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20201228 trans

2020-12-27T10:19:44Z

Yang Hairong: /* Li Lili 李丽丽 */

==Cao Runxin 曹润鑫==
'''Zhu Ziqing'''

A third example, where an author shows another face in his essays is Zhu Ziqing. He is known as the author of the most often reprinted story-like Chinese essay "''Back View''" (Beiying), a standard school text. The success of this essay lies in the fact, that it applies to filial pity. From the reported fare-well scene with his father at the train station, he learned that his father loved him and that he had grown-up too now.
==Chang Huiyue 常慧月==
This self-reflective essay helped Zhu to find himself through the observation of the other (here his father). The 2nd often printed essay is also from Zhu. Parallelistic and repetitive structures are the driving factor in the atmospherical nebulous lyrical landscape desription "''The Moonlit Lotus Pond''", whose style easily may seem mannerist to the Western reader.

Zhu Ziqing supposedly opposed all political engagement and, wrote about unspectacular things. In Taiwan he became a type of substitute for the categorically refused state writer of the People’s Republic, Lu Xun, mainly because of Zhu’s supposed political independence.
==Chen Han 陈涵==
I would like to show with three examples that Zhu had absolutely clear political ideas: He had taken part in the demonstration March 18, 1926, which ended in a massacre. Zhu described this in ''"Report On the Massacre of the Government''"[ (Zhizhengfu da tusha ji).].

''Shots were still being fired, and the entrance of the east gate was packed with people. [...] Pushing and shoving, we climbed over them with great effort. We must have lost our senses then, not seeing, to our shame, the grotesqueness of our action. ''

我想用三个例子说明，朱自清有绝对明确的政治思想。1926年3月18日，他参加了示威游行，这场游行最终以屠杀告终。朱自清在《执政府大屠杀记》中对此进行了描述。

''这时枪声未歇，东门口拥塞得几乎水泄不通。[...] 我们便推推搡搡，拥挤着，挣扎着，从他们身上踏上去。那时理性真失了作用，竟恬然不以为怪似的。'' --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 26 December 2020 (UTC)

==Chen Hui 陈惠==
''[...]I was still walking on top of the people. No one dared to miss a single step, filing through the gate that divided safety from danger, one that would give us life or take our lives away. [...] My efforts finally brought me down to the ground, sealing my fate as I rolled down from the human pile. [...] I learned later that some of the people by the gate were dead, killed by the pistol squad firing from the other side of the gate. When I recall stepping over dead bodies, I cannot help but tremble with fear. [...]''
==Chen Jiangning 陈江宁==
From this experience, Zhu addresses directly the repsonsible political leaders:

''Duan Qirui, you must think about it! [...] How could we explain this to the world? [...] Granted, Duan Qirui and others could commit such atrocities without a thought; but how could we, the people of China, face the world with such a shameless government? [...] We, [...], must ask, „So many were killed—what should we do?“''
==Chen Jiaxin 陈佳欣==
In contrast, Lu Xun has portrayed the same massacre with sighing undertone and Zhou Zuoren bitter-humorously in his "''Ways to die''"[ (Si fa).] - in which he finds "to be shot" the best method to die. The supposedly less politically engaged Zhu shows here more engagement.

The essay "''Facing the New China''"[ (Xin Zhongguo zai wang zhong).] is Zhu's political manifest: He asks for democracy, enlightenment and an increase of the education level.
==Chen Jingjing 陈静静==
''China has to be born again through democratization. [...] The people should express their own will, concentrate on their own strength. Every level of administration should build up on the expressed will and strength of the people and struggle for the majority and its greatest happiness. This means that the people govern, the people own, the people enjoy.''

A few weeks before his death, he demanded in the speech ''"Today's duty of the Intellectuals''"[ (Zhishifenzi jintian de renwu).] the participation of the intellectual in the struggle for a better society.
==Chen Sha 陈莎==
With only a handful of essays I have demonstrated, that the picture of these three authors changes substantially, if we read carefully also their less known essayistic work. Imagine now how the picture of 20th century Chinese literature might change, if the literary histories and anthologies would not only tell the history of drama, fiction and poetry, but would also grant the essay its proper place. The following part of my paper are results of my monograph on the 20th century Chinese essay.
==Chen Sunfu 谌孙福==
'''The essay boom as a mirror reflecting growing individuality, participation in the public sphere, and the giddy-paced character of modern Chinese society'''

Acquiring an overview of the essay and assessing its essence has required extensive research in bookstores and libraries, in the People's Republic of China, Taiwan, Hong Kong and the United States for available resources in the form of essay book collections as well as secondary literature dealing with the essay.
==Chen Yongxiang 陈永相==
I built a database for a statistical analysis to rank more than 5000 essays and 1400 essayists. It turned out that out of the top 60 most famous Chinese essays only 14 had been translated into English so far. The forthcoming collection of Tam King-fai adds 4 and my own one the remaining 42.

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report[ (baogao wenxue) (Klaschka 1998).].

我建立了一个用于统计分析的数据库，对5000余篇散文和1400名散文家进行排名。事实证明，迄今为止，在中国最著名的60篇论文中，只有14篇被翻译成英文。谭景辉即将出版的散文选集另有新翻译的4篇，我自己则翻译余下的42篇。

分析表明，自1979年以来，总体上来说，散文发表有所增加，在“文化大革命”之后还出现了两次热潮，在1990年达到了新的高度。首次增加出现在20世纪20年代和30年代，此后便被报告文学所取代（Klaschka 1998）。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:41, 27 December 2020 (UTC)

==Cheng Yusi 成于思==
The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous essay bookseries[ sanwen congshu 散文叢書.].

The reason for the increase in essay production, which we can date right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in the sampling of 130 ‘representative’ books I was able to collect for the survey. There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s:
==Deng Jinxia 邓锦霞==
1, The giddy-paced nature of current Chinese society with its demands for diverting and short texts, as Hall has put it: “[...] we live in an age of exposition”[ (Hall 1984:xiii).].

2, The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands.

3, A revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.
==Ding Daifeng 丁代凤==
If we look carefully at essay collections not only published in the United States, but also in Hong Kong, Taiwan and the People’s Republic, we find the following three reasons for the under- and overestimation of single essayists or essays which correspond to regional differences:

1, EXOTIC In the United States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.

如果我们仔细观察在美国出版的，以及在香港、台湾和中华人民共和国出版的散文集，我们会发现以下三个原因导致人们低估和高估了回应地域差异的单个散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，完全不知名的作者和老牌作家拥有一样多的空间。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:37, 26 December 2020 (UTC)

如果我们细细研读在美国出版的，以及在中国香港、台湾和大陆出版的散文集，我们会发现以下三个原因导致人们因地域差异而低估或高估了某些散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，名不见经传的作者和著名的作家拥有同样多的市场。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 26 December 2020 (UTC)Mo Ling

==Fang Jieling 方洁玲==
2, SOCIO-POLITICAL In Taiwan, Lu Xun has been banned for a long time, but today, as the mentioned survey proofs, he ranks 12th among modern authors there. Wang Meng has been overestimated in the People’s Republic of China due to his political post.

3, PERSONAL Hong Kong literature on Yu Guangzhong has been censored by his disciple Huang Weiliang in favor for Yu.[ (see Lin Yaode 1989:50).]

Having named reasons for the essay boom and for the support for and the suppression of different actors in the cultural field of the essay, I would like to finish my paper by naming a few trends of the essay as they appear at the eve of the century.
==Gan Fengyu 甘奉玉==
The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consumer-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".
==Gao Mingzhu 高明珠==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("''On dreams''"[ "Shuo meng 說夢" On dreams in: Zhu Ziqing 1928.]) and Zhou Zuoren from 1917 ("''My own garden''"[ 9.1923.], "''The Fly''"[ 1924.], "''Reading on the Toilet''"[ 1936.]), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the newly encountered world of mass consumerism.
==Gong Yumian 龚钰冕==
In the end of this century not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. Among the upper list places of the political essay after 1949 there are critical essays. For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.
==Gu Dongfang 顾东方==
A sign for the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation for customers (former: "readers"). Following the emotional essays of Zhu Ziqing who rank 1st and 2nd, ''nostalgia'' is the element of emotional identification in "''Wild vegetables of my home region''" by Zhou Zuoren, which ranks 3rd[ In Jia Pingwa's "Moon traces", which ranks 11, and in Ba Jin's "''Paradise for Birds''", which ranks 19]. Therefore one can state, that moving essays form the top.
==Guan Qinqing 管钦清==
In 1927, Chinese literature took the form of 'engaged literature'. In the 1980/90s, the discussion of politics in daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. In the later half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife.
==Gui Yizhi 桂一枝==
In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only remiscent element left is the patriotism.[ ''Trends like the use of ordinary language'', which one finds in novels since 1993 (''Jia Pingwa'', Feidu; ''Gu Cheng'', Yingger) and New Borderlessness since 1995, cannot be proven in the essaywriting.The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable ''object d'art''.]

上个世纪90年代，80年代的政论文随笔文化逐渐隐没了，唯一剩下留有想象空间的元素就是爱国主义。[“比如使用普通语言的趋势”，这是从1993年以来在小说中发现的（“贾平凹”）费杜，古格，英格）以及自1995年以来，《新无边际》都无法在论文写作中得到证明，我们之所以没有找到后现代小说意义上的后现代散文，是因为文章的直接性：随笔作为一种体裁，是作者和读者之间的对话，而不是想要引起不同解释的原因或可能依赖于特殊形式或内容甚至是按顺序引用前现代特征的艺术品，这使它成为一个与众不同的“艺术品”。]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 13:06, 26 December 2020 (UTC)

'''References''' [partly mentioned with German translation] （不用翻）

Vera Schwarcz 1996, Vera Schwarcz, "The pain of sorrow: public uses of personal grief in modern China", in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)

Ba Jin 1982, Ba Jin: "Yi feng huixin 一封回信" (Ein Antwortbrief (26.10.1982)), in: Bing zhong ji 病中集 (Auf dem Krankenlager), Hongkong 香港 1984(?) (Series Suixiang lu 隨想錄 (Thoughts) Bd 4), 147 pp.

Ba Jin 1982a, Ba Jin: "Yi pian xuwen 一篇序文" (Ein Vorwort) [dated 1982.9/10], in: Ba Jin: Auf dem Krankenlager 1984

Ba Jin 1956, Ba Jin 巴金: "Duli sikao 獨立思考" (Unabhängig denken), in: Li Jisheng 李濟生, Li Xiaolin 李小林 (Hgg.): Ba Jin liushi nian wenxuan (1927 - 1986), Suixiang lu, zagan, sanwen, xuba, yanjiang, shuxin 巴金六十年文選（１９２７－１９８６）隨想錄·雜感·散文·序跋· 演講·書信 (Ba Jin. Werkauswahl aus 60 Jahren (1927 - 1986), Gedanken, vermischte Gefühle, Essays, Vor- und Nachworte, Reden, Briefe), Shanghai 上海: Shanghai wenyi chubanshe 上海文藝出版社 (Literatur- und Kunstverlag Shanghai), 1986.12, S. 461 - 462 [Datiert auf 1956.]

Ba Jin 1962, "Zuojia de yongqi yu zerenxin 作家的勇氣與責任心" (Mut und Verantwortungsbewußtsein der Schrifsteller) 1962; der Essay von Zhou Zuoren 周作人: "Wenxue tan 文學談" (Über Literatur), in: Tan long ji 談龍集 (Über Drachen. Sammlung), Shanghai 上海: Kaiming shudian 開明書店 (Kaiming Buchladen) 1927.12, Nachdruck: Hongkong 香港: Shiyong shuju 使用書局 (Praxisverlag) 1972.1, 310 S., S. 165 - 167

Zhou Zuoren 1919, Zhou Zuoren, "Zuxian chongbai 1919 (Ancestor Worship)," in Early Essays, op.cit., pp. 78

Zhou Zuoren 1920: Zhou Zuoren 周作人, Xin wenxue de yaoqiu 新文學的要求" (The demand of the New Literature) [lecture], in Beiping shaonian xuehui 北平少年學會 (Beiping youth conference) 1920.1.6, in: Zhang Ruoying 長若英: Xin wenxue yundong shi ziliao 新文學運動史資料 (Material on the history of the New Literature movement), Shanghai 上海: Guangming shuju 光明書局 (Guangming bookstore) (1934.9) ²1936.9, 291-296

Zhou Zuoren 1923, Zhou Zuoren: Yanzhicao ba (Preface to Yu Pingbo's Yanzhicao), in: Yongri ji (Book of Eternal Day), Shanghai: Beixin shuju 1929, 180-181

Zhou Zuoren 1929, Zhou Zuoren: Ertong de shu (The books of children), in: Chenbao fukan (1923.8.17)

Zhou Zuoren yuanliu, Zhou Zuoren: Zhongguo xin wenxue de yuanliu (Sources of New Chinese Literature), p 71

Zhou Zuoren 1932, Zhou Zuoren: Lun baguwen 1932, in: Kanyun ji p. 148

Source: NEAAS annual meeting 10/09/1999 New Haven (Yale University)

==Guo Lu 郭露==
'''Modern Chinese Literature and the Essay Genre: A New Perspective'''

''Martin Woesler''

In this paper, I will not recount the contents and propose interpretations of any essays, nor will I outline the main topics or styles of essaywriting in China, but I would like to take the opportunity to reflect a little bit on the phenomenon of the genre itself and discuss some conclusions and hypotheses with the attentive and critical audience which can be found at only a few places on earth, EALC at Harvard definitely being one of them.

《中国现代文学与散文体裁：以新视角》

''吴漠汀''

在本文中,我将不再赘述任何文章的内容和提出的观点,我也不会列出其主要主题或风格,但是我想借此机会,反映一些现象本身的类型，并与包括哈佛大学学生在内的观众对一些结论和假设进行探讨。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:16, 25 December 2020 (UTC)

《中国现代文学与散文体裁：新视角》

吴漠汀

本文将不再赘述或解释任何文章的内容，也不会列出中国散文的主要主题或风格。我想借此机会，反思体裁现象，同乐于助人、至关重要且世间少有的读者，包括哈佛大学东亚语言和文化学院的学生，对一些结论和假设进行探讨。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:28, 25 December 2020 (UTC)

==Han Haiyang 韩海洋==
'''1. The unknown genre'''

The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. In my paper I will ask, if the picture of literature can remain unchanged, if we take into consideration also the essay. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90, McDougall 1998);

'''1.未知体裁'''

二十世纪文选和选集里的文学史的叙述对于整个中国文学来说是不完整的：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:09, 26 December 2020 (UTC)

'''1.未知体裁'''

20世纪选集所讲述的文学历史叙事，描绘了一幅不完整的中国文学图景:：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:30, 26 December 2020 (UTC)

==Han Wanzhen 韩宛真==
whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement. Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.
==He Changqi 何长琦==
'''Excursion: Defining the essay as a non-fictional subjective representation in a free form'''

Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (non-fictional prose)), lyrics (shige) and drama (xiqu). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term "wu yunwen" which corresponds to the term "epic" in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.
==Hu Baihui 胡百辉==
In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet. The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.
在抒情诗中，读者被鼓励去感受当下的感觉，并且常常是诗人的忏悔式的感觉。戏剧直接在独白或对话中回忆起一个自足的动作，以这种方式释放了读者/观众重新创造的想象力。散文作为史诗的一种体裁，是一种超脱的、非虚构的、自由形式的主观表现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 02:29, 27 December 2020 (UTC)

在抒情诗中，鼓励读者感受诗人当下的感觉，且这种感觉常常是诗人的忏悔。戏剧直接以独白或对话的方式回忆一个自足的动作，并通过这种方式释放了读者/观众再创造的想象力。散文作为史诗的一种体裁，是以自由的形式进行的一种分离的非虚构的主观表现。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:11, 27 December 2020 (UTC)

==Hu Huifang 胡慧芳==
"Essay", Chinese mostly ''sanwen'', is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Freedom in form and content is essential for the essay.
==Hu Jin 胡瑾==
Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, a subcategorization in numerous small entities, like Zheng Mingli does with the essay, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.
==Ji Tiantian 纪甜甜==
Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems. All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.
==Jiang Fengyi 蒋凤仪==

In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. This is a second hint that the modern Chinese essay belongs to the international genre of the essay.

在21世纪，世界共同发展，文化主要决定于现代化的水平。今天我们在刊物上看到的中国散文，已经具备了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文属于国际散文类别的第二个暗示。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 07:58, 25 December 2020 (UTC)

在21世纪，世界上的国家趋向于走到一起，而文化则主要取决于现代化水平。正如我们从现今报纸里面看到的那样，中国散文采用了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文开始趋同于国际散文体裁的第二个标志。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:27, 25 December 2020 (UTC)

21世纪，世界在共同成长，文化主要由现代化程度决定。我们今天在报纸上看到的中国散文，在形式和内容上都与西方散文相似，其目标群体也与之相似。这是中国现代散文属于国际散文的第二个暗示。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:44, 26 December 2020 (UTC)

在21世纪，世界共同发展，文化主要决定于现代化的水平。我们今天在报纸上看到的中国散文，已经呈现出西方散文的形式与内容，并且其目标群体也与西方散文不相上下。这是中国现代散文属于国际散文体裁的第二个迹象。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:17, 26 December 2020 (UTC)

==Jiang Hao 姜好==
Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 1992 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay).
==Jiang Qiwei 蒋淇玮==
Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it "Chinese"? In the occidental essay the form seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework.

除了首先由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文有独特本土的特征。中文散文如何形成其特有文化，其中文性又由何组成？和中文散文相比，西方散文的文章形式似乎是更重要的分类标准。在中国，甚至有些文章内容相似，但形式和类别大相径庭。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:06, 25 December 2020 (UTC)

除了最初由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文具有独特的本土特色。中文散文如何形成其特有文化，其中文性又由何组成？与中文散文相比，西方散文的形式分类标准似乎更重要。在中国，有些文章甚至是内容相似，但形式和类别大相径庭。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 25 December 2020 (UTC)

==Kang Haoyu 康浩宇==
This can be shown with Zheng Mingli, who subcategorises the "unfinished diary" or the "unfinished letter". Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Zheng Mingli: "essay in diary form" and "essay in letter form"), they are accepted as essays.
==Kang Lingfeng 康灵凤==
'''The Chinese understanding of the genre is tendencially broader'''

This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén'' "non-rhythmic prose", which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning "short literary essay pieces".

Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.
==Kong Xianghui 孔祥慧==
'''The Chinese essay is booming again in the 1980s and 1990s'''

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'').[ Klaschka 1998.] The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文叢書 (essay bookseries).
==Kong Yanan 孔亚楠==
The increase in essay production right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.

Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging xiangtu literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.
==Lei Fangyuan 雷方圆==
'''2. Why is the essay as abundant as fiction?'''

Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:

- The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political zawen of Lu Xun, until today are mostly presented in essay form). The impact on literary reflection and theory is shown in the collection "Modern Chinese Literary Thought" 1996. The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry. The poem is the genre of retreat from social life, from political issues and time references.
==Lei Kuangxi 雷旷溪==
Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of novel and opera in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.

- The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.

胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌依赖于形象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。

-散文也比诗歌和小说更能反映社会的趋势。个人主义在随笔中表现得比在诗歌中更直接，但在内容和形式上都有局限性。短文的短暂性体现在短文的形式上，可以在上班路上的地铁里读，而在地铁里读诗，可能就不能那么随性的享受了。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 26 December 2020 (UTC)Lei Kuangxi

胡适认为“诗”在现代化的过程中是最重要的，因为诗歌升华情感。但诗歌也依赖于意象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“散文”却能给事物命名，反映千变万化的生活。现代主体性就是以“散文”为工具建构的。

- 随笔也比诗歌和小说更能反映社会的发展趋势。个人主义在随笔中的表现比在诗歌中更直接，因为诗歌在内容和形式上对此有所限制。随笔的短暂性体现在随笔的形式上，人们可以在上班路上的地铁里阅读，而在地铁里读诗，可能就没有那么随性的享受。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:55, 26 December 2020 (UTC)

==Li Haiquan 李海泉==
- The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too. The essay itself a genre of high actuality, if not simply the genre of today.

- The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society. Many authors turned to essay writing in the later periods of their lifes, like Lu Xun, Ba Jin, and Wang Meng.
[[Media:Example.ogg]]==Li Lili 李丽丽==
- The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[ Shenbao, Shibao etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his ''zawen''), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang lu'' derived).

“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:54, 25 December 2020 (UTC)

“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报社是控制政府的机构；另一方面，他主张审查制度，报纸作为20世纪初的一个大众媒体，以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:19, 27 December 2020 (UTC)

==Li Lingyue 李凌月==
'''3. Let us assign the essay its proper place'''
The consequence which must be driven from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place! I will describe the beginnings of the discovery of the essay.
Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.
==Li Liqin 李丽琴==

In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).

20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。另外90年代的两次会议也没有趋于国际学术研究的动向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:54, 26 December 2020 (UTC)

==Li Luyi 李璐伊==
Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998) and for the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, ''Modern Chinese Literary Thought'' 1996).

Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.
==Li Meng 李梦==
In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode 1989:50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.

Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation.
==Li Yongshan 李泳珊==
Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai, Woesler) or already published (Pollard 1999). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. This year, scholars will meet on a first international conference on the essay (Achern, Germany August 25-26). In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays.
==Li Yu 李玉==
'''4. Taking into consideration the essay will rewrite the history of Chinese literature'''

I will give a few hints, what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Prusek and Anderson.

We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the ''yuanyang hudie pai'' played in the choir of different voices in the awoken intellectual debate in the beginning of this century.
==Lin Min 林敏==
The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.
==Lin Xin 林鑫==
In the following, I will name three aspects (chronologically sorted by past, modern and contemporary time) to hold the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.

'''5. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned'''

How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay are both in China and the West notes written on the margins of books, they are letters and travel notes.

下面，我将从三个方面(在时间顺序上按过去、现代、当代排序)来论述对散文的考量将改写中国文学史，改变我们目前对它的认识这一论点。

5. 古典和前现代散文记录了中国哲学，其早期的主体性，仍然是对中国本土传统的质疑。
中国散文在历史上要如何定位，它是如何产生的，它的共有背景是什么？一般来说，中国和西方的散文都是起源于写在书本空白处的笔记，是书信和游记。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:18, 27 December 2020 (UTC)

==Ling Zijin 凌子瑾==
These notes differed from the canonized literature through its informal style, its expression of individuality und subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.

