new ideas for the combination and implementation of communication methods. Introduce the "agenda setting" theory into the translation and communication of Chinese classics. Instead of setting a universal model applicable to all classics and readers of all countries, it emphasizes the clarity of communication purposes and the diversification of realization methods, actively looking for communication opportunities and flexibly configuring the above factors to achieve the best effect.

===Thoughts the Teaching in the Translation of Chinese Cultural Classics===
The discussion of the translation of classics into foreign languages is naturally closely related to translation studies.In the field of translation, most foreign scholars pay attention to the direction of "foreign language-mother language," because foreign scholars subconsciously believe that they can fully grasp the quality and quantity of translation by relying on their mother tongue ability.Before the Republic of China, China scholars, like foreign scholars, paid attention to the observation and elucidation of the phenomenon of foreign translation, such as Yan Fu, Lin Shu, etc.dure that period of the republic of China, Zhang Shizhao, Hu Yilu, etc. all considered translation problem from the perspective of translating Chinese into foreign languages.since 1949, foreign language talent strategy and foreign propaganda have become important issues of national security, so we pay attention to the phenomena and problems of Chinese-foreign translation, strengthen the teaching of Chinese-foreign translation, and gradually form a modern teaching mode of Chinese-foreign translation with disciplinary significance. As far as the relationship between the demand for C-E translation and C-E translation teaching is concerned, the content, mode and quality of C-E translation teaching cannot keep up with the demand of C-E translation market, which means that C-E translation teaching in colleges and universities should gradually move towards marketization.In order to make Chinese-foreign translation teaching in universities market-oriented, it is necessary to take the road of "government-school-enterprise-school-inter-school" joint training, which is slightly similar to the current MTI training spirit.to break the single teaching content, can not be limited to literary genres, and reference translation can not be limited to domestic publications or famous examples, but to choose moderate difficulty of political economy, science and technology, military equipment, social history, folk customs and other aspects of the material, or directly with the translation market materials, so that students early understanding and adaptation to the translation market.The author argues that translation activities and teaching should be practical in nature, and that translation workshops should be set up to enable students to deal with the translation market. Teachers should play the role of guidance, assistance and supervision, and help students develop their independent abilities in project management, technology application and literature reference. Therefore, it can only be improved through practice. Finally, the college translation teaching teachers must face the ability and professionalism. Translation teachers must have the ability to understand the cultural classics, especially the China traditional cultural classics, not only to understand the allusions and technological inventions, but also a wealth of encyclopedic knowledge, that translation teachers must be a man of letters. In addition, the translation of foreign teachers need to have good skills, Third, China of C-E translation should be able to arouse students 'enthusiasm, assist students in consulting materials, and guide, evaluate and revise their translations.

===Conclusion===
The translation of classics into foreign languages is an act of cultural communication. It plays an important role in enhancing national cohesion, maintaining national unity, maintaining national cultural diversity, building up the Chinese nation community, and enhancing the soft power of Chinese culture ... It is an important means of "cross-border minority languages and cultures" protection, development and cultural communication in the "Belt and Road" language paving.At the same time, the translation and communication of classics have the multi-disciplinary attributes of ethnology, classicism, translatology and communication, and the relevant research and practical operation are complex, important and urgent, which deserve more attention and attention. It is hoped that more experts and scholars will participate in the research, carry out continuous research from multiple angles and create a new situation for the translation and communication of classics.
Based on the previous translation of Chinese cultural classics facing a variety of difficulties, this paper attempts to put forward the translation of Chinese cultural classics into a variety of paths, such as: Promotion of an international copyright dealer and agent system for domestic publishers and individuals; Promote the international publishing and sales path of domestic publishing institutions; Promote the translation and introduction activities of Chinese culture China cultural centers, Confucius Institutes, cultural departments of overseas institutions and non-governmental organizations, especially the dissemination of Chinese culture through various media, at multiple levels and in various forms; Promote Chinese cultural translation and related activities for China students, visiting scholars, students coming to China, visiting scholars and investors; Encourage multiple forms of translation, such as China translators and overseas translators, especially overseas sinologists, Chinese translators and overseas publishing agencies, overseas Chinese and native speakers, overseas Chinese, native speakers, Chinese high-level translator's cooperation, collaboration and independent interpretation; Finally, in the path of the translation of Chinese culture, I hope this paper can play a role in attracting more and more complete research results.

===References===
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·Huang Xinyan, Wu Di.黄新炎,吴迪. 中国优秀典籍外译的传播与思考——以上海外语教育出版社汉英对照版四大名著为例[The Dissemination and Reflection on the Translation of China Excellent Classics-A Case Study of the Four Great Classics in the Chinese-English Edition of Shanghai Foreign Language Education Press]. 出版广角Publication Wide Angle,2018(21):64-66.

·Chen Zhongwei, Wang Fuyin.陈仲伟,王富银. 中华文化典籍外译传播障碍研究[A Study on the Barriers to the Translation of Chinese Cultural Classics]. 海外英语Overseas English,2019(01):90-92.

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==比较文学与跨文化研究 MAHZAD SADAT HEYDARIAN 202021080004 MW==
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Academies of Classical Learning

The Shūyuàn (书院), usually known in English as Academies or Academies of Classical Learning, were private research and educational institutions in ancient China. They were built as early as the eighth century and flourished during the tenth and eleventh centuries with the support of various Emperors. The Shuyuan were not only centers for the compilation and study of classical literature, but were crucial for the development of Confucianism and Neo-Confucianism; notable Confucian thinkers such as Zhu Xi and Wang Yangming developed their ideas and taught at the Shuyuan.

==外国语言文学 Muhammad Numan 202121080002 CE==

==英语语言文学 TOURE MARIAM 202021080005 MW==

==外国语言文学 UDDIN NIZAM 202121080007 CE==

Chinese Classics in World Literature: The Viewpoints of the West towards the Four Famous Chinese Novels

==翻译学 201911080004 SAGARA SEYDOU MW==

Chinese Classics in World literature . Anthologies and World Literary History Book