From the very beginning, the essay was valued lower than poetry: the oldest reference this far for the term ''sanwen'' that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù.
==Liu Bo 刘博==
詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatels, is limited.) (''Helin yulu''). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.

In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge.

“詩騷妙天下，而散文頗覺瑣碎局促。”罗大京提到的另一个骂名，是形式上的：与具有高度艺术性和长达一个世纪传统的诗歌写作相比，散文中直接的、白话文式的语言在他看来并不那么有价值。
在西方，16世纪晚期出现了一种真正的“散文写作艺术”，作为一种传播重组知识的媒介。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:50, 27 December 2020 (UTC)

“诗騷妙天下，而散文颇觉瑣碎局促。”罗大经提出的另一个责难，是形式上的。在他看来，与高度艺术化的百年诗词写作传统相比，散文直接的、白话文式的语言没有什么价值。
在西方，真正的 “散文写作艺术 ”是在16世纪末作为重组知识的一种媒介出现的。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:30, 27 December 2020 (UTC)

==Liu Jinxingqi 刘金惺琦==
The reorganization originated from the observations of Kopernikus, which destroyed the whole conception of the world of the Middle Age.

In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters. The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of sǎn 散 as (to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''.
==Liu Liu 刘柳==
Xunzi delivered the prototype of the later essay with his philosophical treatises. They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.

During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written at the paper margins originated the ''biji'' µ§°O (occasional notes), flourishing in the Ming Dynasty.

荀子的哲学论著是后世散文的雏形，它们是哲学教学论文的早期形式。其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。

历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:25, 25 December 2020 (UTC)

荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，这些散文中传授的普遍定理不仅有引用经典著作，还首次借鉴其个人经历。这种个体性在当代的散文中仍有保留。

历朝历代，散文通过一些子类别得以呈现，如明朝盛行的在书页边上写的读书注释，它就是源于笔记。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:47, 25 December 2020 (UTC)

==Liu Ou 刘欧==
The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as a genre of its own originated in China not before the Qing ²M dynastie, when numerous essay anthologies were compiled.

Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences.

边缘主义是中西早期散文的一个纽带。散见的笔记包含了私人的历史记录，轶事，交谈和个人沉思。然而，尽管当时的散文选集众多，但将视散文作为一种文体的意识，清朝之前并没有出现。

考虑到当时的社会历史背景，人们在旧社会时，对短篇故事和小说的看法不同：散文更接近现实生活，因为它们表达了个人的困惑和经历。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:15, 27 December 2020 (UTC)

边缘主义是中西早期散文传统的一个纽带。偶尔的笔记可以包含私人的历史笔记，轶事，交流和沉思。然而，尽管当时中国散文选集有很多，一直到清朝之后我们才将散文视作一种文体意识。
考虑到当时的社会历史背景，人们对旧社会的看法与短篇小说和小说不同：散文更接近现实生活，因为它们表达了个人的问题和经历。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:43, 27 December 2020 (UTC)

==Liu Yangnuo 刘洋诺==
Until now, the Chinese pre-''Hongloumeng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.

Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the "Eight legged essay" as as appealing and intoxicating as the "pleasure of doing opium.'' (Zhou 1932:148).

目前为止，中国红楼梦前的个体文学还只是通过诗中的间接语言与我们对话。通过重拾散文，我们可以知晓不同观点和社会历史状况等文学创作的丰富源泉。
现代散文之前的文学并不限于形式上受限制的八股文，一方面鲁迅本人也有一些散文是用八股文写成的，但另一方面他又把八股文当作古代社会的代名词。周作人把 "八股文 "的语言节奏看作是 "做鸦片的快感 "一样令人陶醉。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 08:42, 25 December 2020 (UTC)

直到现在，中国前“红楼梦”的个体文学只能通过诗歌的间接语言与我们对话。重新发掘这些散文，我们可以拥有丰富的观点来源，社会历史图片等。

前现代散文文学不仅仅包括它最为人所知的例子，正式的、有限制性的“八卦文”。鲁迅自己的一些文章就是用“八卦文”写的，但是在另一方面又把它当作古代社会的同义词。周作人认为《八股文》的语言节奏就像“吸鸦片的快感”一样令人陶醉。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:07, 25 December 2020 (UTC)

==Liu Yi 刘艺==
But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, Zhou Yuanliu:71).

Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''Wenyi zai dao'' (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

新儒家强调''文''（散文）是传播''道''的最重要工具：''文以载道''（文以载道）。如果我们从文体的角度来重新解读这句话，我们可以说，当时的散文已经被视为表达真理、主体性和自我的重要工具。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:01, 25 December 2020 (UTC)

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

理学强调“文”（散文）是传播“道”的最重要工具：“文以载道”。（以文学为载体的方式）。如果我们从体裁的角度来重新解读这一措辞，可以说，散文已成为表达真理、主体性和自我的重要工具。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:53, 27 December 2020 (UTC)

==Liu Yiyu 刘怡瑜==
Liang Qichao developed a ''xīn wéntǐ'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.

'''6. The essay as the medium of modernity, the questioning of the genuiness of the Chinese essay'''

To solve first of all the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Lin Shu: ''Irving'' 1907, ''Addison'' 1911).
==Liu Zhiwei 刘智伟==
The current form of the genre is mostly based on the influence of Western essay translations. First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only. A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).

This is older than the ones referred to in the ''Large Chinese Dictionary'' of Morohashi (Morohashi undated) and in the ''Encyclopaedic Dictionary of the Chinese Language'' 1966.

==Lou Cancan 娄灿灿==
Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin 1992, Fan Peisong 1993; for Western impact in general see Průšek 1964, Gálik 1966, McDougall 1971. Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:57, 26 December 2020 (UTC)

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:07, 26 December 2020 (UTC)

==Luo Weijia 罗维嘉==
How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement. All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1933, the anarchist and later member of the Guomindang Wu Zhihui [1934]. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition:
==Luo Yuqing 罗雨晴==
for example, Lu Xun with his theory "'Zhǎnkāi' shuō yǔ 'méngyá' lùn “展開”說與“萌芽”論"" (Theory of "Starting" and "Blossoming") came to see the fighting and critical character of the essay of the Jin dynasty (265 - 420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the ''biji'' (occasional notes) of the Ming, although he still tried to integrate the English essay in his "Gonganpài yu Yīngguo xiaopin 'hecheng' lun 公安派與英國小品“合成”論" (Theory of the Synthesis of the Gongan School and the English Essay).
==Ma Juan 马娟==
Wang Zengqi regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays (Wang Zengqi 1993). The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay. One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.
==Ma Shuya 马淑雅==
When Zhou Zuoren showed that only seven months after the incident at Marco Polo bridge it was again possible to write about a candy seller (1924), he was critizised as "paralyzing" (Lu Xun 1934, Zhu Zhaoluo 1943). When he wrote a piece on the "Fly", he was reproached with dealing with subjects of minor importance. Reproaches like this lie in the very nature of the genre, since ''marginalism'' is substantial to the essay. The mentioned formal reproach of Luo Dajing can be found again in the 1990s, Hong Kong students critisized the literary style as it appears in Ba Jins "Thoughts" (Suixiang lu) as too direct and too less artful. But this perspective does not recognize the very nature of the essay, which is a very individual expression of an author's thoughts and not bound to tradition, and therefore much more free also in content.
==Ma Zhixing 马智星==
The essay - from its very nature free and independant - almost disappeared in the time of the Cultural Revolution and - except for the ideologically influenced essays - had a hard struggle between Yan'an and the loss of moral legitimacy by the leadership in 1989.

The essay was ''the'' genre of the modernizing society of the early 20th century. Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming "needs" of society, which also claimed the author to be one of its products.
==Meng Ying 孟莹==
But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is "a genre of self-reflection". Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art.

I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).
==Mo Ling 莫玲==
Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays. I mention only Zhou Zuoren. His ideas connected him spiritually to his contemporary collegues in Europe, Japan and America, but these where ideas for which China turned out to be not yet ready. At that time, China had taken a road which led away from progress, wealth, freedom and spiritual enlightenment. The consequences have yet to be overcome.

除开关注作家的小说和诗歌之外，如果我们对他们的散文有所涉猎，就会发现他们不仅对文学整体的理解发生了变化，单个作者的观点也发生了变化。仅就周作人来说，他的思想在精神上把他和他在欧洲、日本和美国的同伴们联系在一起，但是这些设想在中国行不通。当时的中国走的是一条远离进步、财富、自由和精神启蒙的道路，这一现状还并没有得到改变。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:34, 26 December 2020 (UTC)Mo Ling

==Mo Nan 莫南==
In 1927, Chinese literature has taken the form of 'engaged literature'. The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.
==Nie Xiaolou 聂晓楼==
Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".
==Ou Rong 欧蓉==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("Shuo meng 說夢" On dreams in: Zhu Ziqing 1928) and Zhou Zuoren from 1917 (My own garden 9.1923, "The Fly" 1924, "Reading on the Toilet" 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.
==Ouyang Jinglan 欧阳静兰==
I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda. This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character.
==Ouyang Ling 欧阳玲==
In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.

Taking into account of a genre shifts the whole perspective on literature, taking into account the essayistic works of an author shifts also the view of the author. I will name only one author as an example for a modern essayist: Zhou Zuoren.

20世纪90年代，20、30年代民国时期的文本和当代的文本一样也经常被重印。显然，我们可得出一个结论：20世纪50年代的那些政治宣传文只能留存在特殊的政治文章选集当中，到了21世纪初，就不再有作者去写这类文章，也不会有中国读者去看这类文章了。

考虑到整个体裁对整个文学角度的转变，以及散文作品反映出的作者观点的变化，我只举一位现代散文家的例子：周作人。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:47, 25 December 2020 (UTC)

20世纪90年代，20-30年代民国时期的文章仍然和当代的同类文章一样经常被重印。显然，我们可以得出一个结论：20世纪50年代的政治宣传类散文只保存在专门的政治散文集中，到21世纪初，不再有人去写，也不再有人读这类文章了。

一种文学体裁会转变整个文学的视角，一位作家的散文作品，同样也会转变对这个作家的看法。我只以一位现代散文家为例：周作人。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:02, 25 December 2020 (UTC)

==Peng Dan 彭丹==
'''Zhou Zuoren'''

I mentioned already his theoretical contribution to the Chinese essayism, but still, his essays have been neglected until the 1980s. The reason does not lie in literary quality, but in political valuing. The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that the theoretical May Fourth genius "degenerated" and later became a "traitor". Publishing in the Japanese sponsored magazines ''Reminiscences'',* and ''Chinese Literature'', he was blamed together with Zhu Pu and Yuan Xi of collaboration. An unanswered question is, why another author, who published there, Zhang Ailing, was never reproached with collaboratorship. The difference between all of them is that Zhang Ailing tried to avoid political committments, whereas Zhou felt guilty, Zhu justified it and Yuan simply accepted it.
==Peng Juan 彭娟==
''The 'mainstream' writers took an affirmative approach in their writing, whereas the other writers formed a minority. The individual authors did not necessarily belong to either one of these groups throughout their life, but may have moved between them. Since the essay is a medium which enables the individual to express thoughts directly, the writers chosen for this paper can be classified according to their position.''

''Yu Guangzhong's essay'' "The wolves are coming" ''shows that the ideological perspective did not only harm mainland essaywriting.''
==Peng Ruihong 彭锐宏==
In his small literary pieces, Zhou tried to aesthetizise the little things of the everyday life out of the subjective experience of his private space. The major contribution of Zhou Zuoren is, that he set the turning point in Chinese essay writing with his call for writing short literary pieces (''Meiwen'' 1921).

In foreign literature there is the so-called ''lunwen'' 論文 (treatise), which is roughly divided into two groups: the reflecting ones, piping 批評 (critical), are scientific articles. The others are ''jishu'' 記述 (descriptive) and ''yishuxing'' 藝術性 (artistic), they are also called ''meiwen'' 美文 (aesthetic essay). Within these texts, one can distinguish between ''xushi'' 敘事 (narrative) and ''shuqing'' 抒情 (lyric). But there are also mixed texts. [...] I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn’t that be wonderful?
==Peng Xiaoling 彭小玲==
With these words from the essay "''The aesthetic essay''" this new vernacular form was defined. This starting point founded a whole new tradition of essay writing in China. Contemporary writers called this piece the "king of essays".

In order to bring this new form to his compatriots, he tried to find similiarities with the ''xiaopinwen'' of the Ming dynasty. He further discussed these thoughts in his essay theory. In his own essays, he profited a lot from ancient ''suibi''. Later he further developed his literary theory towards an up and down of two trends. In the modernizing society, he advocated the liberation of women and asked to "treat children as full subjects with their own external and internal lives" and to "make children the essence of children's literature" (Zhou 1923). He promoted the ''baguwen'' and the independance of literature from politics and effected the literary scene and the development towards a modern Chinese society especially between 1917 and 1938.

“美学散文”中的这些词语定义了这种新的白话形式。这个起点在中国建立了一种新的散文写作传统。当代作家称此作品为“散文之王”。

为了将这种新形式带给他的同胞，他试图找到其与明朝“小品文”的相似之处。他在散文理论中进一步讨论了这些思想。他自己的散文也从古代的“随笔”中受益匪浅。后来，他将文学理论朝着上下两种趋势进一步发展。在现代化社会中，他呼吁解放妇女、“将儿童看作具有外在和内在生命的完整主体”以及“让儿童成为儿童文学的本质”（Zhou 1923）。他提倡“八股文”和文学脱离政治的独立性，这对文学界产生了影响，并推动了中国向近代社会尤其是1917年至1938年的发展。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:48, 25 December 2020 (UTC)

==Peng Yongliang 彭永亮==
With this theoretical foundation and his own vo'luÉminous essayistic work, Zhou Zuoren through the example of his own form of short literary pieces within this genre, fought at that stage of the development of his literary theory like Benjamin Henri Constant de Rebecque 130 years ago in France for the idea "l'art pour l'art" , for individuality and independance of the writer, for disinterested literature. The jugdment, that Zhou was an apolitical author cannot be proved with his essays. Instead, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance (Zhou 1929:180-181).
==Peng Yuzhi 彭育志==
In fact he saw himself as ‘patriotic underground fighter’ and looked at the collaboration with the Japanese puppet regime as a forced one, following his attempted assasination, through which his driver had lost his life. His own concept of essay writing served less the needs of the building of a nation-state and comes closer to the ideal of the individual.

"I don't really know why, but I am feeling as if I am born into a dark age. I admit, that our forests are not inhabited by dragons, tigers and wolves, but shapeless "monsters" and "goblins" are still creeping around and try to swallow our souls. [...] What alarms me most, is the absence of freedom in this prison, into which we writers have been thrown."
==Qi Kai 漆凯==
Confronting tradition and progress in the essay "''Ancestor Worship''", he is in favor of the latter, since past could only become present through changes (Zhou 1919:7-8).

Benjamin Henri Constant de Rebecque (1767 - 1830) war französischer Romanschriftsteller und liberaler Politiker, der neben der Freiheit der Kunst nach der Französischen Revolution die Einführung der konstitutionellen Monarchie nach englischem Vorbild forderte.

==Qu Miao 瞿淼==
Siehe ''Journal'' (10.2.1804). Die "Kunst um der Kunst willen" propagierte die Zweckfreiheit der Kunst. Im Gegensatz dazu versteht sich die engagierte Literatur. Die Parallele zwischen Zhou Zuorens Literaturverständnis und dem Konzept "Kunst um der Kunst willen" zieht auch Wolff: ''Chou Tso-jen'' 1971, S. 84.

Siehe Zhou Zuoren: ''Der Ursprung der neuen chinesischen Literatur'' 1934, S. 95 - 98; vgl. auch Chen Zizhan: ''Vorträge zur chinesischen Literaturgeschichte'' 1937, Bd 3, pp. 416 - 422, besonders S. 422. Hinweis in: H. Martin: "''Liang Qichao on Poetry Reform''" 1996, Bd 1, S. 213.
==Quan Meixin 全美欣==
Regarding Zhou Zuoren, I want to correct the official assessment of the People’s Republic, that his work would have experienced a caesura in 1938. In order to explain his opposition of the propaganda to build up national heroes about 1937 and his collaboration from 1939, it has been said officially, that his thoughts had "duoluo 墮落" (degenerated) at that time (Zhu Jinshun 1990:59). In fact, this caesura, namely the change in the style and subject in his essays on literature, art etc. to ''zhengjing'' 正經 (serious, intentional essays), and ''xianshi'' 閑適 (essays for one’s own enjoyment) is located not before his outlawing through Mao Zedong (1942), and his arrest through the Guomindang (1945).
==Sagara Seydou ==
Therefore not the Japanese suppressors are responsible for the retreat of this great writer, but his Chinese compatriots'.

On the basis of the stigma of the 'traitor', he has been undervalued until now. That his work in the 1990s is almost as often published as Lu Xun's and Zhu Ziqing's shows that his texts finally experience a more positive literaric evaluation through the audience, which now must be registered also by scholars.

==Shi Diwen 石迪文==
Another example of a misread Zhou Zuoren is his short essay on "''The Fly''", where he describes his changing attitude towards flies, which he had played with as child but later disgusted when he learned about their danger of passing on diseases. ”''The fly''” shows Zhou Zuoren’s strength to describe details and make them a real topic by recalling memories on them or describing a change of perspective on them. Zhou summarized the philosophical wisdom he learnt from this, that people did not judge on things objectively, but were likely to praise or damn things.
==Shi Haiyao 石海瑶==
The official reading re¬proaches Zhou that he "saw only the fly and not the cosmos" , a quotation of the young Zhou about a position he himself clearly opposed.

His ability to chat about the more pleasent things in life is displayed in his essay ”Birds’ twitter”. In ”''Peking cakes and sweet-meat''” and in ”''Wild vegetable of my home region''”, Zhou Zuoren shows his ability to make the reader feel at home at a region, where he feels at home himself, by describing the customs and special regional food.

Siehe Zhou Zuoren: "Cangying 蒼蠅" (Die Stubenfliege), in: ''Chenbao fujuan'' 晨报副镌 (Beilage zur Morgenpost) (1924.7.13). Eine Zu¬sammenfassung des Inhalts findet sich in: Yu Daxiang (Hg.): ''Auswahllexikon chinesischer Essays mit Inhaltsangaben und Analysen'' 1993.

''Siehe Vollständige chinesische Anthologie der Wissenschaften - Bd Chinesische Literatur'' 1988, Bd 2, S. 1300. Dies spielt auf den Essay "''Cangying'' 蒼蠅" (Die Stubenfliege), in: Zhou Zuoren: ''Zhi Tang. Sammlung'' 1933 an.（文献无需翻译）

==Si Yu 司妤==
His piece ”''Bitter rain''” shows the atmosphere, for what his essays had been labelled ”bitter tea”: There remains a taste in one’s mouth after reading. If you compare Lu Xun’s ”''On tea drinking''” (Yang/Yang 1961 3:325-326) with Zhou Zuoren’s essay with the same title, you see the difference of ”short and to the point” and ”eloquent and well-read”. ”''First love''” is more hilarious. The essay ”''Three different ways to die''” shows that Zhou Zuoren can compete with his elder brother in sarcasm. Lu Xun's essay on the same subject, the massacre on March 18, 1926, was a sight.
==Song Jianru 宋建茹==
Zhou asks for the ”best” way to die and favors the short and painless one. In ”''On alcohol''” and ”''The awning bunk boat''” Zhou Zuoren continues the tradition of late Ming ''biji''.

'''7. The essay as a snapshot of contemporary thoughts'''

''What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.''

==Su Lin 苏琳==
The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a consciously “corrected” truth.
==Tan Xingyue 谭星越==
The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (Wang Meng: "''Anxiang'' 安详" (Serene) 1992, "''Zuohao ni ziji de shi'' 做好你自己的事" (First make your own things in a good way) 1994).
==Tan Xinjie 谭鑫洁==
These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.

Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive ("''Shanxi opera''", Jia Pingwa 1984) or negative world ("''The nightmare''", Si Yu 1995).

From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:

==Tan Yuanyuan 谭媛媛==
- The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall 1984:xiii);

- The increasing consciousness of indivi¬duality for which the essay is the most direct form of subjecti¬ve expression, even more direct than the poem with its metrical and formal demands;

- A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.

- The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.

- 当下中国社会的浮躁节奏，对转折性和短文的要求。"[...]我们生活在一个论述的时代"(Hall 1984:xiii)。

- 越发增加的独立意识，对其而言，文章是最直接的主体表达形式，甚至比诗的格律和形式要求更直接。

- 通过散文这一媒介讨论社会政治问题的兴趣的复苏，就像20世纪20/30年代的情况一样。

- 日常生活的平庸性通过成为文学话题而变得自觉，最常见的是日常生活的文体--散文。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:06, 25 December 2020 (UTC)

-当前中国社会节奏轻快，要求有趣味的短文：“[…]我们生活在一个博览会时代”（大厅1984:xiii）；

-对于个人二元性意识的增强，散文是主体性表达的最直接形式，甚至比诗歌的韵律和形式要求更直接；

-通过这篇文章讨论社会政治问题的兴趣的复复苏，如同20世纪20年代或30年代的情况一样。

-日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:59, 25 December 2020 (UTC)

==Tang Bei 汤蓓==
- The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays.

- Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.
==Tang Ming 唐铭==
This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publis¬hing houses with an orientation toward customers (former: "readers").

- The criteria for essay best sellers in the P.R. of China are the following: In the most often printed essay "''The Back View''", filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous "''The Moonlit Lotus Pond''", both written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader.
==Tang Yiran 汤伊然==
Nostalgic home feelings are the emotional identification element in "''Wild vegetables of my home region''" by Wang Zengqi. Therefore one can state, that moving es¬says form the top.

- ''In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in¬dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.''

==Tao Ye 陶冶==
''In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph'' China can say no! – Possibilities for politics and emotions in the period after the cold war (''No''! 1996).

- ''The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.''
==Wang Meiling 王美玲==
''Also trends like the use of ordinary language, which one finds in novels since 1993 (Jia Pingwa, Feidu; Gu Cheng, Yingger) and'' New Borderlessness ''since'' 1995, ''cannot be pro-ven in the essaywriting. ''

- Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being "''The Small Dog Baodi''", written by Ba Jin 1981, in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before ("''In memoriam of Xiao Shan II''", Ba Jin 1984).
==Wang Xuan 王轩==
Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's "''Rain in Kunming''" as well as for Jia Pingwa's "''Shanxi opera''".
类似的还有想象怀旧的概念，正如王功权所说的沈从文作品中虚构的真实（王大卫·德维王1992），有助于解读汪曾祺的《昆明雨》，也有助于贾平凹的《山西剧》。

- The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing fictional truth through the metaphor of his dog Baodi.
施瓦茨在“隐喻话语”中所表达的“个人悲伤”概念，有助于我们理解巴金是如何克服他以“存在的真理”而闻名的，却通过他的狗“宝坻”的隐喻而获得更具说服力的虚构真相。

Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.（文献无需翻译）

''Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay "The nightmare", where Si Yu appears as a de-constructionist, the I-narrator even is drawn near to suicide.''（文献无需翻译）

And maybe for Xie Bingxins* reflections on her experience as one of the chosen voluntaries of the Wuhan military academy: She insisted to remain a lifelong "woman soldier" .（文献无需翻译）

==Wang Yu 王煜==
'''8. Discussion: Is the genre of the essay the form of literary expression in 21st century China?'''

Regarding the future of the Chinese literature, we can only speculate. But out the risk of being wild and provocative, I would like to suggest some questions for considering the place of the essay in the field of Chinese literature and literary studies.

- People have less time for actions like reading, and get used to reduced visualized information through the Internet. Will the brevity of the essay make it the ideal medium?

==Wang Yuan 王源==
- If the Chinese people are rediscovering their individuality, will the essay allow them to express individual thoughts more directly?

- Modern societies are characterized by TV culture, mass consumption, and the loss of consciousness of one's own tradition, often partly due to the American impact on national cultures. Is the essay less bound to the restrictions of tradition, especially compared to the poem and thus more adaptable to the modern phenomenon of mass consumption?

==Wei Honglang 韦洪朗==
- The alienation and the anonymity of citylife worldwide, in China is combined with a loss of traditional values like ideology, family, solidarity etc. in favor of the concept of profit for oneself, - if this has produced a longing for new orientation, will it possibly be filled by morally guiding essays or nationalistic thinking?

《红楼梦》与其他世界文学作品的相似性——推荐《红楼梦》列入世界记忆遗产名录

'''Commonness between the Red Chamber Dreams and other World Literature Novels – Proposing the Red Chamber Dreams to the World Documentary Heritage List'''（修改）

吴漠汀，湖南师范大学 Martin Woesler, Hunan Normal University

Source: Lecture at Harvard University, Cambridge, MA USA, 14.3.2000（文献无需翻译）
==Wei Yafei 魏亚菲==
'''Abstract'''

In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the Red Chamber Dreams, they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. ''The Red Chamber Dreams'' function worldwide.

摘要

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。（修改）

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中衍生出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，甚至于他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:09, 25 December 2020 (UTC)

==Wen Sixing 文偲荇==
''The Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。（修改）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

“红楼梦”是一个多元的中国文化综合体，是中国文化的体现和精髓，但它也具有全球影响力，因此应该被授予“世界文献遗产”的荣誉。（修改<nowiki>Insert non-formatted text here</nowiki>）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:29, 25 December 2020 (UTC)

《红楼梦》是一个中国文化综合体，展示着中国文化的精髓的同时也极具全球影响力，理应被列入世界记忆遗产名录。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:00, 26 December 2020 (UTC)

==Wen Xiaoyi 文晓艺==
'''1. Chinese Ethics'''

To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

==Wu Kai 吴恺==
'''2. Compatibility
'''
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel.
==Wu Qi 吴琪==
However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the ''Shuihuzhuan'' and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

'''3. Impact of translator’s native culture on the translation process'''

There are intercultural parallels between the ''Red Chamber Dreams'' and Western works of literature.
==Wu Qiong 吴琼==
These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the ''Dreams'' will immediately think of.

'''4. The novel as embodiment of “Zeitgeist”'''

According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s ''Ilias'', which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality.
==Wu Xiang 邬香==
The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The ''Red Chamber Dreams'' are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng.
==Wu Yilu 吴一露==
While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Mann, including the turn to arts and music).
==Wu Zijia 吴子佳==
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the Dream appears as a documentary historical novel very much like Günter Grass’ The Tin Drum 1959.

'''5. Coming-of-age and Alienation'''

Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment.
==Xiao Shuangling 肖双玲==
However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life. Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged.

然而，曹雪芹的信息不仅是“失乐园”的信息，而是他本人的一生。尽管不如他的家人仍然享有皇帝的宠爱时富裕，但清初中国有一个工资体系和一个完整的社会网络，在那里他获得了足够的收入以独立于自己的富裕亲戚，可以有选择性地接受工作在大自然的小房子里过着轻松的生活，与家人和朋友共度时光，遵循自己的兴趣，例如读书，写作和喝酒，为孩子们放风筝和思考处境不利的人。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:38, 26 December 2020 (UTC)Xiao Shuangling

==Xiao Ting 肖婷==
Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

曹雪芹对自己所处的时代和中国的文化成就有充分的认识，他熟悉社会的方方面面，他观察细致，叙事娴熟。他能把小说的结尾构思为对小说中人物不同性格的探讨，从而体现出他对人生的思考和对人性多样性的理解。他能够把握 "时间精神"(Zeitgeist)，并以他的亲身经历为材料创造了一部成熟的绝世之作，这不仅是为他的家庭、为清人、为中国人，更是为全人类。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:29, 26 December 2020 (UTC)Xiao Ting

曹雪芹充分了解自己所处的时代和中国的文化成就，熟悉社会的不同层次，是一个细致的观察者和娴熟的叙述者。他可能将小说的结局概念化为对小说中人物不同性格的讨论，从而表现出他对生活的反思和对人性多样性的心理理解。他能够把握“时代精神”(时代精神)，并以他的自传体经历，为他的家庭，为清朝人，为中国人，为人类创造了一部永恒的成长小说。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:01, 26 December 2020 (UTC)

曹雪芹对自己所处的时代和中国的文化成就了如指掌，他熟悉社会的不同层面，他是一个细致的观察者和娴熟的叙述者。因此，他在小说中对人的不同个性的理解和对小说中人物性格的多样性进行了概念化的探讨。他能够把握“时代精神”，用他的自传体经历，不仅为他的家庭，为清朝的中国人，为中国人民，而且为人类，创作了一部永恒的成人小说。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:43, 26 December 2020 (UTC)Xiao Shuangling

==Xiao Xi 肖茜==
This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel ''Candide or Optimism''《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.
==Xiao Yining 肖伊宁==
Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: ''Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802).
==Xie Fan 解帆==
Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in ''Wilhelm Meister'' this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

'''6. Pornography and True Love, female rivals'''

Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit.

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，这通过莎士比亚的经典戏剧得以体现。传统可以作为方向标，但主人公的个性需要通过解放才能发展，这是一种智慧，我们可以以上提过包括《梦》的所有小说中学习。
“6.色情与真爱，女性对手"
性是人类的一种基本需求，在不同文化中展现出不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是有固定程式的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:37, 25 December 2020 (UTC)

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，在《威廉·迈斯特》中，莎士比亚戏剧中复兴的经典作品代表了这一点。传统可以给予导向，但主人公的个性需要通过解放来发展是一种智慧，我们可以从包括《梦》在内的所有小说中学习。
“6。色情与真爱，女性对手"
性是人类的一种基本需求，在各种文化中形成了不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是程式化的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:37, 26 December 2020 (UTC)

==Xie Ziyi 谢子熠==
In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.

The best study on ''qing'' passion in the Dreams is the one by Anthony Yu, who understood it as ''desire'' and as the central motif of the ''Dreams''. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

==Xu Jia 徐佳==
In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).

In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.

==Xu Jing 许晶==
The ''Dreams'' narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the ''Dream'' and ''Faust'', the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.

==Xu Jing 许静==
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in the Keller 凯勒 ''The Green Henry'' 《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth and Lin Daiyu are similar, e.g. they both strive for real love (Zhuang 2011).
==Xu Mengdie 徐梦蝶==
'''7. Feudal society and slavery'''

A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, would exclude slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals.

封建社会和奴隶
一种普遍的解释是，贾宝玉对家庭成员和奴隶一视同仁，这将成为奴隶解放的宣言。我并不同意这个解释，因为亚里士多德的民主就排除了奴隶的投票权。所以，我们并不能用现代观念去评判过去。在我看来，贾宝玉并不是和不平等作斗争，而是把人视作群体和个人。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 09:55, 25 December 2020 (UTC)Xu Mengdie

一种普遍的解释是，贾宝玉对家庭成员和奴隶的平等对待是解放奴隶的宣言。我也不同意这种解释，因为亚里士多德，当他要求民主的时候，会排除奴隶的投票权。所以我们不能用现代的概念来判断过去。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人看成是群体和个人。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:31, 25 December 2020 (UTC)

==Xu Pengfei 许鹏飞==
Also the understanding of the servants as slaves does not match the description in the Dream, since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with slave. Therefore, the translator preferred “servant” over “slave” in the translation.

另外，把仆人理解为奴隶也与《红楼梦》中所描述的不符，因为有些仆人自己也有仆人，他们离开贾家后，家人会照顾他们，为他们婚配，并且贾正把女儿迎春称为“丫头”，所以用奴隶来翻译这个词是不合适的。因此，译者在翻译中更倾向于“仆人”而不是“奴隶”。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:14, 25 December 2020 (UTC)Xu Pengfei

而且把仆人理解为奴隶与《红楼梦》中的描写不符，因为有些仆人自己还有仆人，贾府会在她们离府的时候为她们寻一门亲事，作为贾府对她们的照料；贾政也把自己的女儿迎春喊作 “丫头”，所以把这些翻译成奴隶是不合适的。因此英文翻译中采用“servant”会比“slave”更为合适。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 10:08, 25 December 2020 (UTC)Xu Mengdie

==Yang Chenting 杨晨婷==
Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

2009年，莫言代表中国作为主宾国参加法兰克福书展时，他在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的印象是，两者都没有表达这个愿望，但这是后来的概念和解释，而我们不应该以此来判断过去。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:36, 25 December 2020 (UTC)Yang chenting

2009年，莫言代表中国作为主宾国参加法兰克福书展时，在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的感觉是，两者都没有表达这个愿望，但这是后来的概念和解释，我们不应该以此来判断过去。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:43, 25 December 2020 (UTC)

==Yang Hairong 杨海容==
'''8. Tragedy of all tragedies'''

Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''.

8.所有悲剧的悲剧成分

亚里士多德在《悲剧论》（诗学VI）中解释说，悲剧使人们比喜剧更能吸引人，因为他们“模仿（mimēsis）一种严肃、完整和有程度的行动”（Aristotle 1971，51）。欧洲的悲剧部分归因于亚里斯多德作品《喜剧》的丢失。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:16, 27 December 2020 (UTC)

==Yang Hui 阳慧==
While Europe has the Hamlet as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”.

==Yang Yi 杨逸==
It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

==Yang Yue 杨悦==

'''9. “Non-Binary” Novels'''

One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

9. “非二进制小说”

可爱而神秘的主角贾宝玉是吸引西方读者的其中一点。由于他开放的双性恋倾向以及对同伴的兴趣，无论他们的社会地位如何，他彰显“现代”气质或至少不属于那个时代。他与传统学习的斗争使他显得富有同情心，他与世隔绝的漫长状态使他既具有永恒的品格又具有神秘感。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:17, 27 December 2020 (UTC)

==Yang Ziling 杨子泠==
With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the ''Heart Sutra''. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

==Yao Cheng 姚诚==
'''10. Foreign Cultures in the Red Chamber Dreams'''

Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties, especially the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel.

==Yao Jia 姚佳==
The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.

==Yi Huan 易欢==
The variety of cultures is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the Red Chamber Dreams as “World Documentary Heritage”.

'''References'''（参考文献不用翻译）

Anthony, C. Yu. (2001). ''Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber''. Princeton University Press.

Aristotle. (1971). ''Poetics''. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). ''Der Traum der Roten Kammer oder Die Geschichte vom Stein'' [''Red Chamber Dreams or The Story of the Stone''], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. ''Hong lou meng xue kan'' 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. ''Journal of Sino-Western Communications'' 2 (2010.12) 2:81-107

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. ''Journal of Language Teaching and Research'', Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

==Yi Zichu 义子楚==
'''Virtual Communication Between Machines with the Human as Their Object
'''

A new stage of multimodal communication after oral, written, printed, electronic and machine-human communication

Martin Woesler, Hunan Normal University

'''Abstract'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

==You Yuting 游雨婷==
This paper argues, that there is a fundamentally new media epoch of “virtual communication” (communication 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

Algorithms do not only listen to oral or read written human communication (between humans or between humans and bots), but they analyze multimodal communication (including likes, behaviour, surfing habits, mobility profile, values, dreams, aims, beliefs etc.), compare them with Big Data (e.g. cloud data) and base decisions of manipulation on a prediction of behavior according to a personality profile and correlations.

本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管，人类成为分析和操纵的对象(如顾客、选民等)。

算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:34, 26 December 2020 (UTC)

==Yu Ni 余妮==
These algorithms target not only the explicit communications, but the emotions and thoughts of humans too and predict future behavior, therefore allowing simulations of reality. Mightier algorithms have also taken over decision-making roles in societies where they: replace human court decisions, fine tune just-in-time and on-demand production, censor chatrooms etc. Sets of algorithms help to manage smart cities and a whole society.

----
==Yuan Shiqi 袁诗琦==
Although the human is still part of the communication, especially as the analyzed object and the target of the manipulation, the human is often unaware of the virtual communication and a passive receiver of the machine’s decisions, while the main actors in the virtual communication are machines.

虽然人仍然是通信的一部分，特别是作为被分析的对象和操纵的目标，但是人往往没有意识到虚拟通信和机器决策的被动接受者，而虚拟通信的主要参与者是机器。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:55, 25 December 2020 (UTC)

尽管人类仍然是交流活动的一个组成部分，特别是作为被分析的对象和操纵的目标，但是人类往往没有意识到，自己是虚拟沟通和机器决策的被动接受者，而虚拟沟通的主导者是机器。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:11, 25 December 2020 (UTC)

虽然人仍然是构成通信的一部分，尤其是作为分析对象和操纵目标，但人往往没有意识到人们在虚拟通信中扮演机器决策的被动接受者，而机器才是主要参与者。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:42, 25 December 2020 (UTC)

==Yuan Tianyi 袁天翼==
Research describes these forms of virtual communication, finds evidence in social management systems and credit systems (in Germany, we have the “Schufa”, in the USA there are big players in credit history, which leads to credit-orientation and gamification of human life) or customized (fake) news filter bubbles and in customized consumption offers (Amazon, Facebook, Google, Netflix) and analyzes benefits, including security enhancements through such virtual communication.

研究对这些形式的虚拟沟通进行了描述，在社会管理系统、信用系统（定制的（虚假）新闻筛选泡沫）和定制的消费商（亚马逊、脸书、谷歌、网飞）里面找到了证据（德国有“Schufa”，美国则因为信用史有重大人物而使得社会信用至上并日趋游戏化），并对益处加以分析，这些益处包含通过这类虚拟沟通提升安全。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:20, 25 December 2020 (UTC)

研究描述了这些虚拟通信的形式，在社会管理系统和信用系统中找到证据（在德国，我们有 "Schufa"，在美国有信用记录的大玩家，这导致了信用导向和人类生活的游戏化）或定制化（假）新闻过滤气泡，以及在定制化的消费优惠中（亚马逊，Facebook，谷歌，Netflix），并分析了好处，包括通过这种虚拟通信增强安全性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:03, 25 December 2020 (UTC)

==Yuan Yuchen 袁雨晨==
But research also has the duty to warn of abuse or harmful developments and to raise ethical questions. Exoskeletal ethics, imposed by gamifications like credit systems, especially need to be valued against intrinsic ethics.

'''Introduction'''

In this paper dealing with machine to machine communication, I skip the machines assisting humans to make their life more convenient (ranging from “The milk is out, please add the usual amount of milk to the delivery list,” to “The old lady has not left her bed this morning, I’ll better call the doctor”).

但研究也有责任对滥用或有害的发展发出警告，同时要对引起的伦理问题也要承担责任。特别是信用体系游戏化所造成的外骨骼伦理问题更需要得到重视，要反对内在的伦理问题。

引言

本论文在涉及机器与机器之间的交流时，我不考虑那些帮助人类让生活更便捷的机器（从“牛奶没了，请在送货单上加平常剂量的牛奶”到“老太太今早卧床不起，我最好叫医生吧”）。
--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:10, 25 December 2020 (UTC)

但研究也有责任对滥用或有害的发展提出警告，并提出伦理问题。特别是信用体系等游戏化所强加的外骨骼伦理，更需要对照内在伦理加以重视。

引言

在本文中涉及机器与机器之间的交流，我跳过了机器协助人类提高生活便利的内容（从 "牛奶没了，请把平时的牛奶量加到送货单上"，到 "老太太今天早上还没下床，我还是叫医生吧"。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:40, 26 December 2020 (UTC)Xiao Ting

==Zeng Fangyuan 曾芳缘==
Instead, I deal with communication like: “Let’s create a user personality profile and compare it with Big Data to learn how I can best catch this user’s attention and make him/her vote for presidential candidate A or B.”; “Let’s check this users’ mouse movements and compare it with Big Data to get a correlation to estimate if (and if “yes” when) he will get Parkinson, to decide whether or not to deny him the loan or health insurance.”
实际上，本人研究涉及的方面如下：比如，“让我们创建一名用户的个性化主界面，并将其与大数据进行比对，学习如何最好的吸引该用户的注意，让他/她投票给总统候选人甲或乙。”“让我们检查这名用户鼠标的运动轨迹，通过与大数据进行比对，建立关联，来估计他是否会得帕金森。如果他患有帕金森疾病，我们会决定是否需要对他的贷款或医疗保险的申请予以拒绝。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:41, 26 December 2020 (UTC)

==Zeng Liang 曾良==
“Let’s check this users sexual orientation, religious beliefs, fears, secrets like adultery etc. to blackmail him to get ransom money for my programmer.”; or even “Let’s use this user’s location to aim the killer drone.”

The current neoliberal system with Amazon, Facebook, WhatsApp, Instagram, Google, Netflix etc. provides incentives to collect as much user data as possible and to abuse user data for manipulation, which creates huge profits.

“让我们检查该用户的性取向、宗教信仰、恐惧、诸如通奸之类的秘密去勒索他为我的程序员去获取赎金”。或者甚至“使用用户的位置瞄准杀手无人机。”

当前具有亚马逊、脸谱网、瓦茨艾普、照片墙、谷歌、奈飞等的新自由主义系统激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:04, 25 December 2020 (UTC)

"让我们查一查这个用户的性取向、宗教信仰、恐惧、通奸等秘密，以勒索他为我的程序员获取赎金。"；甚至"利用这个用户的位置来瞄准杀手无人机。"
目前亚马逊、脸书、WhatsApp、Instagram、谷歌、奈飞等的新自由主义体系，为收集尽可能多的用户数据，并滥用用户数据，从而创造了巨大的利润。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:39, 25 December 2020 (UTC)Yang chenting

“让我们检查该用户的性取向、宗教信仰、惧怕的事物、诸如通奸之类的秘密，从而勒索他让我的程序员获取赎金”。更有甚时，“让我们使用用户的位置让攻击机瞄准他。”

当前亚马逊、脸书、联络电话、Instagram、谷歌、网飞等的新自由主义的系统软件，激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:53, 26 December 2020 (UTC)

==Zeng Xinyuan 曾心媛==
Very much like the financial crisis, which was caused by the unregulated use of derivatives, this is a systemic development, which currently follows a path to enslave the human race under the control of algorithms for the benefit of tech companies. The enslavement has already begun, as we can see from the world wide addiction to social media, from the growing mass of conspiracy theorists and from the polarization of the USA over Trump or the polarization of Great Britain over the Brexit.

==Zeng Yanhu 曾雁湖==
'''1 History of Media Epochs'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

This paper argues, that there is a fundamentally new stage of “virtual communication” (media epoch 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

卢曼和贝克尔描述了从口头（媒体时代1.0）到文字（2.0）的通讯发展，再到印刷（3.0）数字通讯（4.0）
在所有这些阶段中，科技都只起到了协助作用。

本文认为，从根本上来说，“虚拟沟通”处于新阶段（媒体时代5.0），其中人工智能（由人类初始化）已被接管，人类已成为分析和操纵的对象（如顾客，选民等）--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:56, 26 December 2020 (UTC)

==Zhang Hu 张虎==
While Luhmann would still summarize this under digital communication, I see a full new quality here, and have therefore coined the term “communication 5.0” or “virtual communication” for it. In Luhmann’s view, the computer consists out of the “surface” of the machine (the visible interfaces like screen, keyboard, mouse) and the “depth” of the machine (the invisible, often incomprehensive inside).

虽然卢曼仍然会在数字通信中总结这一点，但我在这里看到了一个全新的品质，因此创造了术语“通信5.0”或“虚拟通信”。在卢曼看来，计算机是由机器的“表面”(屏幕、键盘、鼠标等可见界面)和机器的“内里”(看不见的、内部不全面的部分)组成的。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:41, 25 December 2020 (UTC)

==Zhang Hui 张慧==
However, we are almost constantly producing data, with our chats and geotracked movements, with our addiction to social media, our carrying of cell phones and more and more smart devices at all times, and we are therefore an object of analysis by algorithms.

The traditional setting of a communicative act blurs: The machine can directly communicate with the human (there the Turing test marks a threshold), and, after a certain complexity, it can hide its machine nature.

但是，我们几乎一直在通过聊天和地理位置追踪运动，不断沉迷于社交媒体，携带手机以及越来越多的智能设备来生成数据，因此，我们一直是通过算法进行分析的对象。

交流行为的传统设置变得模糊：机器可以直接与人类交流（图灵测试标记了阈值），并且在经过一定的复杂性之后，它可以隐藏机器的本质。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:49, 25 December 2020 (UTC)

然而，我们几乎在不断地产生数据，我们的聊天和地理追踪的动作，我们对社交媒体的沉迷，我们随时携带手机和越来越多的智能设备，我们因此成为算法分析的对象。

传统的交流行为的设定模糊了。机器可以直接与人类交流（图灵测试标志着一个门槛），在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:03, 25 December 2020 (UTC)

==Zhang Ling 张玲==
The machine can also indirectly communicate with the human by simply analyzing humans’ verbal communication, non-verbal multimodal communication, behavior, personality etc. and interacting with the human with, or without, revealing its existence. A human, growing up in a filter bubble and believing in conspiracy theories is one such example: The human has been manipulated by social media and news which prefer lies over truth.

机器还可以通过简单地分析人类的语言交流、非语言的多模态交流、行为、个性等，并与人类进行交互，从而间接地与人类进行交流，从而揭示人类的存在。一个在过滤器泡沫中成长并相信阴谋论的人就是这样一个例子：人们被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:33, 27 December 2020 (UTC)

==Zhang Peiwen 张佩闻==
Without even noticing that there was an interaction taking place between the human and the machine, the human has lost his/her independence to the machine.

'''2 Types of communicative acts'''

1.Texts (oral and written comments/chat texts/blogs/emails)

2.Surf behavior (websites visited)

3.Consumer behavior (purchases)

4.Likes (see OCEAN, UEBA)

5.Duration/Attention (see UEBA)

6.habits/repetitiveness/occurrences (is an element of analysis in different AI apps/tools)

==Zhang Qi 张琪==
7.Unconscious, often unique data allowing identification (way of writing, mouse movements pattern, see Raj Kannan 2020)

8.social interaction incl. friendships, sexual relationships

9.mobility behavior/pattern (e.g. immediate environment – e.g. unconsciously recording the inside of houses while playing “Pokemon Go”), travel: Travel Behavior (Yu Cui et al. 2018)

==Zhang Weihong 张维虹==
'''3 Types of analysis'''

1.General (User and Entity Behavior Analytics UEBA: AI-assisted cybersecurity tools like by Gartner, Inc.)

2.True identity (e.g.: mouse movements, face recognition, find real name) (Verschuere 2016)

3.Personality profile: Big Five Personality Inventory: Openness to Experience, Consciousness, Extroversion, Agreeableness, Neuroticism “OCEAN” (Golbeck 2011), by only analyzing the users' likes, Facebook can generate personality profiles (AI-Demand 2020)

4.Mobility profile/pattern

==Zhang Xueyi 张雪仪==
5.Health situation (health apps, ai supported disease research, see Daley 2020)

6.Job situation/job market (Talent Search People 2020 analyzes the job market, and classifies 4 different AI systems: 1. systems that think like humans, 2. systems that act like humans, 3. systems that think rationally, and 4.) systems that act rationally.)

==Zhang Yinliu 张银柳==
7.Financial credit-worthiness: E.g. German Schufa company uses AI in addition to human expertise for evaluations, see Banken-Technologie 2020. Banken-Technologie 2020. Schufa’s attempt to gain access to customers’ bank account transfer information was discussed in the news.

8.Consumer Behavior: e.g. the "clickworker" company analyses and optimizes customers' searches in respect to a client company's goals/products with the help of AI (clickworker 2019)

9.Secrets (like adultery)

==Zhang Yu 张瑜==
'''4 Unique quality of media epoch 5.0'''[ I have coined the terms “media epoch 5.0” and “virtual communication” I have developed it from concepts like „Industry 4.0“ in Germany and the four media epochs Luhmann and Baecker developed (by Baecker called 1.0 … 4.0). There are several authors speculating about the media epoch 4.0, like Ray Kurzweil. The Age of Intelligent Machines. 1990.]

1.the human switches from active to passive

2.the human switches from subject to object

3.the human becomes addicted to social media, which enhances depression (Van Den Eijnden et al. 2016, Jasso-Medrano et al. 2018, Shensa et al. 2017)

4.the human switches from puppeteer, or entity with seemingly free will, to puppet

5.nature of the internet turns from freedom to surveillance

4.媒介5.0时代的独特品质 [我创造了 "媒介5.0时代"和 "虚拟通信 "这两个词，它们是从德国的“工业4.0”以及卢曼和贝克提出的媒介4.0时代（贝克称之为1.0...4.0）等概念发展而来的。一些作者揣测媒介4.0时代这个词的含义，比如1990年出版的雷-库兹韦尔的《灵魂机器时代》]

1.人从主动到被动的转换

2.人从主体到客体的转换

3.人沉迷于社交媒体，提高了患抑郁症的风险

4.人从木偶操纵者或看似拥有自由意志的实体到木偶人的转换

5.互联网的性质从自由到监测的转换--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:25, 26 December 2020 (UTC)

==Zhang Yujie 张毓婕==
6.direct communication turns into indirect communication (humans may not be aware of this communication/analysis)

7.explicit communication (voice, words) turns into implicit communication (preferences/thoughts/dreams/wishes/ values (first experiments with brain scanners in worker hats have started in Shanghai and Peking))

8.man-man communication turns to man-machine communication (phone bot) to machine-machine

9.4.0 was from centralization to decentralization, 5.0 is partial centralization and partial decentralization, but also concentration

==Zhang Yuxing 张宇星==
So far, mass media has been considered one-way. The interaction and processing of data of millions of individual users seemed simply too much work. In the age of virtual communication, the media epoch 5.0, mass media is individualized and interactive and therefore even more influential.

'''5 Types of manipulation (consciously or unconsciously, sometimes half-consciously)
'''

1.Priming by unconscious advertisements: Influencing consumer decisions

2.Filter bubbles => supports conspiracy theories, influences judgments

到目前为止，大众媒体一直被认为是单一的。数百万个人用户数据的交互和处理似乎太费力。在虚拟传播时代，即媒体时代5.0，大众传媒是个性化和互动的，因此更具影响力。

'''5 种操纵类型（有意识或无意识，有时是半意识的）'''

1.无意识广告发布：影响消费者决策

2.过滤泡沫=>支持阴谋论，影响判断--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:08, 26 December 2020 (UTC)

==Zhao Xi 赵茜==
3.Nature of social media: lies spread 6 times faster than truth. (Vosoughi et al. 2018).

4.Change of political attitude: Case Cambridge Analytica: Helped minority to win election by manipulating young people of majority not to vote (Do so: Don’t vote campaign, Oddleifson 2020); Trump election and Brexit were won by manipulation

5.Use of private information/dependencies to obtain advantages (blackmailing for money or for conducting crimes etc.)

6.Identity theft

3.社交媒体的本质：谎言的传播速度比真理快 6 倍。（Vosoughi等人，2018年）。

4.改变政治态度：案例剑桥分析：通过操纵多数年轻人不投票帮助少数民族赢得选举（这样做：不要投票竞选。奥德利夫森 2020年）；特朗普选举和英国脱欧通过操纵获胜

5.利用私人信息/依赖关系获取好处（勒索钱财或犯罪等）

6.身份盗窃--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:18, 27 December 2020 (UTC)

3.社交媒体的性质：谎言传播速度是真相的6倍。（Vosoughi等人，2018年）。
4.政治态度的改变：剑桥分析案例：通过操纵大多数年轻人不投票帮助少数人赢得选举（Do Do Do:Do not vote campaign，Oddleifson 2020）；特朗普选举和脱欧是通过操纵赢得的
5.利用私人信息/依赖性获取利益（勒索钱财或犯罪等）
6.身份盗窃--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:03, 27 December 2020 (UTC)

==Zhao Xiaoyan 赵晓燕==
'''6 Consequences'''

1.Virtual Communication is mostly “hidden”, the human is mostly unaware of it, but may endure the consequences (policeman may detain suspect simply because the face recognition glass recognizes a pedestrian passing by and assesses him/her as “dangerous”; loan is declined; insurance company declines to accept new customer)

6.后果

1.虚拟通讯大多是 "隐蔽 "的，人多半不知道，但可能会承受后果（警察可能仅仅因为人脸识别玻璃识别出路过的行人，并评估其为 "危险 "而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新的客户）--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:02, 25 December 2020 (UTC)

6.后果

1.虚拟通信通常是“隐藏的”，人类大多数情况下是不知道的，但可能会承受后果（警察可能只是因为面部识别玻璃杯识别出行人经过并将他/她评估为“危险”而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:05, 25 December 2020 (UTC)

'''6.后果
'''

1.大多情况下，虚拟通信是“隐藏的”，人类也没有意识到这一点，但可能会承担由此带来的后果（警察可能会因为面部识别玻璃检测到行人通过，并将其评估为“危险人物”而将嫌疑犯拘留‘贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 26 December 2020 (UTC)

==Zheng Huajun 郑华君==
2.User becomes transparent (government can fight terrorism, any user can be blackmailed, jealous spouse can check on adultery)

3.Less will to communicate and discuss (since positions are too far apart)

4.Populists and populist views gain supporters

5.Polarization of Society

6.There is an incentive not to reveal how much one knows about the object, because the object then could question the legality, the system etc.

7.Last resort, the thinking, is tackled: Machine interprets “real” attitudes, not lip-service words

2.用户变得透明化（政府可以反恐，任何用户都可以被拉黑，嫉妒的配偶可以查奸情）

3.交流讨论意愿较弱（因为立场相差太远）

4.民粹主义者和民粹主义观点获得支持者

5.社会的两极分化

6.有动机不透露自己对对象了解多少，因为对象就可能质疑合法性、制度等。

7.最后的手段—思维，已经被破解：机器解释的是 "真实 "的态度，而不是口头禅--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:03, 27 December 2020 (UTC)

==Zhou Luoping 周罗平==
8.The knowing ones (algorithms, hackers, controllers of algorithms) have power over the unknowing ones (victims)

9.Exoskeleton ethics (like points/awards for measurable performances) reduce incentives to build inner ethics
'''
7 Simulation of the imminent future'''

1.The imminent future behavior of a human can be predicted

2.With many analyzed humans, the imminent future of reality can be predicted => simulation

8.知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模拟即将到来的未来
1.人类即将发生的未来行为是可以预测的
2.有了许多被分析的人类，现实的即将到来的未来可以被预测=>模拟--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:00, 27 December 2020 (UTC)

8.已知的人（算法、黑客、算法的控制者）比未知im min的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模拟迫近的未来
1.人类的迫近未来行为是可以预测的
2.在分析了许多人类后，我们便可预测现实的迫近未来=>模拟--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:22, 27 December 2020 (UTC)

==Zhou Shiqing 周诗卿==
Is this an Orwellian dystopia or reality? Some cases of the above listed phenomena have been documented. However, we are still at the beginning of “little” AI development (optimizing existing processes) and on the brink of a much more powerful development, that of “big” AI (rethinking whole industries, being able to reproduce and enhance itself). (cf. Euchner 2019).

==Zhou Shuyao 周书尧==
'''8 Conclusion and Outlook'''

Data has succeeded oil as the most valuable resource for today’s economy. Big Tech companies already use users’ data and make big profits with it while legislation is delayed and national boundaries (which do not exist for the Tech companies) are struggled over.
Although input-legitimized liberal democracies and market economies, like that of the European Union, still protect privacy and data security, US- and China-based technology companies are already penetrating the European market.

==Zhou Siqing 周思庆==
We need to raise awareness and guide the youth to be careful with screen time and what they share online. We need to avoid addiction to social media.

'''The algorithms do not just check which film to suggest viewing next, they have started to invade the innermost sanctum of personality, our thoughts, dreams, wishes, visions, hopes, fears and secrets.
'''
'''
The listed consequences document a fundamental change of paradigms:
'''
我们需要提高意识，引导青少年注意屏幕时间和他们在网上分享的东西。我们需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的根本变化:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:38, 26 December 2020 (UTC)

我们需要提高意识，引导青少年留意屏幕时间和网上分享，需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的基本变化:--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:11, 26 December 2020 (UTC)

==Zhou Yiwen 周艺文==
'''The cause-based decision-making by humans with established institutions like politicians, judges etc. is being replaced with correlation-based decision-making by algorithms which often serve the profit interests of tech companies or the political interests of election-manipulators.
'''

AI took the wrong development path, when it changed from serving humans to trying to manipulate humans for economic or political profit. When AI is used to educate citizens – like helping German customers to keep a clean credit history and a good credit score – then it changes the behavior of citizens to an exoskeletal ethic.

人类通过建立政治、法官等制度所形成的原因导向的决策方法正在被算法形成的关联导向的决策方法所取代，算法通常为科技公司的利润利益或选举操纵者的政治利益服务。

人工智能走上了错误的发展道路，它从为人类服务变成了试图为了经济或政治利益而操纵人类。当人工智能被用于教育公民——比如帮助德国客户保持干净的信用历史和良好的信用评分——它就会改变公民的行为，使其成为一种外骨骼伦理。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:42, 27 December 2020 (UTC)

==Zhou Yuanqu 周园曲==
However, animals with an exoskeleton reduce their inside muscles and develop a soft inside, making them totally incapable of living without the exoskeleton. An exoskeletal ethic, giving reward points, for example, for behavior which is deemed positive and subtracting points for behavior which is deemed negative, deprives the human of the natural learning and developing process, in a social environment, of his responsibility and inner ethical judgment. If you were to meet a human with exoskeletal ethics and one who has inner ethics, whom would you trust more?

==Zhou Yujuan 周玉娟==
If we want to avoid the consequences listed in point 6, the public needs to become aware of this and nations and supranational organizations need to define legislation to a) protect privacy and data security, and b) give the user the control over his/her data including the commercial use of it where they earn a share from the profit made with the usage of his/her data.

==Zhu Meimei 祝美梅==
'''9 Outlook'''

We need to accept, that the development is irreversible. Every new technology has created fears. Important is, that we become aware of the developments and adjust where the development heads into the wrong direction. We need set the right framework and incentives that the new technology stays on track to serve humanity.

==Zhu Suyao 朱素瑶==
New developments open new possibilities. We need to make sure that not only a few tech companies and terrorists use this powerful new technology to achieve their goals, but that the mass of smart device users emancipate themselves from addiction to and manipulation by technology and gain back their dignity, privacy and free will.

'''References
'''
（参考文献不用翻译）

AI-Demand. (2020). www.ai-demand.com/insights/data/big-data/big-data-and-facebook-the-heavenly-pair-that-isnt-quite-in-heaven/

Baecker, Dirk. (2007). ''Studien zur nächsten Gesellschaft''. Frankfurt 2007

Banken-Technologie. (2020). 26. Handelsblatt Jahrestagung. Banken-Technologie. „New Normal” in der Finanzwirtschaft: digital – intelligent – automatisiert – hybrid. 2. und 3.12.2020, Digital [Conference Announcement] https://veranstaltungen.handelsblatt.com/bankentechnologie/ki-machine-learning-finanzanalyse/

Booth, T. "Cambridge Analytica controversy must spur researchers to update data ethics." ''Nature'' 555.7698 (2018): 559-560.

Clickworker. (2019). www.clickworker.com/2019/04/30/ai-for-ecommerce/

Cui, Yu, Qing He, and Alireza Khani. (2018). Travel behavior classification: an approach with social network and deep learning. ''Transportation research record'', 2672(47), 68-80. https://par.nsf.gov/servlets/purl/10109453

Daley, Sam. (2020). 32 Examples of AI in Healthcare that Will Make you Feel better about the Future (July 4, 2019, updated July 29, 2020). builtin.com/artificial-intelligence/artificial-intelligence-healthcare

Euchner, Jim. (2019). Little ai, Big AI—Good AI, Bad AI. Terminology Management 62:3, 10-12. pdf:

https://www.tandfonline.com/doi/pdf/10.1080/08956308.2019.1587280?needAccess=true

Golbeck, Jennifer, Cristina Robles, and Karen Turner. (2011). "Predicting personality with social media." ''CHI'11 extended abstracts on human factors in computing systems''. 2011. 253-262.

Jasso-Medrano, José Luis, and Fuensanta Lopez-Rosales. (2018). "Measuring the relationship between social media use and addictive behavior and depression and suicide ideation among university students." Computers in Human Behavior 87: 183-191.

Luhmann, Niklas. (1997). ''Die Gesellschaft der Gesellschaft''. 1997

Oddleifson, Evan. 2020, The Effects of Modern Data Analytics in Electoral Politics: Cambridge Analytica’s Suppression of Voter Agency and the Implications for Global Politics, ''Political Sciences Undergraduate Review'' 5 (2020) 7, 1-7.

https://journals.library.ualberta.ca/psur/index.php/psur/article/view/130/90/130-Article%20Text-642-1-10-20200401.pdf

Raj Kannan, J., Sabitha, R., Karthik, S., & Shanthini, J. (2020). Mouse Movement Pattern Based Analysis of Customer Behavior (CBA-MMP) Using Cloud Data Analytics. ''Wireless Personal Communications'', OnlineFirst, 1-17.

Ruan, Lotus, et al. "One App, Two Systems: How WeChat uses one censorship policy in China and another internationally." (2016).
Shensa, Ariel, et al. (2017). "Problematic social media use and depressive symptoms among US young adults: A nationally-representative study." ''Social Science & Medicine ''182: 150-157.

Talent Search People. (2020). How Will Artificial Intelligence Affect the Job Market? www.talentsearchpeople.com/en/blog/494-how-will-artificial-intelligence-affect-the-job-market/.

Van Den Eijnden, Regina JJM, Jeroen S. Lemmens, and Patti M. Valkenburg. (2016). "The social media disorder scale." ''Computers in Human Behavior ''61: 478-487.

Verschuere, Bruno, and Bennett Kleinberg. "ID‐check: Online Concealed Information Test reveals true identity." ''Journal of forensic sciences'' 61 (2016): S237-S240.

Vosoughi, Soroush, Deb Roy, and Sinan Aral. (2018). The spread of true and false news online. Science 359.6380: 1146-1151.. science.sciencemag.org/content/359/6380/1146

==Zhu Xu 朱旭==
'''Bio'''

Martin Woesler, PhD, is Jean Monnet Chair in European Studies with Hunan Normal University since 2020. At its Foreign Studies College, he is Distinguished Professor of Chinese Studies, Translation Studies and Comparative Literature since 2019. Woesler was elected Academian of the European Academy of Sciences and Arts, Salzburg in 2019.
Woesler has co-edited the books "China's Digital Dream", "Ethics of Information Society" and Springer has scheduled to publish the book "Diverse Voices in Chinese Translation and Interpretation" including his book chapter "Modern Interpreting with Digital and Technical Aids" in February 2021.

个人简历

自2020年起，吴漠汀（Martin Woesler）博士是湖南师范大学欧洲研究的讲座教授。自2019年来，他在湖师大外国语学院担任中国文化研究、翻译研究和比较文学的特聘教授。2019年，吴教授当选萨尔茨堡欧洲科学与艺术学院院士。吴教授曾与人合编《中国的数字梦想》、《信息社会伦理学》等书。施普林格（Springer）已计划于2021年2月出版《中国笔译与口译中的多种声音》一书，其中包括他的《数字与技术辅助的现代口译》一章。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:26, 27 December 2020 (UTC)

==Zou Xinyu 邹鑫雨==
Woesler was a Senior Fellow of the German Science Foundation's (Deutsche Forschungsgemeinschaft) Research College "Media Cultures of Computer Simulations" 2019‐2020 and hosted a related workshop with Bertelsmann Foundation in 2020. Woesler is also a researcher with Witten/Herdecke University, Germany, investigating the impact of daily screen time of children and of young people on their health.

20201228 trans

2020-12-27T10:16:42Z

Yang Hairong: /* Yang Hairong 杨海容 */

==Cao Runxin 曹润鑫==
'''Zhu Ziqing'''

A third example, where an author shows another face in his essays is Zhu Ziqing. He is known as the author of the most often reprinted story-like Chinese essay "''Back View''" (Beiying), a standard school text. The success of this essay lies in the fact, that it applies to filial pity. From the reported fare-well scene with his father at the train station, he learned that his father loved him and that he had grown-up too now.
==Chang Huiyue 常慧月==
This self-reflective essay helped Zhu to find himself through the observation of the other (here his father). The 2nd often printed essay is also from Zhu. Parallelistic and repetitive structures are the driving factor in the atmospherical nebulous lyrical landscape desription "''The Moonlit Lotus Pond''", whose style easily may seem mannerist to the Western reader.

Zhu Ziqing supposedly opposed all political engagement and, wrote about unspectacular things. In Taiwan he became a type of substitute for the categorically refused state writer of the People’s Republic, Lu Xun, mainly because of Zhu’s supposed political independence.
==Chen Han 陈涵==
I would like to show with three examples that Zhu had absolutely clear political ideas: He had taken part in the demonstration March 18, 1926, which ended in a massacre. Zhu described this in ''"Report On the Massacre of the Government''"[ (Zhizhengfu da tusha ji).].

''Shots were still being fired, and the entrance of the east gate was packed with people. [...] Pushing and shoving, we climbed over them with great effort. We must have lost our senses then, not seeing, to our shame, the grotesqueness of our action. ''

我想用三个例子说明，朱自清有绝对明确的政治思想。1926年3月18日，他参加了示威游行，这场游行最终以屠杀告终。朱自清在《执政府大屠杀记》中对此进行了描述。

''这时枪声未歇，东门口拥塞得几乎水泄不通。[...] 我们便推推搡搡，拥挤着，挣扎着，从他们身上踏上去。那时理性真失了作用，竟恬然不以为怪似的。'' --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 26 December 2020 (UTC)

==Chen Hui 陈惠==
''[...]I was still walking on top of the people. No one dared to miss a single step, filing through the gate that divided safety from danger, one that would give us life or take our lives away. [...] My efforts finally brought me down to the ground, sealing my fate as I rolled down from the human pile. [...] I learned later that some of the people by the gate were dead, killed by the pistol squad firing from the other side of the gate. When I recall stepping over dead bodies, I cannot help but tremble with fear. [...]''
==Chen Jiangning 陈江宁==
From this experience, Zhu addresses directly the repsonsible political leaders:

''Duan Qirui, you must think about it! [...] How could we explain this to the world? [...] Granted, Duan Qirui and others could commit such atrocities without a thought; but how could we, the people of China, face the world with such a shameless government? [...] We, [...], must ask, „So many were killed—what should we do?“''
==Chen Jiaxin 陈佳欣==
In contrast, Lu Xun has portrayed the same massacre with sighing undertone and Zhou Zuoren bitter-humorously in his "''Ways to die''"[ (Si fa).] - in which he finds "to be shot" the best method to die. The supposedly less politically engaged Zhu shows here more engagement.

The essay "''Facing the New China''"[ (Xin Zhongguo zai wang zhong).] is Zhu's political manifest: He asks for democracy, enlightenment and an increase of the education level.
==Chen Jingjing 陈静静==
''China has to be born again through democratization. [...] The people should express their own will, concentrate on their own strength. Every level of administration should build up on the expressed will and strength of the people and struggle for the majority and its greatest happiness. This means that the people govern, the people own, the people enjoy.''

A few weeks before his death, he demanded in the speech ''"Today's duty of the Intellectuals''"[ (Zhishifenzi jintian de renwu).] the participation of the intellectual in the struggle for a better society.
==Chen Sha 陈莎==
With only a handful of essays I have demonstrated, that the picture of these three authors changes substantially, if we read carefully also their less known essayistic work. Imagine now how the picture of 20th century Chinese literature might change, if the literary histories and anthologies would not only tell the history of drama, fiction and poetry, but would also grant the essay its proper place. The following part of my paper are results of my monograph on the 20th century Chinese essay.
==Chen Sunfu 谌孙福==
'''The essay boom as a mirror reflecting growing individuality, participation in the public sphere, and the giddy-paced character of modern Chinese society'''

Acquiring an overview of the essay and assessing its essence has required extensive research in bookstores and libraries, in the People's Republic of China, Taiwan, Hong Kong and the United States for available resources in the form of essay book collections as well as secondary literature dealing with the essay.
==Chen Yongxiang 陈永相==
I built a database for a statistical analysis to rank more than 5000 essays and 1400 essayists. It turned out that out of the top 60 most famous Chinese essays only 14 had been translated into English so far. The forthcoming collection of Tam King-fai adds 4 and my own one the remaining 42.

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report[ (baogao wenxue) (Klaschka 1998).].

我建立了一个用于统计分析的数据库，对5000余篇散文和1400名散文家进行排名。事实证明，迄今为止，在中国最著名的60篇论文中，只有14篇被翻译成英文。谭景辉即将出版的散文选集另有新翻译的4篇，我自己则翻译余下的42篇。

分析表明，自1979年以来，总体上来说，散文发表有所增加，在“文化大革命”之后还出现了两次热潮，在1990年达到了新的高度。首次增加出现在20世纪20年代和30年代，此后便被报告文学所取代（Klaschka 1998）。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 04:41, 27 December 2020 (UTC)

==Cheng Yusi 成于思==
The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous essay bookseries[ sanwen congshu 散文叢書.].

The reason for the increase in essay production, which we can date right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in the sampling of 130 ‘representative’ books I was able to collect for the survey. There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s:
==Deng Jinxia 邓锦霞==
1, The giddy-paced nature of current Chinese society with its demands for diverting and short texts, as Hall has put it: “[...] we live in an age of exposition”[ (Hall 1984:xiii).].

2, The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands.

3, A revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.
==Ding Daifeng 丁代凤==
If we look carefully at essay collections not only published in the United States, but also in Hong Kong, Taiwan and the People’s Republic, we find the following three reasons for the under- and overestimation of single essayists or essays which correspond to regional differences:

1, EXOTIC In the United States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.

如果我们仔细观察在美国出版的，以及在香港、台湾和中华人民共和国出版的散文集，我们会发现以下三个原因导致人们低估和高估了回应地域差异的单个散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，完全不知名的作者和老牌作家拥有一样多的空间。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:37, 26 December 2020 (UTC)

如果我们细细研读在美国出版的，以及在中国香港、台湾和大陆出版的散文集，我们会发现以下三个原因导致人们因地域差异而低估或高估了某些散文家或散文:

1、异国情调在美国，散文往往是根据西方人的口味来选择的，名不见经传的作者和著名的作家拥有同样多的市场。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 26 December 2020 (UTC)Mo Ling

==Fang Jieling 方洁玲==
2, SOCIO-POLITICAL In Taiwan, Lu Xun has been banned for a long time, but today, as the mentioned survey proofs, he ranks 12th among modern authors there. Wang Meng has been overestimated in the People’s Republic of China due to his political post.

3, PERSONAL Hong Kong literature on Yu Guangzhong has been censored by his disciple Huang Weiliang in favor for Yu.[ (see Lin Yaode 1989:50).]

Having named reasons for the essay boom and for the support for and the suppression of different actors in the cultural field of the essay, I would like to finish my paper by naming a few trends of the essay as they appear at the eve of the century.
==Gan Fengyu 甘奉玉==
The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consumer-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".
==Gao Mingzhu 高明珠==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("''On dreams''"[ "Shuo meng 說夢" On dreams in: Zhu Ziqing 1928.]) and Zhou Zuoren from 1917 ("''My own garden''"[ 9.1923.], "''The Fly''"[ 1924.], "''Reading on the Toilet''"[ 1936.]), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the newly encountered world of mass consumerism.
==Gong Yumian 龚钰冕==
In the end of this century not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. Among the upper list places of the political essay after 1949 there are critical essays. For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.
==Gu Dongfang 顾东方==
A sign for the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation for customers (former: "readers"). Following the emotional essays of Zhu Ziqing who rank 1st and 2nd, ''nostalgia'' is the element of emotional identification in "''Wild vegetables of my home region''" by Zhou Zuoren, which ranks 3rd[ In Jia Pingwa's "Moon traces", which ranks 11, and in Ba Jin's "''Paradise for Birds''", which ranks 19]. Therefore one can state, that moving essays form the top.
==Guan Qinqing 管钦清==
In 1927, Chinese literature took the form of 'engaged literature'. In the 1980/90s, the discussion of politics in daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. In the later half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife.
==Gui Yizhi 桂一枝==
In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only remiscent element left is the patriotism.[ ''Trends like the use of ordinary language'', which one finds in novels since 1993 (''Jia Pingwa'', Feidu; ''Gu Cheng'', Yingger) and New Borderlessness since 1995, cannot be proven in the essaywriting.The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable ''object d'art''.]

上个世纪90年代，80年代的政论文随笔文化逐渐隐没了，唯一剩下留有想象空间的元素就是爱国主义。[“比如使用普通语言的趋势”，这是从1993年以来在小说中发现的（“贾平凹”）费杜，古格，英格）以及自1995年以来，《新无边际》都无法在论文写作中得到证明，我们之所以没有找到后现代小说意义上的后现代散文，是因为文章的直接性：随笔作为一种体裁，是作者和读者之间的对话，而不是想要引起不同解释的原因或可能依赖于特殊形式或内容甚至是按顺序引用前现代特征的艺术品，这使它成为一个与众不同的“艺术品”。]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 13:06, 26 December 2020 (UTC)

'''References''' [partly mentioned with German translation] （不用翻）

Vera Schwarcz 1996, Vera Schwarcz, "The pain of sorrow: public uses of personal grief in modern China", in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)

Ba Jin 1982, Ba Jin: "Yi feng huixin 一封回信" (Ein Antwortbrief (26.10.1982)), in: Bing zhong ji 病中集 (Auf dem Krankenlager), Hongkong 香港 1984(?) (Series Suixiang lu 隨想錄 (Thoughts) Bd 4), 147 pp.

Ba Jin 1982a, Ba Jin: "Yi pian xuwen 一篇序文" (Ein Vorwort) [dated 1982.9/10], in: Ba Jin: Auf dem Krankenlager 1984

Ba Jin 1956, Ba Jin 巴金: "Duli sikao 獨立思考" (Unabhängig denken), in: Li Jisheng 李濟生, Li Xiaolin 李小林 (Hgg.): Ba Jin liushi nian wenxuan (1927 - 1986), Suixiang lu, zagan, sanwen, xuba, yanjiang, shuxin 巴金六十年文選（１９２７－１９８６）隨想錄·雜感·散文·序跋· 演講·書信 (Ba Jin. Werkauswahl aus 60 Jahren (1927 - 1986), Gedanken, vermischte Gefühle, Essays, Vor- und Nachworte, Reden, Briefe), Shanghai 上海: Shanghai wenyi chubanshe 上海文藝出版社 (Literatur- und Kunstverlag Shanghai), 1986.12, S. 461 - 462 [Datiert auf 1956.]

Ba Jin 1962, "Zuojia de yongqi yu zerenxin 作家的勇氣與責任心" (Mut und Verantwortungsbewußtsein der Schrifsteller) 1962; der Essay von Zhou Zuoren 周作人: "Wenxue tan 文學談" (Über Literatur), in: Tan long ji 談龍集 (Über Drachen. Sammlung), Shanghai 上海: Kaiming shudian 開明書店 (Kaiming Buchladen) 1927.12, Nachdruck: Hongkong 香港: Shiyong shuju 使用書局 (Praxisverlag) 1972.1, 310 S., S. 165 - 167

Zhou Zuoren 1919, Zhou Zuoren, "Zuxian chongbai 1919 (Ancestor Worship)," in Early Essays, op.cit., pp. 78

Zhou Zuoren 1920: Zhou Zuoren 周作人, Xin wenxue de yaoqiu 新文學的要求" (The demand of the New Literature) [lecture], in Beiping shaonian xuehui 北平少年學會 (Beiping youth conference) 1920.1.6, in: Zhang Ruoying 長若英: Xin wenxue yundong shi ziliao 新文學運動史資料 (Material on the history of the New Literature movement), Shanghai 上海: Guangming shuju 光明書局 (Guangming bookstore) (1934.9) ²1936.9, 291-296

Zhou Zuoren 1923, Zhou Zuoren: Yanzhicao ba (Preface to Yu Pingbo's Yanzhicao), in: Yongri ji (Book of Eternal Day), Shanghai: Beixin shuju 1929, 180-181

Zhou Zuoren 1929, Zhou Zuoren: Ertong de shu (The books of children), in: Chenbao fukan (1923.8.17)

Zhou Zuoren yuanliu, Zhou Zuoren: Zhongguo xin wenxue de yuanliu (Sources of New Chinese Literature), p 71

Zhou Zuoren 1932, Zhou Zuoren: Lun baguwen 1932, in: Kanyun ji p. 148

Source: NEAAS annual meeting 10/09/1999 New Haven (Yale University)

==Guo Lu 郭露==
'''Modern Chinese Literature and the Essay Genre: A New Perspective'''

''Martin Woesler''

In this paper, I will not recount the contents and propose interpretations of any essays, nor will I outline the main topics or styles of essaywriting in China, but I would like to take the opportunity to reflect a little bit on the phenomenon of the genre itself and discuss some conclusions and hypotheses with the attentive and critical audience which can be found at only a few places on earth, EALC at Harvard definitely being one of them.

《中国现代文学与散文体裁：以新视角》

''吴漠汀''

在本文中,我将不再赘述任何文章的内容和提出的观点,我也不会列出其主要主题或风格,但是我想借此机会,反映一些现象本身的类型，并与包括哈佛大学学生在内的观众对一些结论和假设进行探讨。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:16, 25 December 2020 (UTC)

《中国现代文学与散文体裁：新视角》

吴漠汀

本文将不再赘述或解释任何文章的内容，也不会列出中国散文的主要主题或风格。我想借此机会，反思体裁现象，同乐于助人、至关重要且世间少有的读者，包括哈佛大学东亚语言和文化学院的学生，对一些结论和假设进行探讨。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:28, 25 December 2020 (UTC)

==Han Haiyang 韩海洋==
'''1. The unknown genre'''

The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. In my paper I will ask, if the picture of literature can remain unchanged, if we take into consideration also the essay. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90, McDougall 1998);

'''1.未知体裁'''

二十世纪文选和选集里的文学史的叙述对于整个中国文学来说是不完整的：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:09, 26 December 2020 (UTC)

'''1.未知体裁'''

20世纪选集所讲述的文学历史叙事，描绘了一幅不完整的中国文学图景:：散文题材是缺失的。在我的论文里我将要探寻是否文学整个文学框架依旧保持不变，是否把散文体裁考虑进去。作为一种具有优势的体裁它已经被忽视了很久了。（马古烈 1949，施寒薇 1990）或者被省略（约翰·麦克诺顿 1974，莱顿 1988-90，杜博妮 1998）；--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:30, 26 December 2020 (UTC)

==Han Wanzhen 韩宛真==
whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement. Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.
==He Changqi 何长琦==
'''Excursion: Defining the essay as a non-fictional subjective representation in a free form'''

Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (non-fictional prose)), lyrics (shige) and drama (xiqu). Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term "wu yunwen" which corresponds to the term "epic" in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.
==Hu Baihui 胡百辉==
In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet. The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it. The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.
在抒情诗中，读者被鼓励去感受当下的感觉，并且常常是诗人的忏悔式的感觉。戏剧直接在独白或对话中回忆起一个自足的动作，以这种方式释放了读者/观众重新创造的想象力。散文作为史诗的一种体裁，是一种超脱的、非虚构的、自由形式的主观表现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 02:29, 27 December 2020 (UTC)

在抒情诗中，鼓励读者感受诗人当下的感觉，且这种感觉常常是诗人的忏悔。戏剧直接以独白或对话的方式回忆一个自足的动作，并通过这种方式释放了读者/观众再创造的想象力。散文作为史诗的一种体裁，是以自由的形式进行的一种分离的非虚构的主观表现。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:11, 27 December 2020 (UTC)

==Hu Huifang 胡慧芳==
"Essay", Chinese mostly ''sanwen'', is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective. This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form. The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously. Freedom in form and content is essential for the essay.
==Hu Jin 胡瑾==
Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily. On the other hand, a subcategorization in numerous small entities, like Zheng Mingli does with the essay, questions the sense of such subdivisioning in reference to hermeneutic findings. One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.
==Ji Tiantian 纪甜甜==
Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems. All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.
==Jiang Fengyi 蒋凤仪==

In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization. The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. This is a second hint that the modern Chinese essay belongs to the international genre of the essay.

在21世纪，世界共同发展，文化主要决定于现代化的水平。今天我们在刊物上看到的中国散文，已经具备了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文属于国际散文类别的第二个暗示。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 07:58, 25 December 2020 (UTC)

在21世纪，世界上的国家趋向于走到一起，而文化则主要取决于现代化水平。正如我们从现今报纸里面看到的那样，中国散文采用了西方散文的形式和内容，而且其目标群体与西方散文相当。这是中国现代散文开始趋同于国际散文体裁的第二个标志。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:27, 25 December 2020 (UTC)

21世纪，世界在共同成长，文化主要由现代化程度决定。我们今天在报纸上看到的中国散文，在形式和内容上都与西方散文相似，其目标群体也与之相似。这是中国现代散文属于国际散文的第二个暗示。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 09:44, 26 December 2020 (UTC)

在21世纪，世界共同发展，文化主要决定于现代化的水平。我们今天在报纸上看到的中国散文，已经呈现出西方散文的形式与内容，并且其目标群体也与西方散文不相上下。这是中国现代散文属于国际散文体裁的第二个迹象。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:17, 26 December 2020 (UTC)

==Jiang Hao 姜好==
Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 1992 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay).
==Jiang Qiwei 蒋淇玮==
Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it "Chinese"? In the occidental essay the form seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework.

除了首先由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文有独特本土的特征。中文散文如何形成其特有文化，其中文性又由何组成？和中文散文相比，西方散文的文章形式似乎是更重要的分类标准。在中国，甚至有些文章内容相似，但形式和类别大相径庭。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:06, 25 December 2020 (UTC)

除了最初由周作人表达出来的社会全球化趋势，号召采用英语散文风格，中文散文具有独特的本土特色。中文散文如何形成其特有文化，其中文性又由何组成？与中文散文相比，西方散文的形式分类标准似乎更重要。在中国，有些文章甚至是内容相似，但形式和类别大相径庭。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 25 December 2020 (UTC)

==Kang Haoyu 康浩宇==
This can be shown with Zheng Mingli, who subcategorises the "unfinished diary" or the "unfinished letter". Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works. Only after they have been altered into essays (Zheng Mingli: "essay in diary form" and "essay in letter form"), they are accepted as essays.
==Kang Lingfeng 康灵凤==
'''The Chinese understanding of the genre is tendencially broader'''

This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén'' "non-rhythmic prose", which originally meant all non-fictional prose. In this broader meaning, also texts for personal or everyday use are included. However I deal only with ''sanwen'' in the narrower meaning "short literary essay pieces".

Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.
==Kong Xianghui 孔祥慧==
'''The Chinese essay is booming again in the 1980s and 1990s'''

Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'').[ Klaschka 1998.] The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文叢書 (essay bookseries).
==Kong Yanan 孔亚楠==
The increase in essay production right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.

Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging xiangtu literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.
==Lei Fangyuan 雷方圆==
'''2. Why is the essay as abundant as fiction?'''

Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:

- The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political zawen of Lu Xun, until today are mostly presented in essay form). The impact on literary reflection and theory is shown in the collection "Modern Chinese Literary Thought" 1996. The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry. The poem is the genre of retreat from social life, from political issues and time references.
==Lei Kuangxi 雷旷溪==
Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of novel and opera in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.

- The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.

胡适认为“诗”在现代化的过程中是最重要的，因为诗会升华情感。但诗歌依赖于形象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“三文”却能命名事物，它反映生活千变万化。现代主体性是以“三文”为工具来建构的。

-散文也比诗歌和小说更能反映社会的趋势。个人主义在随笔中表现得比在诗歌中更直接，但在内容和形式上都有局限性。短文的短暂性体现在短文的形式上，可以在上班路上的地铁里读，而在地铁里读诗，可能就不能那么随性的享受了。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 13:48, 26 December 2020 (UTC)Lei Kuangxi

胡适认为“诗”在现代化的过程中是最重要的，因为诗歌升华情感。但诗歌也依赖于意象和语言节奏。梁启超强调小说和戏曲在社会变迁中的作用。但“散文”却能给事物命名，反映千变万化的生活。现代主体性就是以“散文”为工具建构的。

- 随笔也比诗歌和小说更能反映社会的发展趋势。个人主义在随笔中的表现比在诗歌中更直接，因为诗歌在内容和形式上对此有所限制。随笔的短暂性体现在随笔的形式上，人们可以在上班路上的地铁里阅读，而在地铁里读诗，可能就没有那么随性的享受。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:55, 26 December 2020 (UTC)

==Li Haiquan 李海泉==
- The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too. The essay itself a genre of high actuality, if not simply the genre of today.

- The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society. Many authors turned to essay writing in the later periods of their lifes, like Lu Xun, Ba Jin, and Wang Meng.
==Li Lili 李丽丽==
- The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[ Shenbao, Shibao etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his ''zawen''), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang lu'' derived).

“随笔”的产量超过了“小说”的产量：从19世纪70年代开始，中国的报纸就在《申报》、《时报》等杂志上发表。梁启超认为报纸既自由又权威：他认为报纸是控制政府的机构，另一方面，他主张审查制度，作为20世纪初的一个大众媒体，他以连载的形式呈现一两个虚构的故事，但却发明了散文专栏，如“扎根”（鲁迅从中发展了他的“札文”）、“随笔”或“随想”（巴金的《随想录》就是从中衍生出来的）。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:54, 25 December 2020 (UTC)

==Li Lingyue 李凌月==
'''3. Let us assign the essay its proper place'''
The consequence which must be driven from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place! I will describe the beginnings of the discovery of the essay.
Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.
==Li Liqin 李丽琴==

In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).

20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这首先集中在鲁迅等单个作家的散文作品上。另外90年代的两次会议也没有趋于国际学术研究的动向。直到1995年，国际学术界才开始使用共同的语言学方法来探讨单个散文家（比如1995年Kubin的《关于梁漱溟》；Woesler的《关于王蒙》；Mansberg的《关于刘再复》[未发表]）或探讨某个群体的散文（1996年瓦格纳的《关于新月派》）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 12:54, 26 December 2020 (UTC)

==Li Luyi 李璐伊==
Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998) and for the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, ''Modern Chinese Literary Thought'' 1996).

Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.
==Li Meng 李梦==
In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. If one only take modern authors into account, he even ranks 12th. Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode 1989:50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.

Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation.
==Li Yongshan 李泳珊==
Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai, Woesler) or already published (Pollard 1999). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. This year, scholars will meet on a first international conference on the essay (Achern, Germany August 25-26). In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays.
==Li Yu 李玉==
'''4. Taking into consideration the essay will rewrite the history of Chinese literature'''

I will give a few hints, what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Prusek and Anderson.

We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the ''yuanyang hudie pai'' played in the choir of different voices in the awoken intellectual debate in the beginning of this century.
==Lin Min 林敏==
The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.
==Lin Xin 林鑫==
In the following, I will name three aspects (chronologically sorted by past, modern and contemporary time) to hold the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.

'''5. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned'''

How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay are both in China and the West notes written on the margins of books, they are letters and travel notes.

下面，我将从三个方面(在时间顺序上按过去、现代、当代排序)来论述对散文的考量将改写中国文学史，改变我们目前对它的认识这一论点。

5. 古典和前现代散文记录了中国哲学，其早期的主体性，仍然是对中国本土传统的质疑。
中国散文在历史上要如何定位，它是如何产生的，它的共有背景是什么？一般来说，中国和西方的散文都是起源于写在书本空白处的笔记，是书信和游记。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:18, 27 December 2020 (UTC)

==Ling Zijin 凌子瑾==
These notes differed from the canonized literature through its informal style, its expression of individuality und subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.

From the very beginning, the essay was valued lower than poetry: the oldest reference this far for the term ''sanwen'' that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù.
==Liu Bo 刘博==
詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatels, is limited.) (''Helin yulu''). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.

In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge.

“詩騷妙天下，而散文頗覺瑣碎局促。”罗大京提到的另一个骂名，是形式上的：与具有高度艺术性和长达一个世纪传统的诗歌写作相比，散文中直接的、白话文式的语言在他看来并不那么有价值。
在西方，16世纪晚期出现了一种真正的“散文写作艺术”，作为一种传播重组知识的媒介。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:50, 27 December 2020 (UTC)

“诗騷妙天下，而散文颇觉瑣碎局促。”罗大经提出的另一个责难，是形式上的。在他看来，与高度艺术化的百年诗词写作传统相比，散文直接的、白话文式的语言没有什么价值。
在西方，真正的 “散文写作艺术 ”是在16世纪末作为重组知识的一种媒介出现的。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:30, 27 December 2020 (UTC)

==Liu Jinxingqi 刘金惺琦==
The reorganization originated from the observations of Kopernikus, which destroyed the whole conception of the world of the Middle Age.

In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters. The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of sǎn 散 as (to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''.
==Liu Liu 刘柳==
Xunzi delivered the prototype of the later essay with his philosophical treatises. They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.

During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written at the paper margins originated the ''biji'' µ§°O (occasional notes), flourishing in the Ming Dynasty.

荀子的哲学论著是后世散文的雏形，它们是哲学教学论文的早期形式。其中的一般定理不仅来自于经典著作的引用，而且第一次从他的个人经验中得出。个性仍是现今散文的主要特点。

历朝历代，散文在某些子类中进一步得以表现，如从写在纸边的读书笔记产生了明朝盛行的偶记。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:25, 25 December 2020 (UTC)

荀子的哲学论著是后世散文的雏形。其作品是哲学论教散文的早期形式，这些散文中传授的普遍定理不仅有引用经典著作，还首次借鉴其个人经历。这种个体性在当代的散文中仍有保留。

历朝历代，散文通过一些子类别得以呈现，如明朝盛行的在书页边上写的读书注释，它就是源于笔记。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:47, 25 December 2020 (UTC)

==Liu Ou 刘欧==
The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations. However, the consciousness of the essay as a genre of its own originated in China not before the Qing ²M dynastie, when numerous essay anthologies were compiled.

Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences.

边缘主义是中西早期散文的一个纽带。散见的笔记包含了私人的历史记录，轶事，交谈和个人沉思。然而，尽管当时的散文选集众多，但将视散文作为一种文体的意识，清朝之前并没有出现。

考虑到当时的社会历史背景，人们在旧社会时，对短篇故事和小说的看法不同：散文更接近现实生活，因为它们表达了个人的困惑和经历。--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 04:15, 27 December 2020 (UTC)

边缘主义是中西早期散文传统的一个纽带。偶尔的笔记可以包含私人的历史笔记，轶事，交流和沉思。然而，尽管当时中国散文选集有很多，一直到清朝之后我们才将散文视作一种文体意识。
考虑到当时的社会历史背景，人们对旧社会的看法与短篇小说和小说不同：散文更接近现实生活，因为它们表达了个人的问题和经历。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:43, 27 December 2020 (UTC)

==Liu Yangnuo 刘洋诺==
Until now, the Chinese pre-''Hongloumeng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.

Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the "Eight legged essay" as as appealing and intoxicating as the "pleasure of doing opium.'' (Zhou 1932:148).

目前为止，中国红楼梦前的个体文学还只是通过诗中的间接语言与我们对话。通过重拾散文，我们可以知晓不同观点和社会历史状况等文学创作的丰富源泉。
现代散文之前的文学并不限于形式上受限制的八股文，一方面鲁迅本人也有一些散文是用八股文写成的，但另一方面他又把八股文当作古代社会的代名词。周作人把 "八股文 "的语言节奏看作是 "做鸦片的快感 "一样令人陶醉。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 08:42, 25 December 2020 (UTC)

直到现在，中国前“红楼梦”的个体文学只能通过诗歌的间接语言与我们对话。重新发掘这些散文，我们可以拥有丰富的观点来源，社会历史图片等。

前现代散文文学不仅仅包括它最为人所知的例子，正式的、有限制性的“八卦文”。鲁迅自己的一些文章就是用“八卦文”写的，但是在另一方面又把它当作古代社会的同义词。周作人认为《八股文》的语言节奏就像“吸鸦片的快感”一样令人陶醉。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:07, 25 December 2020 (UTC)

==Liu Yi 刘艺==
But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, Zhou Yuanliu:71).

Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''Wenyi zai dao'' (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

新儒家强调''文''（散文）是传播''道''的最重要工具：''文以载道''（文以载道）。如果我们从文体的角度来重新解读这句话，我们可以说，当时的散文已经被视为表达真理、主体性和自我的重要工具。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:01, 25 December 2020 (UTC)

但他认为这也是隐含在现代著作中的''洋包谷''（西化包谷）和''党行包谷''（借用吴稚晖、周远流的说法：71）的一种普遍的文体。

理学强调“文”（散文）是传播“道”的最重要工具：“文以载道”。（以文学为载体的方式）。如果我们从体裁的角度来重新解读这一措辞，可以说，散文已成为表达真理、主体性和自我的重要工具。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:53, 27 December 2020 (UTC)

==Liu Yiyu 刘怡瑜==
Liang Qichao developed a ''xīn wéntǐ'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.

'''6. The essay as the medium of modernity, the questioning of the genuiness of the Chinese essay'''

To solve first of all the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Lin Shu: ''Irving'' 1907, ''Addison'' 1911).
==Liu Zhiwei 刘智伟==
The current form of the genre is mostly based on the influence of Western essay translations. First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only. A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).

This is older than the ones referred to in the ''Large Chinese Dictionary'' of Morohashi (Morohashi undated) and in the ''Encyclopaedic Dictionary of the Chinese Language'' 1966.

==Lou Cancan 娄灿灿==
Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin 1992, Fan Peisong 1993; for Western impact in general see Průšek 1964, Gálik 1966, McDougall 1971. Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:57, 26 December 2020 (UTC)

然而，对于本土论文写作传统的价值以及西方对其的影响，学者们争论不休。有些人承认西方的影响在我们今天所理解的中国散文中起了关键作用:王斌1992，范培松1993;对西方总的影响参考。还有一些学者认为，西方的影响被高估了——Denton 1996表明，中国缺乏理解西方文学理论的理论背景，并建议我们首先从其民族传统来理解这篇文章。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:07, 26 December 2020 (UTC)

==Luo Weijia 罗维嘉==
How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement. All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1933, the anarchist and later member of the Guomindang Wu Zhihui [1934]. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition:
==Luo Yuqing 罗雨晴==
for example, Lu Xun with his theory "'Zhǎnkāi' shuō yǔ 'méngyá' lùn “展開”說與“萌芽”論"" (Theory of "Starting" and "Blossoming") came to see the fighting and critical character of the essay of the Jin dynasty (265 - 420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the ''biji'' (occasional notes) of the Ming, although he still tried to integrate the English essay in his "Gonganpài yu Yīngguo xiaopin 'hecheng' lun 公安派與英國小品“合成”論" (Theory of the Synthesis of the Gongan School and the English Essay).
==Ma Juan 马娟==
Wang Zengqi regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays (Wang Zengqi 1993). The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay. One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.
==Ma Shuya 马淑雅==
When Zhou Zuoren showed that only seven months after the incident at Marco Polo bridge it was again possible to write about a candy seller (1924), he was critizised as "paralyzing" (Lu Xun 1934, Zhu Zhaoluo 1943). When he wrote a piece on the "Fly", he was reproached with dealing with subjects of minor importance. Reproaches like this lie in the very nature of the genre, since ''marginalism'' is substantial to the essay. The mentioned formal reproach of Luo Dajing can be found again in the 1990s, Hong Kong students critisized the literary style as it appears in Ba Jins "Thoughts" (Suixiang lu) as too direct and too less artful. But this perspective does not recognize the very nature of the essay, which is a very individual expression of an author's thoughts and not bound to tradition, and therefore much more free also in content.
==Ma Zhixing 马智星==
The essay - from its very nature free and independant - almost disappeared in the time of the Cultural Revolution and - except for the ideologically influenced essays - had a hard struggle between Yan'an and the loss of moral legitimacy by the leadership in 1989.

The essay was ''the'' genre of the modernizing society of the early 20th century. Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming "needs" of society, which also claimed the author to be one of its products.
==Meng Ying 孟莹==
But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is "a genre of self-reflection". Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art.

I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).
==Mo Ling 莫玲==
Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays. I mention only Zhou Zuoren. His ideas connected him spiritually to his contemporary collegues in Europe, Japan and America, but these where ideas for which China turned out to be not yet ready. At that time, China had taken a road which led away from progress, wealth, freedom and spiritual enlightenment. The consequences have yet to be overcome.

除开关注作家的小说和诗歌之外，如果我们对他们的散文有所涉猎，就会发现他们不仅对文学整体的理解发生了变化，单个作者的观点也发生了变化。仅就周作人来说，他的思想在精神上把他和他在欧洲、日本和美国的同伴们联系在一起，但是这些设想在中国行不通。当时的中国走的是一条远离进步、财富、自由和精神启蒙的道路，这一现状还并没有得到改变。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:34, 26 December 2020 (UTC)Mo Ling

==Mo Nan 莫南==
In 1927, Chinese literature has taken the form of 'engaged literature'. The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.
==Nie Xiaolou 聂晓楼==
Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be "art pourt l'art".
==Ou Rong 欧蓉==
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing ("Shuo meng 說夢" On dreams in: Zhu Ziqing 1928) and Zhou Zuoren from 1917 (My own garden 9.1923, "The Fly" 1924, "Reading on the Toilet" 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.
==Ouyang Jinglan 欧阳静兰==
I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda. This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove. This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character.
==Ouyang Ling 欧阳玲==
In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.

Taking into account of a genre shifts the whole perspective on literature, taking into account the essayistic works of an author shifts also the view of the author. I will name only one author as an example for a modern essayist: Zhou Zuoren.

20世纪90年代，20、30年代民国时期的文本和当代的文本一样也经常被重印。显然，我们可得出一个结论：20世纪50年代的那些政治宣传文只能留存在特殊的政治文章选集当中，到了21世纪初，就不再有作者去写这类文章，也不会有中国读者去看这类文章了。

考虑到整个体裁对整个文学角度的转变，以及散文作品反映出的作者观点的变化，我只举一位现代散文家的例子：周作人。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:47, 25 December 2020 (UTC)

20世纪90年代，20-30年代民国时期的文章仍然和当代的同类文章一样经常被重印。显然，我们可以得出一个结论：20世纪50年代的政治宣传类散文只保存在专门的政治散文集中，到21世纪初，不再有人去写，也不再有人读这类文章了。

一种文学体裁会转变整个文学的视角，一位作家的散文作品，同样也会转变对这个作家的看法。我只以一位现代散文家为例：周作人。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:02, 25 December 2020 (UTC)

==Peng Dan 彭丹==
'''Zhou Zuoren'''

I mentioned already his theoretical contribution to the Chinese essayism, but still, his essays have been neglected until the 1980s. The reason does not lie in literary quality, but in political valuing. The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that the theoretical May Fourth genius "degenerated" and later became a "traitor". Publishing in the Japanese sponsored magazines ''Reminiscences'',* and ''Chinese Literature'', he was blamed together with Zhu Pu and Yuan Xi of collaboration. An unanswered question is, why another author, who published there, Zhang Ailing, was never reproached with collaboratorship. The difference between all of them is that Zhang Ailing tried to avoid political committments, whereas Zhou felt guilty, Zhu justified it and Yuan simply accepted it.
==Peng Juan 彭娟==
''The 'mainstream' writers took an affirmative approach in their writing, whereas the other writers formed a minority. The individual authors did not necessarily belong to either one of these groups throughout their life, but may have moved between them. Since the essay is a medium which enables the individual to express thoughts directly, the writers chosen for this paper can be classified according to their position.''

''Yu Guangzhong's essay'' "The wolves are coming" ''shows that the ideological perspective did not only harm mainland essaywriting.''
==Peng Ruihong 彭锐宏==
In his small literary pieces, Zhou tried to aesthetizise the little things of the everyday life out of the subjective experience of his private space. The major contribution of Zhou Zuoren is, that he set the turning point in Chinese essay writing with his call for writing short literary pieces (''Meiwen'' 1921).

In foreign literature there is the so-called ''lunwen'' 論文 (treatise), which is roughly divided into two groups: the reflecting ones, piping 批評 (critical), are scientific articles. The others are ''jishu'' 記述 (descriptive) and ''yishuxing'' 藝術性 (artistic), they are also called ''meiwen'' 美文 (aesthetic essay). Within these texts, one can distinguish between ''xushi'' 敘事 (narrative) and ''shuqing'' 抒情 (lyric). But there are also mixed texts. [...] I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn’t that be wonderful?
==Peng Xiaoling 彭小玲==
With these words from the essay "''The aesthetic essay''" this new vernacular form was defined. This starting point founded a whole new tradition of essay writing in China. Contemporary writers called this piece the "king of essays".

In order to bring this new form to his compatriots, he tried to find similiarities with the ''xiaopinwen'' of the Ming dynasty. He further discussed these thoughts in his essay theory. In his own essays, he profited a lot from ancient ''suibi''. Later he further developed his literary theory towards an up and down of two trends. In the modernizing society, he advocated the liberation of women and asked to "treat children as full subjects with their own external and internal lives" and to "make children the essence of children's literature" (Zhou 1923). He promoted the ''baguwen'' and the independance of literature from politics and effected the literary scene and the development towards a modern Chinese society especially between 1917 and 1938.

“美学散文”中的这些词语定义了这种新的白话形式。这个起点在中国建立了一种新的散文写作传统。当代作家称此作品为“散文之王”。

为了将这种新形式带给他的同胞，他试图找到其与明朝“小品文”的相似之处。他在散文理论中进一步讨论了这些思想。他自己的散文也从古代的“随笔”中受益匪浅。后来，他将文学理论朝着上下两种趋势进一步发展。在现代化社会中，他呼吁解放妇女、“将儿童看作具有外在和内在生命的完整主体”以及“让儿童成为儿童文学的本质”（Zhou 1923）。他提倡“八股文”和文学脱离政治的独立性，这对文学界产生了影响，并推动了中国向近代社会尤其是1917年至1938年的发展。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:48, 25 December 2020 (UTC)

==Peng Yongliang 彭永亮==
With this theoretical foundation and his own vo'luÉminous essayistic work, Zhou Zuoren through the example of his own form of short literary pieces within this genre, fought at that stage of the development of his literary theory like Benjamin Henri Constant de Rebecque 130 years ago in France for the idea "l'art pour l'art" , for individuality and independance of the writer, for disinterested literature. The jugdment, that Zhou was an apolitical author cannot be proved with his essays. Instead, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance (Zhou 1929:180-181).
==Peng Yuzhi 彭育志==
In fact he saw himself as ‘patriotic underground fighter’ and looked at the collaboration with the Japanese puppet regime as a forced one, following his attempted assasination, through which his driver had lost his life. His own concept of essay writing served less the needs of the building of a nation-state and comes closer to the ideal of the individual.

"I don't really know why, but I am feeling as if I am born into a dark age. I admit, that our forests are not inhabited by dragons, tigers and wolves, but shapeless "monsters" and "goblins" are still creeping around and try to swallow our souls. [...] What alarms me most, is the absence of freedom in this prison, into which we writers have been thrown."
==Qi Kai 漆凯==
Confronting tradition and progress in the essay "''Ancestor Worship''", he is in favor of the latter, since past could only become present through changes (Zhou 1919:7-8).

Benjamin Henri Constant de Rebecque (1767 - 1830) war französischer Romanschriftsteller und liberaler Politiker, der neben der Freiheit der Kunst nach der Französischen Revolution die Einführung der konstitutionellen Monarchie nach englischem Vorbild forderte.

==Qu Miao 瞿淼==
Siehe ''Journal'' (10.2.1804). Die "Kunst um der Kunst willen" propagierte die Zweckfreiheit der Kunst. Im Gegensatz dazu versteht sich die engagierte Literatur. Die Parallele zwischen Zhou Zuorens Literaturverständnis und dem Konzept "Kunst um der Kunst willen" zieht auch Wolff: ''Chou Tso-jen'' 1971, S. 84.

Siehe Zhou Zuoren: ''Der Ursprung der neuen chinesischen Literatur'' 1934, S. 95 - 98; vgl. auch Chen Zizhan: ''Vorträge zur chinesischen Literaturgeschichte'' 1937, Bd 3, pp. 416 - 422, besonders S. 422. Hinweis in: H. Martin: "''Liang Qichao on Poetry Reform''" 1996, Bd 1, S. 213.
==Quan Meixin 全美欣==
Regarding Zhou Zuoren, I want to correct the official assessment of the People’s Republic, that his work would have experienced a caesura in 1938. In order to explain his opposition of the propaganda to build up national heroes about 1937 and his collaboration from 1939, it has been said officially, that his thoughts had "duoluo 墮落" (degenerated) at that time (Zhu Jinshun 1990:59). In fact, this caesura, namely the change in the style and subject in his essays on literature, art etc. to ''zhengjing'' 正經 (serious, intentional essays), and ''xianshi'' 閑適 (essays for one’s own enjoyment) is located not before his outlawing through Mao Zedong (1942), and his arrest through the Guomindang (1945).
==Sagara Seydou ==
Therefore not the Japanese suppressors are responsible for the retreat of this great writer, but his Chinese compatriots'.

On the basis of the stigma of the 'traitor', he has been undervalued until now. That his work in the 1990s is almost as often published as Lu Xun's and Zhu Ziqing's shows that his texts finally experience a more positive literaric evaluation through the audience, which now must be registered also by scholars.

==Shi Diwen 石迪文==
Another example of a misread Zhou Zuoren is his short essay on "''The Fly''", where he describes his changing attitude towards flies, which he had played with as child but later disgusted when he learned about their danger of passing on diseases. ”''The fly''” shows Zhou Zuoren’s strength to describe details and make them a real topic by recalling memories on them or describing a change of perspective on them. Zhou summarized the philosophical wisdom he learnt from this, that people did not judge on things objectively, but were likely to praise or damn things.
==Shi Haiyao 石海瑶==
The official reading re¬proaches Zhou that he "saw only the fly and not the cosmos" , a quotation of the young Zhou about a position he himself clearly opposed.

His ability to chat about the more pleasent things in life is displayed in his essay ”Birds’ twitter”. In ”''Peking cakes and sweet-meat''” and in ”''Wild vegetable of my home region''”, Zhou Zuoren shows his ability to make the reader feel at home at a region, where he feels at home himself, by describing the customs and special regional food.

Siehe Zhou Zuoren: "Cangying 蒼蠅" (Die Stubenfliege), in: ''Chenbao fujuan'' 晨报副镌 (Beilage zur Morgenpost) (1924.7.13). Eine Zu¬sammenfassung des Inhalts findet sich in: Yu Daxiang (Hg.): ''Auswahllexikon chinesischer Essays mit Inhaltsangaben und Analysen'' 1993.

''Siehe Vollständige chinesische Anthologie der Wissenschaften - Bd Chinesische Literatur'' 1988, Bd 2, S. 1300. Dies spielt auf den Essay "''Cangying'' 蒼蠅" (Die Stubenfliege), in: Zhou Zuoren: ''Zhi Tang. Sammlung'' 1933 an.（文献无需翻译）

==Si Yu 司妤==
His piece ”''Bitter rain''” shows the atmosphere, for what his essays had been labelled ”bitter tea”: There remains a taste in one’s mouth after reading. If you compare Lu Xun’s ”''On tea drinking''” (Yang/Yang 1961 3:325-326) with Zhou Zuoren’s essay with the same title, you see the difference of ”short and to the point” and ”eloquent and well-read”. ”''First love''” is more hilarious. The essay ”''Three different ways to die''” shows that Zhou Zuoren can compete with his elder brother in sarcasm. Lu Xun's essay on the same subject, the massacre on March 18, 1926, was a sight.
==Song Jianru 宋建茹==
Zhou asks for the ”best” way to die and favors the short and painless one. In ”''On alcohol''” and ”''The awning bunk boat''” Zhou Zuoren continues the tradition of late Ming ''biji''.

'''7. The essay as a snapshot of contemporary thoughts'''

''What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.''

==Su Lin 苏琳==
The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth. But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously. This restricts the reported truth to a subjective one and bears the risk of a consciously “corrected” truth.
==Tan Xingyue 谭星越==
The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society. In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (Wang Meng: "''Anxiang'' 安详" (Serene) 1992, "''Zuohao ni ziji de shi'' 做好你自己的事" (First make your own things in a good way) 1994).
==Tan Xinjie 谭鑫洁==
These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.

Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive ("''Shanxi opera''", Jia Pingwa 1984) or negative world ("''The nightmare''", Si Yu 1995).

From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:

==Tan Yuanyuan 谭媛媛==
- The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall 1984:xiii);

- The increasing consciousness of indivi¬duality for which the essay is the most direct form of subjecti¬ve expression, even more direct than the poem with its metrical and formal demands;

- A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.

- The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.

- 当下中国社会的浮躁节奏，对转折性和短文的要求。"[...]我们生活在一个论述的时代"(Hall 1984:xiii)。

- 越发增加的独立意识，对其而言，文章是最直接的主体表达形式，甚至比诗的格律和形式要求更直接。

- 通过散文这一媒介讨论社会政治问题的兴趣的复苏，就像20世纪20/30年代的情况一样。

- 日常生活的平庸性通过成为文学话题而变得自觉，最常见的是日常生活的文体--散文。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:06, 25 December 2020 (UTC)

-当前中国社会节奏轻快，要求有趣味的短文：“[…]我们生活在一个博览会时代”（大厅1984:xiii）；

-对于个人二元性意识的增强，散文是主体性表达的最直接形式，甚至比诗歌的韵律和形式要求更直接；

-通过这篇文章讨论社会政治问题的兴趣的复复苏，如同20世纪20年代或30年代的情况一样。

-日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 12:59, 25 December 2020 (UTC)

==Tang Bei 汤蓓==
- The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928. This observation is supported by the results of the mentioned statistical analysis. The mostly read political essays after 1949 are critical essays.

- Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.
==Tang Ming 唐铭==
This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publis¬hing houses with an orientation toward customers (former: "readers").

- The criteria for essay best sellers in the P.R. of China are the following: In the most often printed essay "''The Back View''", filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous "''The Moonlit Lotus Pond''", both written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader.
==Tang Yiran 汤伊然==
Nostalgic home feelings are the emotional identification element in "''Wild vegetables of my home region''" by Wang Zengqi. Therefore one can state, that moving es¬says form the top.

- ''In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in¬dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.''

==Tao Ye 陶冶==
''In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph'' China can say no! – Possibilities for politics and emotions in the period after the cold war (''No''! 1996).

- ''The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.''
==Wang Meiling 王美玲==
''Also trends like the use of ordinary language, which one finds in novels since 1993 (Jia Pingwa, Feidu; Gu Cheng, Yingger) and'' New Borderlessness ''since'' 1995, ''cannot be pro-ven in the essaywriting. ''

- Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being "''The Small Dog Baodi''", written by Ba Jin 1981, in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before ("''In memoriam of Xiao Shan II''", Ba Jin 1984).
==Wang Xuan 王轩==
Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's "''Rain in Kunming''" as well as for Jia Pingwa's "''Shanxi opera''".
类似的还有想象怀旧的概念，正如王功权所说的沈从文作品中虚构的真实（王大卫·德维王1992），有助于解读汪曾祺的《昆明雨》，也有助于贾平凹的《山西剧》。

- The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing fictional truth through the metaphor of his dog Baodi.
施瓦茨在“隐喻话语”中所表达的“个人悲伤”概念，有助于我们理解巴金是如何克服他以“存在的真理”而闻名的，却通过他的狗“宝坻”的隐喻而获得更具说服力的虚构真相。

Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.（文献无需翻译）

''Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay "The nightmare", where Si Yu appears as a de-constructionist, the I-narrator even is drawn near to suicide.''（文献无需翻译）

And maybe for Xie Bingxins* reflections on her experience as one of the chosen voluntaries of the Wuhan military academy: She insisted to remain a lifelong "woman soldier" .（文献无需翻译）

==Wang Yu 王煜==
'''8. Discussion: Is the genre of the essay the form of literary expression in 21st century China?'''

Regarding the future of the Chinese literature, we can only speculate. But out the risk of being wild and provocative, I would like to suggest some questions for considering the place of the essay in the field of Chinese literature and literary studies.

- People have less time for actions like reading, and get used to reduced visualized information through the Internet. Will the brevity of the essay make it the ideal medium?

==Wang Yuan 王源==
- If the Chinese people are rediscovering their individuality, will the essay allow them to express individual thoughts more directly?

- Modern societies are characterized by TV culture, mass consumption, and the loss of consciousness of one's own tradition, often partly due to the American impact on national cultures. Is the essay less bound to the restrictions of tradition, especially compared to the poem and thus more adaptable to the modern phenomenon of mass consumption?

==Wei Honglang 韦洪朗==
- The alienation and the anonymity of citylife worldwide, in China is combined with a loss of traditional values like ideology, family, solidarity etc. in favor of the concept of profit for oneself, - if this has produced a longing for new orientation, will it possibly be filled by morally guiding essays or nationalistic thinking?

《红楼梦》与其他世界文学作品的相似性——推荐《红楼梦》列入世界记忆遗产名录

'''Commonness between the Red Chamber Dreams and other World Literature Novels – Proposing the Red Chamber Dreams to the World Documentary Heritage List'''（修改）

吴漠汀，湖南师范大学 Martin Woesler, Hunan Normal University

Source: Lecture at Harvard University, Cambridge, MA USA, 14.3.2000（文献无需翻译）
==Wei Yafei 魏亚菲==
'''Abstract'''

In every culture, readers associate the literature they know with new literature they read. So literature is always cumulative, it grows out of existing literature and can refer back to it. When Western readers read the Red Chamber Dreams, they foremost associate novels and other pieces of literature of their own cultural tradition with the Dreams. This has also influenced the first full translation into German.

Cao Xueqin and even more his protagonist Jia Baoyu both are early humanists, universalists and world citizens. ''The Red Chamber Dreams'' function worldwide.

摘要

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中生长出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，尤其是他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。（修改）

在每一种文化中，读者都会把他们读到的新文学与已知文学联系起来，所以文学总是积累的，它从现有的文学中衍生出来，并以已有文学为参考。西方读者在阅读《红楼梦》时，首先会把《红楼梦》与自身文化传统中的小说和其他文学作品联系起来，这也影响了首次德语全译本。

曹雪芹，甚至于他的主人公贾宝玉，都是早期的人文主义者，普世主义者和世界公民。《红楼梦》具有普世价值。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:09, 25 December 2020 (UTC)

==Wen Sixing 文偲荇==
''The Dream'' is a complex showroom of diverse aspects of Chinese cultures and is the embodiment and essence of Chinese cultures, but it has also a global impact, therefore it should be honoured as “World Documentary Heritage”.

红楼梦》综合展示了中国的多元文化，是中国文化的集中体现和精华，同时在全球范围内产生影响，理应列入世界记忆遗产名录。（修改）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage

“红楼梦”是一个多元的中国文化综合体，是中国文化的体现和精髓，但它也具有全球影响力，因此应该被授予“世界文献遗产”的荣誉。（修改<nowiki>Insert non-formatted text here</nowiki>）

多元一体

'''Key words'''

Western culture, reception tradition, German translation, Embodiment of Chinese cultures, global compatibility, World Documentary Heritage
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:29, 25 December 2020 (UTC)

《红楼梦》是一个中国文化综合体，展示着中国文化的精髓的同时也极具全球影响力，理应被列入世界记忆遗产名录。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:00, 26 December 2020 (UTC)

==Wen Xiaoyi 文晓艺==
'''1. Chinese Ethics'''

To help the poor and disadvantaged belongs to the traditional core values of Chinese culture.

When we sit in the Beijing Subway today, the loudspeaker announcement reminds us, that it is Chinese traditional ethics to give seats to the disadvantaged (老弱病残孕让座是中国传统道德). We know of Cao Xueqin, that he supported the poor and disadvantaged, and that he made kites for children.

However, when we look closer at these “Chinese Ethics”, we discover, that they are claimed also in Indian Buddhism “karuna” and in the Christian tradition of “caritas” and in almost every civilization. Therefore, we might call these values “human ethics”.

==Wu Kai 吴恺==
'''2. Compatibility
'''
Why do the ''Red Chamber Dreams'' function worldwide and have achieved world literature status even in their translations?

First of all, the ''Red Chamber Dreams'' are, like novels worldwide, a piece of entertainment literature. In comparison to the drama, in which every element is compulsory and plays its part in the overall structure, in the novel the line of action itself is simpler and not so important, most of the scenes or episodes are loosely put together and fit in the broader theme of the novel.
==Wu Qi 吴琪==
However, the lose arrangement of episodes of the ''Dreams'' comes from the tradition of almost unconnected episodes like in the ''Shuihuzhuan'' and is a step towards the greater coherence of the episodes, the aligning into a story line and the greater concentration on fewer protagonists. Therefore, the ''Dreams'' show clearly a step towards the Western tradition of novels, maybe because of growing Western influence in Qing dynasty.

'''3. Impact of translator’s native culture on the translation process'''

There are intercultural parallels between the ''Red Chamber Dreams'' and Western works of literature.
==Wu Qiong 吴琼==
These parallels are fundamental for the translation and were explicitly and implicitly fundamental for the German translator Martin Woesler during his translation and editorial work on the first full German translation. In the following, I will mention some of the Western novels and pieces of literature, which the Western reader of the ''Dreams'' will immediately think of.

'''4. The novel as embodiment of “Zeitgeist”'''

According to Georg Lukács’ ''Theory of the Novel'', while the Epos (like Homer’s ''Ilias'', which like the ''Dream'' reasons the stories in the divine realm) displayed a holistic world experience, a complete, self-contained culture, the novel displays, that the modern world has become infinitely large and has lost its homely quality.
==Wu Xiang 邬香==
The novel as a genre is no longer documenting just one culture, but represents, with the words of Walter Benjamin, the Organon of History. So the understanding of the novel changed with Lukacs to historical-philosophically. A novel is understood as typical for its historical era, the novel embodies the spirit of the epoch (Zeitgeist).

The ''Red Chamber Dreams'' are written in front of the background of the Manchu minority having taken over the power in formerly Han-shaped Ming-China (which was a multi-ethnic and crosscultural society) and families suffering the changing favor of changing emperors, with the Cao family being fostered by Kangxi and being persecuted by Yongzheng.
==Wu Yilu 吴一露==
While the author in his time could not criticize the system and power of emperors, in the novel he came to terms with this life by seeking the guilt for the persecution in the growing decadence of the family (engaging in Daoism, leisure, poetry-writing, arts and music instead of learning for being able to earn a living) and in himself not fulfilling the expectations as the family heir. This description of decadence of a declining family reminds us of the novels of Tschechov (and e.g. in the ''Buddenbrooks'' by Mann, including the turn to arts and music).
==Wu Zijia 吴子佳==
Moreover, with the detailed description of life on all social levels in early Qing Dynasty, the Dream appears as a documentary historical novel very much like Günter Grass’ The Tin Drum 1959.

'''5. Coming-of-age and Alienation'''

Abandoning the paradise-like garden in the Red Chamber Dreams is a symbol for leaving the protected childhood and arriving in the complex world of adults. With George Lukács theory of the novel, the protagonist starts to problematize the sense of his life, in the novel, the protagonist’s self permanently struggles with his environment.
==Xiao Shuangling 肖双玲==
However, Cao Xueqin’s message is not simply the one of “Paradise Lost”, instead he himself made the best out of his life. Although being less wealthy than when his family still enjoyed the favour of the emperor, there was a payroll system and a social net intact in Early Qing China, where he received enough income to be independent from his rich relatives, to be selective on accepting jobs, to live a relaxed life in a small house in the nature, spending time with his family and friends, follow his own interests, like reading, writing and drinking wine, making kites for the children and thinking of the disadvantaged.

然而，曹雪芹的信息不仅是“失乐园”的信息，而是他本人的一生。尽管不如他的家人仍然享有皇帝的宠爱时富裕，但清初中国有一个工资体系和一个完整的社会网络，在那里他获得了足够的收入以独立于自己的富裕亲戚，可以有选择性地接受工作在大自然的小房子里过着轻松的生活，与家人和朋友共度时光，遵循自己的兴趣，例如读书，写作和喝酒，为孩子们放风筝和思考处境不利的人。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:38, 26 December 2020 (UTC)Xiao Shuangling

==Xiao Ting 肖婷==
Cao Xueqin was fully aware of his time and China’s cultural achievements, he was familiar with the different levels of society, he was a detailed observer and skilful narrator. He may have conceptualized the ending of the novel as a discussion about the different personalities of the characters in the novel and therefore displaying his reflection about life and his psychological understanding of the diversity of human nature. He was able to grasp the “spirit of time” (Zeitgeist) and with his autobiographical experience create an eternal coming-of-age novel not just for his family, for the Qing-Chinese, for Chinese people, but for mankind.

曹雪芹对自己所处的时代和中国的文化成就有充分的认识，他熟悉社会的方方面面，他观察细致，叙事娴熟。他能把小说的结尾构思为对小说中人物不同性格的探讨，从而体现出他对人生的思考和对人性多样性的理解。他能够把握 "时间精神"(Zeitgeist)，并以他的亲身经历为材料创造了一部成熟的绝世之作，这不仅是为他的家庭、为清人、为中国人，更是为全人类。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:29, 26 December 2020 (UTC)Xiao Ting

曹雪芹充分了解自己所处的时代和中国的文化成就，熟悉社会的不同层次，是一个细致的观察者和娴熟的叙述者。他可能将小说的结局概念化为对小说中人物不同性格的讨论，从而表现出他对生活的反思和对人性多样性的心理理解。他能够把握“时代精神”(时代精神)，并以他的自传体经历，为他的家庭，为清朝人，为中国人，为人类创造了一部永恒的成长小说。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 12:01, 26 December 2020 (UTC)

曹雪芹对自己所处的时代和中国的文化成就了如指掌，他熟悉社会的不同层面，他是一个细致的观察者和娴熟的叙述者。因此，他在小说中对人的不同个性的理解和对小说中人物性格的多样性进行了概念化的探讨。他能够把握“时代精神”，用他的自传体经历，不仅为他的家庭，为清朝的中国人，为中国人民，而且为人类，创作了一部永恒的成人小说。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:43, 26 December 2020 (UTC)Xiao Shuangling

==Xiao Xi 肖茜==
This tradition of Coming-of-age novels is also a European one, like enlightenment philosopher Voltaire’s novel ''Candide or Optimism''《老实人》shows at the very same time (1759) in Europe. Also Voltaire’s Candide has to leave the luxurious paradise of his childhood and strives for true love, but his main learning is more pessimistic, since Voltaire wrote the novel in opposition to Leibniz, who optimistically looked to China as “the best of all worlds”. Recent research findings show that China had a much larger influence on European enlightenment philosophers and we can be sure, that also Cao Xueqin was aware of some European literary traditions.
==Xiao Yining 肖伊宁==
Also the German readership is familiar with the chronological following of the life of the protagonist and his development, the fate of a family over generations, the German readership knows this type of novel as the “Education novel” or “Coming-of-age-novel”. In Germany, the genre of the coming-of-age novel has a long tradition and it is shaped more by single characters, who appear as teachers (Goethe: ''Wilhelm Meister’s Apprenticeship''威廉·麦斯特的学徒岁月 1795-96, Novalis 诺瓦利斯: ''Heinrich von Ofterdingen''《海因利·封·歐福特丁根》1802).
==Xie Fan 解帆==
Wilhelm Meister, parallely to Jia Baoyu, is struggling with the traditional education, in ''Wilhelm Meister'' this is represented with the classics revived in Shakespeare’s dramas. Tradition can give orientation, but the personality of the protagonist needs to develop through emancipation is a wisdom, we can learn from all mentioned novels including the ''Dreams''.

'''6. Pornography and True Love, female rivals'''

Sexuality is a basic human need and has developed into different shapes in all cultures. The German audience is familiar with erotic topics from the Middle Ages, in which sexuality was stylized. In the “Schwänke” of the 15th century (Wittenwielers Ring), erotic scenes are described sexually explicit.

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，这通过莎士比亚的经典戏剧得以体现。传统可以作为方向标，但主人公的个性需要通过解放才能发展，这是一种智慧，我们可以以上提过包括《梦》的所有小说中学习。
“6.色情与真爱，女性对手"
性是人类的一种基本需求，在不同文化中展现出不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是有固定程式的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:37, 25 December 2020 (UTC)

与贾宝玉一样，威廉·迈斯特也在与传统教育作斗争，在《威廉·迈斯特》中，莎士比亚戏剧中复兴的经典作品代表了这一点。传统可以给予导向，但主人公的个性需要通过解放来发展是一种智慧，我们可以从包括《梦》在内的所有小说中学习。
“6。色情与真爱，女性对手"
性是人类的一种基本需求，在各种文化中形成了不同的形态。德国观众熟悉中世纪的情色话题，在这些话题中，性是程式化的。在15世纪的“Schwanke”(Wittenwielers Ring)中，情色场景被描述为露骨的性。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:37, 26 December 2020 (UTC)

==Xie Ziyi 谢子熠==
In the barock literature of the 17th century even the physical act is described extensively.

According to „cumulativity“, every human being is a product of history and literature is based on previous literature, therefore the author of this pager thinks that this background has to be taken into account while translating.

The best study on ''qing'' passion in the Dreams is the one by Anthony Yu, who understood it as ''desire'' and as the central motif of the ''Dreams''. „The centrality of qing in shaping virtually every aspect of The Story of the Stone’s structure and meaning cannot be denied [...].“ (Anthony Yu 2001, 54).

==Xu Jia 徐佳==
In the framework story of the Dreams, the narrator consciously takes a stand against low-action and stereotypical pornographic literature as well as against the widespread romance novels (with the classic roles of the beautiful, talented woman and the poor scholar who finally achieves a respected position and prosperity by passing a civil service exam).

In chapter 1 he says: ”of the true feelings of young people [...] nobody has reported about so far.”

Erotic scenes are described in a decent and associative way (“Game of clouds and rain”), while displaying another quality in its openness e.g. towards bisexuality.

==Xu Jing 许晶==
The ''Dreams'' narrate the story of unfortunate lovers. Unfortunate lovers also in the West have a literary tradition, they constitute an archetype, such as Hero and Leander, Pyramus and Thisbe, Tristan and Isolde, Flore and Blanscheflur as well as Troilus and Cressida, the latter being considered the model for Arthur Brookes, who wrote Romeo and Juliet in 1562 and thus directly influenced Shakespeare.

While Marián Galik saw as the central topic of both, the ''Dream'' and ''Faust'', the eternal feminine, which draws us on high, Gu Cheng called it the “eternal virgine”.

==Xu Jing 许静==
In Goethe’s coming-of-age novel ''Wilhelm Meisters Wanderjahre'', we find a similar motif of female rivals, in the Keller 凯勒 ''The Green Henry'' 《绿衣亨利》1855, the hero turns away from an emphatically sexually designed figure and turns to the 'real' woman. In Jane Austen’s ''Pride and Prejudice'' 1813 Elizabeth and Lin Daiyu are similar, e.g. they both strive for real love (Zhuang 2011).
==Xu Mengdie 徐梦蝶==
'''7. Feudal society and slavery'''

A widespread interpretation is that Jia Baoyu’s equal treatment of family members and slaves would be a manifesto to free the slaves. I also do not share this interpretation, since Aristotle, when he demanded democracy, would exclude slaves from the right to vote. So we cannot use modern concepts to judge on the past. In my understanding, Jia Baoyu was not fighting inequality, but looked at the people as humans and individuals.

封建社会和奴隶
一种普遍的解释是，贾宝玉对家庭成员和奴隶一视同仁，这将成为奴隶解放的宣言。我并不同意这个解释，因为亚里士多德的民主就排除了奴隶的投票权。所以，我们并不能用现代观念去评判过去。在我看来，贾宝玉并不是和不平等作斗争，而是把人视作群体和个人。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 09:55, 25 December 2020 (UTC)Xu Mengdie

一种普遍的解释是，贾宝玉对家庭成员和奴隶的平等对待是解放奴隶的宣言。我也不同意这种解释，因为亚里士多德，当他要求民主的时候，会排除奴隶的投票权。所以我们不能用现代的概念来判断过去。在我的理解中，贾宝玉并不是在与不平等作斗争，而是把人看成是群体和个人。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 10:31, 25 December 2020 (UTC)

==Xu Pengfei 许鹏飞==
Also the understanding of the servants as slaves does not match the description in the Dream, since some servants had servants themselves, the family took care after they left the Jia family to find a match for them and Jia Zheng refers to his daughter Yingchun as „yatou 丫头“, so it is inappropriate to translate this expression with slave. Therefore, the translator preferred “servant” over “slave” in the translation.

另外，把仆人理解为奴隶也与《红楼梦》中所描述的不符，因为有些仆人自己也有仆人，他们离开贾家后，家人会照顾他们，为他们婚配，并且贾正把女儿迎春称为“丫头”，所以用奴隶来翻译这个词是不合适的。因此，译者在翻译中更倾向于“仆人”而不是“奴隶”。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:14, 25 December 2020 (UTC)Xu Pengfei

而且把仆人理解为奴隶与《红楼梦》中的描写不符，因为有些仆人自己还有仆人，贾府会在她们离府的时候为她们寻一门亲事，作为贾府对她们的照料；贾政也把自己的女儿迎春喊作 “丫头”，所以把这些翻译成奴隶是不合适的。因此英文翻译中采用“servant”会比“slave”更为合适。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 10:08, 25 December 2020 (UTC)Xu Mengdie

==Yang Chenting 杨晨婷==
Mo Yan in his speech at the Frankfurt Bookfair in 2009, when China was the guest of honor, draws the (similarly) parallel between the ''Dream'' and Goethe’s ''Sorrows of the Young Werther'', that both expressed the wish to abandon feudal society. My own impression is that both do not express this wish, but that this is a later concept and interpretation and we should not apply this to judge the past.

2009年，莫言代表中国作为主宾国参加法兰克福书展时，他在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的印象是，两者都没有表达这个愿望，但这是后来的概念和解释，而我们不应该以此来判断过去。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:36, 25 December 2020 (UTC)Yang chenting

2009年，莫言代表中国作为主宾国参加法兰克福书展时，在演讲中把《梦》和歌德的《少年维特之哀》画上了约等号，表达了抛弃封建社会的愿望。我自己的感觉是，两者都没有表达这个愿望，但这是后来的概念和解释，我们不应该以此来判断过去。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:43, 25 December 2020 (UTC)

==Yang Hairong 杨海容==
'''8. Tragedy of all tragedies'''

Aristotle explained in ''On the Tragedy'' (Poetics VI), that tragedies move people more than comedies because they “imitate [mimēsis] an action that is serious, complete, and of a certain magnitude” (Aristotle 1971, 51), This high esteem of the tragedy in Europe is partly ascribed to the loss of Aristotle’s work ''On the Comedy''.

8.所有悲剧的悲剧成分

亚里士多德在《悲剧论》（诗学VI）中解释说，悲剧使人们比喜剧更能吸引人，因为他们“模仿（mimēsis）一种严肃、完整和有程度的行动”（Aristotle 1971，51）。欧洲的悲剧部分归因于亚里斯多德作品《喜剧》的丢失。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:16, 27 December 2020 (UTC)

==Yang Hui 阳慧==
While Europe has the Hamlet as its tragedy of all tragedies, the lack of tragic literature in Chinese literary tradition has long been lamented. Wang Guowei sees the Dream as "tragedy of all tragedies". To Wang Guowei the suffering of Faust and Jia Baoyu is central in the novels. However, many scholars contest that Faustianism is central for Chinese culture.

In 18th century Europe, we saw a new development in the genre of the drama, to establish a “bourgeois tragedy”.

==Yang Yi 杨逸==
It developed as an emancipatory movement in the 18th century in London, Paris and Germany, and demonstrated that tragedy was not reserved to rulers, but was also imagineable for lower noblemen and ordinary citizens. The ''Dream'' at the same time as the bourgeois tragedy in Europe shows a tragic story of a mid-level noble family which loses its titles and privileges.

==Yang Yue 杨悦==

'''9. “Non-Binary” Novels'''

One of the things attracting Western readers is the adorable but mysterious protagonist Jia Baoyu. With his open bisexual orientation and his interest in his mates regardless of their social status, he appears “modern” or at least displaced in time. His struggle with traditional learning makes him appear sympathetic, his long states of rapture out of the world give him both the aura of a timeless character and of mystery.

9. “非二进制小说”

可爱而神秘的主角贾宝玉是吸引西方读者的其中一点。由于他开放的双性恋倾向以及对同伴的兴趣，无论他们的社会地位如何，他彰显“现代”气质或至少不属于那个时代。他与传统学习的斗争使他显得富有同情心，他与世隔绝的漫长状态使他既具有永恒的品格又具有神秘感。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:17, 27 December 2020 (UTC)

==Yang Ziling 杨子泠==
With the bisexual orientation of the Dreams’ protagonist, the novel appears non-binary.
According to Karl-Heinz Pohl, binaries are just superficial, ultimately decisive is the ''Heart Sutra''. Today, the novel is listed among the genre of non-binary literature (see e.g. the bibliographical list on https://www.goodreads.com/list/tag/non-binary), in which contrasts are dissolved deconstructivistically.

==Yao Cheng 姚诚==
'''10. Foreign Cultures in the Red Chamber Dreams'''

Foreign Cultures frequently appear in the Dreams in all kinds of varieties, like exoticism with the many objects in the household and presented to the household as novelties, especially the blond girl of the same age as Baoyu referred to in person (combining different origins and cultures, including European, Japanese, Chinese) or several times on paintings, one time shown with wings as an angel.

==Yao Jia 姚佳==
The playful combination of different traditions we can see also when a religious dress is described, which carries characteristics of different religions. Similarly, the Daoist monk and the Confucian priest appear together. Cao Xueqin wanted to show the richness and diversity, also with the many topics and societal levels of the novel. Even a variety of Christian motifs can be found, like when Jia Baoyu is not recognized by his father in chapter 120 and when he disappears, all parallel to Jesus Christ.

==Yi Huan 易欢==
The variety of cultures is paralleled with the variety of elements of different dynasties, which makes it timeless and therefore even more a masterpiece of Chinese art and a masterpiece of human art. Therefore I would like to nominate the Red Chamber Dreams as “World Documentary Heritage”.

'''References'''（参考文献不用翻译）

Anthony, C. Yu. (2001). ''Rereading the Stone: Desire and the Making of Fiction in Dream of the Red Chamber''. Princeton University Press.

Aristotle. (1971). ''Poetics''. Trans. S. H. Butcher. Ed. Hazard Adams. Critical Theory since Plato. ew York: Harcourt Brace Jovanovich, 48-66.

Woesler, Martin, ed., Cao Xueqin, Gao E et al. (2016). ''Der Traum der Roten Kammer oder Die Geschichte vom Stein'' [''Red Chamber Dreams or The Story of the Stone''], Peking: Foreign Languages Press, ISBN 9787119094120, 4813 pages, 6 vols., hardcover, transl. by Rainer Schwarz and Martin Woesler; Chinese-German bilingual edition

Woesler, Martin. (2011). “Being Explicit About the Implicit – John Minford’s Translation of the last Forty Chapters of The Story of the Stone with a Field Study on two Sexually Arousing Scenes”. ''Hong lou meng xue kan'' 6: 274-289

Woesler, Martin. (2010). “ ’To Amuse the Beaux and Belles’ The Early Western Reception of the Hongloumeng”. ''Journal of Sino-Western Communications'' 2 (2010.12) 2:81-107

Zhuang, Xiuhua. (2011). Self, Ideal and Salvation: A Comparative Study of Jane Austen’s Elizabeth and Cao Xueqin’s Lin Daiyu. ''Journal of Language Teaching and Research'', Vol. 2, No. 2, pp. 420-423, March 2011. Fulltext: http://www.academypublication.com/issues/past/jltr/vol02/02/19.pdf.

==Yi Zichu 义子楚==
'''Virtual Communication Between Machines with the Human as Their Object
'''

A new stage of multimodal communication after oral, written, printed, electronic and machine-human communication

Martin Woesler, Hunan Normal University

'''Abstract'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

==You Yuting 游雨婷==
This paper argues, that there is a fundamentally new media epoch of “virtual communication” (communication 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

Algorithms do not only listen to oral or read written human communication (between humans or between humans and bots), but they analyze multimodal communication (including likes, behaviour, surfing habits, mobility profile, values, dreams, aims, beliefs etc.), compare them with Big Data (e.g. cloud data) and base decisions of manipulation on a prediction of behavior according to a personality profile and correlations.

本文认为，“虚拟传播”(5.0传播版本)是一个全新的媒体时代，在这个时代，人工智能(由人类初始化)已经接管，人类成为分析和操纵的对象(如顾客、选民等)。

算法不仅听人类口头或书面沟通(在人类之间或人类和机器人之间),但他们分析多通道通信(包括喜欢、行为、上网习惯,流动剖面,价值观,梦想,目标,信念等),比较他们与大数据(例如云数据)和基础操作的预测行为的决策根据个性特征和相关性。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:34, 26 December 2020 (UTC)

==Yu Ni 余妮==
These algorithms target not only the explicit communications, but the emotions and thoughts of humans too and predict future behavior, therefore allowing simulations of reality. Mightier algorithms have also taken over decision-making roles in societies where they: replace human court decisions, fine tune just-in-time and on-demand production, censor chatrooms etc. Sets of algorithms help to manage smart cities and a whole society.

----
==Yuan Shiqi 袁诗琦==
Although the human is still part of the communication, especially as the analyzed object and the target of the manipulation, the human is often unaware of the virtual communication and a passive receiver of the machine’s decisions, while the main actors in the virtual communication are machines.

虽然人仍然是通信的一部分，特别是作为被分析的对象和操纵的目标，但是人往往没有意识到虚拟通信和机器决策的被动接受者，而虚拟通信的主要参与者是机器。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:55, 25 December 2020 (UTC)

尽管人类仍然是交流活动的一个组成部分，特别是作为被分析的对象和操纵的目标，但是人类往往没有意识到，自己是虚拟沟通和机器决策的被动接受者，而虚拟沟通的主导者是机器。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:11, 25 December 2020 (UTC)

虽然人仍然是构成通信的一部分，尤其是作为分析对象和操纵目标，但人往往没有意识到人们在虚拟通信中扮演机器决策的被动接受者，而机器才是主要参与者。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:42, 25 December 2020 (UTC)

==Yuan Tianyi 袁天翼==
Research describes these forms of virtual communication, finds evidence in social management systems and credit systems (in Germany, we have the “Schufa”, in the USA there are big players in credit history, which leads to credit-orientation and gamification of human life) or customized (fake) news filter bubbles and in customized consumption offers (Amazon, Facebook, Google, Netflix) and analyzes benefits, including security enhancements through such virtual communication.

研究对这些形式的虚拟沟通进行了描述，在社会管理系统、信用系统（定制的（虚假）新闻筛选泡沫）和定制的消费商（亚马逊、脸书、谷歌、网飞）里面找到了证据（德国有“Schufa”，美国则因为信用史有重大人物而使得社会信用至上并日趋游戏化），并对益处加以分析，这些益处包含通过这类虚拟沟通提升安全。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:20, 25 December 2020 (UTC)

研究描述了这些虚拟通信的形式，在社会管理系统和信用系统中找到证据（在德国，我们有 "Schufa"，在美国有信用记录的大玩家，这导致了信用导向和人类生活的游戏化）或定制化（假）新闻过滤气泡，以及在定制化的消费优惠中（亚马逊，Facebook，谷歌，Netflix），并分析了好处，包括通过这种虚拟通信增强安全性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:03, 25 December 2020 (UTC)

==Yuan Yuchen 袁雨晨==
But research also has the duty to warn of abuse or harmful developments and to raise ethical questions. Exoskeletal ethics, imposed by gamifications like credit systems, especially need to be valued against intrinsic ethics.

'''Introduction'''

In this paper dealing with machine to machine communication, I skip the machines assisting humans to make their life more convenient (ranging from “The milk is out, please add the usual amount of milk to the delivery list,” to “The old lady has not left her bed this morning, I’ll better call the doctor”).

但研究也有责任对滥用或有害的发展发出警告，同时要对引起的伦理问题也要承担责任。特别是信用体系游戏化所造成的外骨骼伦理问题更需要得到重视，要反对内在的伦理问题。

引言

本论文在涉及机器与机器之间的交流时，我不考虑那些帮助人类让生活更便捷的机器（从“牛奶没了，请在送货单上加平常剂量的牛奶”到“老太太今早卧床不起，我最好叫医生吧”）。
--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 12:10, 25 December 2020 (UTC)

但研究也有责任对滥用或有害的发展提出警告，并提出伦理问题。特别是信用体系等游戏化所强加的外骨骼伦理，更需要对照内在伦理加以重视。

引言

在本文中涉及机器与机器之间的交流，我跳过了机器协助人类提高生活便利的内容（从 "牛奶没了，请把平时的牛奶量加到送货单上"，到 "老太太今天早上还没下床，我还是叫医生吧"。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:40, 26 December 2020 (UTC)Xiao Ting

==Zeng Fangyuan 曾芳缘==
Instead, I deal with communication like: “Let’s create a user personality profile and compare it with Big Data to learn how I can best catch this user’s attention and make him/her vote for presidential candidate A or B.”; “Let’s check this users’ mouse movements and compare it with Big Data to get a correlation to estimate if (and if “yes” when) he will get Parkinson, to decide whether or not to deny him the loan or health insurance.”
实际上，本人研究涉及的方面如下：比如，“让我们创建一名用户的个性化主界面，并将其与大数据进行比对，学习如何最好的吸引该用户的注意，让他/她投票给总统候选人甲或乙。”“让我们检查这名用户鼠标的运动轨迹，通过与大数据进行比对，建立关联，来估计他是否会得帕金森。如果他患有帕金森疾病，我们会决定是否需要对他的贷款或医疗保险的申请予以拒绝。”--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:41, 26 December 2020 (UTC)

==Zeng Liang 曾良==
“Let’s check this users sexual orientation, religious beliefs, fears, secrets like adultery etc. to blackmail him to get ransom money for my programmer.”; or even “Let’s use this user’s location to aim the killer drone.”

The current neoliberal system with Amazon, Facebook, WhatsApp, Instagram, Google, Netflix etc. provides incentives to collect as much user data as possible and to abuse user data for manipulation, which creates huge profits.

“让我们检查该用户的性取向、宗教信仰、恐惧、诸如通奸之类的秘密去勒索他为我的程序员去获取赎金”。或者甚至“使用用户的位置瞄准杀手无人机。”

当前具有亚马逊、脸谱网、瓦茨艾普、照片墙、谷歌、奈飞等的新自由主义系统激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 06:04, 25 December 2020 (UTC)

"让我们查一查这个用户的性取向、宗教信仰、恐惧、通奸等秘密，以勒索他为我的程序员获取赎金。"；甚至"利用这个用户的位置来瞄准杀手无人机。"
目前亚马逊、脸书、WhatsApp、Instagram、谷歌、奈飞等的新自由主义体系，为收集尽可能多的用户数据，并滥用用户数据，从而创造了巨大的利润。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:39, 25 December 2020 (UTC)Yang chenting

“让我们检查该用户的性取向、宗教信仰、惧怕的事物、诸如通奸之类的秘密，从而勒索他让我的程序员获取赎金”。更有甚时，“让我们使用用户的位置让攻击机瞄准他。”

当前亚马逊、脸书、联络电话、Instagram、谷歌、网飞等的新自由主义的系统软件，激励人们尽可能多地收集用户信息，并滥用用户信息进行操纵，从而创造可观利益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:53, 26 December 2020 (UTC)

==Zeng Xinyuan 曾心媛==
Very much like the financial crisis, which was caused by the unregulated use of derivatives, this is a systemic development, which currently follows a path to enslave the human race under the control of algorithms for the benefit of tech companies. The enslavement has already begun, as we can see from the world wide addiction to social media, from the growing mass of conspiracy theorists and from the polarization of the USA over Trump or the polarization of Great Britain over the Brexit.

==Zeng Yanhu 曾雁湖==
'''1 History of Media Epochs'''

Luhmann and Baecker described the development of communication from orality (media epoch 1.0) to script (2.0), through print (3.0) and finally to digital communication (4.0). In all these stages, technology played only an assisting role.

This paper argues, that there is a fundamentally new stage of “virtual communication” (media epoch 5.0), in which artificial intelligence (initialized by humans) has taken over and humans have become the object of analysis and manipulation (as customers, voters etc.).

卢曼和贝克尔描述了从口头（媒体时代1.0）到文字（2.0）的通讯发展，再到印刷（3.0）数字通讯（4.0）
在所有这些阶段中，科技都只起到了协助作用。

本文认为，从根本上来说，“虚拟沟通”处于新阶段（媒体时代5.0），其中人工智能（由人类初始化）已被接管，人类已成为分析和操纵的对象（如顾客，选民等）--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 14:56, 26 December 2020 (UTC)

==Zhang Hu 张虎==
While Luhmann would still summarize this under digital communication, I see a full new quality here, and have therefore coined the term “communication 5.0” or “virtual communication” for it. In Luhmann’s view, the computer consists out of the “surface” of the machine (the visible interfaces like screen, keyboard, mouse) and the “depth” of the machine (the invisible, often incomprehensive inside).

虽然卢曼仍然会在数字通信中总结这一点，但我在这里看到了一个全新的品质，因此创造了术语“通信5.0”或“虚拟通信”。在卢曼看来，计算机是由机器的“表面”(屏幕、键盘、鼠标等可见界面)和机器的“内里”(看不见的、内部不全面的部分)组成的。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 08:41, 25 December 2020 (UTC)

==Zhang Hui 张慧==
However, we are almost constantly producing data, with our chats and geotracked movements, with our addiction to social media, our carrying of cell phones and more and more smart devices at all times, and we are therefore an object of analysis by algorithms.

The traditional setting of a communicative act blurs: The machine can directly communicate with the human (there the Turing test marks a threshold), and, after a certain complexity, it can hide its machine nature.

但是，我们几乎一直在通过聊天和地理位置追踪运动，不断沉迷于社交媒体，携带手机以及越来越多的智能设备来生成数据，因此，我们一直是通过算法进行分析的对象。

交流行为的传统设置变得模糊：机器可以直接与人类交流（图灵测试标记了阈值），并且在经过一定的复杂性之后，它可以隐藏机器的本质。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 11:49, 25 December 2020 (UTC)

然而，我们几乎在不断地产生数据，我们的聊天和地理追踪的动作，我们对社交媒体的沉迷，我们随时携带手机和越来越多的智能设备，我们因此成为算法分析的对象。

传统的交流行为的设定模糊了。机器可以直接与人类交流（图灵测试标志着一个门槛），在一定的复杂性之后，它可以隐藏自己的机器本质。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:03, 25 December 2020 (UTC)

==Zhang Ling 张玲==
The machine can also indirectly communicate with the human by simply analyzing humans’ verbal communication, non-verbal multimodal communication, behavior, personality etc. and interacting with the human with, or without, revealing its existence. A human, growing up in a filter bubble and believing in conspiracy theories is one such example: The human has been manipulated by social media and news which prefer lies over truth.

机器还可以通过简单地分析人类的语言交流、非语言的多模态交流、行为、个性等，并与人类进行交互，从而间接地与人类进行交流，从而揭示人类的存在。一个在过滤器泡沫中成长并相信阴谋论的人就是这样一个例子：人们被社会媒体和新闻操纵，而这些媒体和新闻更喜欢谎言而不是真相。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:33, 27 December 2020 (UTC)

==Zhang Peiwen 张佩闻==
Without even noticing that there was an interaction taking place between the human and the machine, the human has lost his/her independence to the machine.

'''2 Types of communicative acts'''

1.Texts (oral and written comments/chat texts/blogs/emails)

2.Surf behavior (websites visited)

3.Consumer behavior (purchases)

4.Likes (see OCEAN, UEBA)

5.Duration/Attention (see UEBA)

6.habits/repetitiveness/occurrences (is an element of analysis in different AI apps/tools)

==Zhang Qi 张琪==
7.Unconscious, often unique data allowing identification (way of writing, mouse movements pattern, see Raj Kannan 2020)

8.social interaction incl. friendships, sexual relationships

9.mobility behavior/pattern (e.g. immediate environment – e.g. unconsciously recording the inside of houses while playing “Pokemon Go”), travel: Travel Behavior (Yu Cui et al. 2018)

==Zhang Weihong 张维虹==
'''3 Types of analysis'''

1.General (User and Entity Behavior Analytics UEBA: AI-assisted cybersecurity tools like by Gartner, Inc.)

2.True identity (e.g.: mouse movements, face recognition, find real name) (Verschuere 2016)

3.Personality profile: Big Five Personality Inventory: Openness to Experience, Consciousness, Extroversion, Agreeableness, Neuroticism “OCEAN” (Golbeck 2011), by only analyzing the users' likes, Facebook can generate personality profiles (AI-Demand 2020)

4.Mobility profile/pattern

==Zhang Xueyi 张雪仪==
5.Health situation (health apps, ai supported disease research, see Daley 2020)

6.Job situation/job market (Talent Search People 2020 analyzes the job market, and classifies 4 different AI systems: 1. systems that think like humans, 2. systems that act like humans, 3. systems that think rationally, and 4.) systems that act rationally.)

==Zhang Yinliu 张银柳==
7.Financial credit-worthiness: E.g. German Schufa company uses AI in addition to human expertise for evaluations, see Banken-Technologie 2020. Banken-Technologie 2020. Schufa’s attempt to gain access to customers’ bank account transfer information was discussed in the news.

8.Consumer Behavior: e.g. the "clickworker" company analyses and optimizes customers' searches in respect to a client company's goals/products with the help of AI (clickworker 2019)

9.Secrets (like adultery)

==Zhang Yu 张瑜==
'''4 Unique quality of media epoch 5.0'''[ I have coined the terms “media epoch 5.0” and “virtual communication” I have developed it from concepts like „Industry 4.0“ in Germany and the four media epochs Luhmann and Baecker developed (by Baecker called 1.0 … 4.0). There are several authors speculating about the media epoch 4.0, like Ray Kurzweil. The Age of Intelligent Machines. 1990.]

1.the human switches from active to passive

2.the human switches from subject to object

3.the human becomes addicted to social media, which enhances depression (Van Den Eijnden et al. 2016, Jasso-Medrano et al. 2018, Shensa et al. 2017)

4.the human switches from puppeteer, or entity with seemingly free will, to puppet

5.nature of the internet turns from freedom to surveillance

4.媒介5.0时代的独特品质 [我创造了 "媒介5.0时代"和 "虚拟通信 "这两个词，它们是从德国的“工业4.0”以及卢曼和贝克提出的媒介4.0时代（贝克称之为1.0...4.0）等概念发展而来的。一些作者揣测媒介4.0时代这个词的含义，比如1990年出版的雷-库兹韦尔的《灵魂机器时代》]

1.人从主动到被动的转换

2.人从主体到客体的转换

3.人沉迷于社交媒体，提高了患抑郁症的风险

4.人从木偶操纵者或看似拥有自由意志的实体到木偶人的转换

5.互联网的性质从自由到监测的转换--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 01:25, 26 December 2020 (UTC)

==Zhang Yujie 张毓婕==
6.direct communication turns into indirect communication (humans may not be aware of this communication/analysis)

7.explicit communication (voice, words) turns into implicit communication (preferences/thoughts/dreams/wishes/ values (first experiments with brain scanners in worker hats have started in Shanghai and Peking))

8.man-man communication turns to man-machine communication (phone bot) to machine-machine

9.4.0 was from centralization to decentralization, 5.0 is partial centralization and partial decentralization, but also concentration

==Zhang Yuxing 张宇星==
So far, mass media has been considered one-way. The interaction and processing of data of millions of individual users seemed simply too much work. In the age of virtual communication, the media epoch 5.0, mass media is individualized and interactive and therefore even more influential.

'''5 Types of manipulation (consciously or unconsciously, sometimes half-consciously)
'''

1.Priming by unconscious advertisements: Influencing consumer decisions

2.Filter bubbles => supports conspiracy theories, influences judgments

到目前为止，大众媒体一直被认为是单一的。数百万个人用户数据的交互和处理似乎太费力。在虚拟传播时代，即媒体时代5.0，大众传媒是个性化和互动的，因此更具影响力。

'''5 种操纵类型（有意识或无意识，有时是半意识的）'''

1.无意识广告发布：影响消费者决策

2.过滤泡沫=>支持阴谋论，影响判断--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:08, 26 December 2020 (UTC)

==Zhao Xi 赵茜==
3.Nature of social media: lies spread 6 times faster than truth. (Vosoughi et al. 2018).

4.Change of political attitude: Case Cambridge Analytica: Helped minority to win election by manipulating young people of majority not to vote (Do so: Don’t vote campaign, Oddleifson 2020); Trump election and Brexit were won by manipulation

5.Use of private information/dependencies to obtain advantages (blackmailing for money or for conducting crimes etc.)

6.Identity theft

3.社交媒体的本质：谎言的传播速度比真理快 6 倍。（Vosoughi等人，2018年）。

4.改变政治态度：案例剑桥分析：通过操纵多数年轻人不投票帮助少数民族赢得选举（这样做：不要投票竞选。奥德利夫森 2020年）；特朗普选举和英国脱欧通过操纵获胜

5.利用私人信息/依赖关系获取好处（勒索钱财或犯罪等）

6.身份盗窃--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:18, 27 December 2020 (UTC)

3.社交媒体的性质：谎言传播速度是真相的6倍。（Vosoughi等人，2018年）。
4.政治态度的改变：剑桥分析案例：通过操纵大多数年轻人不投票帮助少数人赢得选举（Do Do Do:Do not vote campaign，Oddleifson 2020）；特朗普选举和脱欧是通过操纵赢得的
5.利用私人信息/依赖性获取利益（勒索钱财或犯罪等）
6.身份盗窃--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:03, 27 December 2020 (UTC)

==Zhao Xiaoyan 赵晓燕==
'''6 Consequences'''

1.Virtual Communication is mostly “hidden”, the human is mostly unaware of it, but may endure the consequences (policeman may detain suspect simply because the face recognition glass recognizes a pedestrian passing by and assesses him/her as “dangerous”; loan is declined; insurance company declines to accept new customer)

6.后果

1.虚拟通讯大多是 "隐蔽 "的，人多半不知道，但可能会承受后果（警察可能仅仅因为人脸识别玻璃识别出路过的行人，并评估其为 "危险 "而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新的客户）--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 12:02, 25 December 2020 (UTC)

6.后果

1.虚拟通信通常是“隐藏的”，人类大多数情况下是不知道的，但可能会承受后果（警察可能只是因为面部识别玻璃杯识别出行人经过并将他/她评估为“危险”而拘留嫌疑人；贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 12:05, 25 December 2020 (UTC)

'''6.后果
'''

1.大多情况下，虚拟通信是“隐藏的”，人类也没有意识到这一点，但可能会承担由此带来的后果（警察可能会因为面部识别玻璃检测到行人通过，并将其评估为“危险人物”而将嫌疑犯拘留‘贷款被拒绝；保险公司拒绝接受新客户）。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:29, 26 December 2020 (UTC)

==Zheng Huajun 郑华君==
2.User becomes transparent (government can fight terrorism, any user can be blackmailed, jealous spouse can check on adultery)

3.Less will to communicate and discuss (since positions are too far apart)

4.Populists and populist views gain supporters

5.Polarization of Society

6.There is an incentive not to reveal how much one knows about the object, because the object then could question the legality, the system etc.

7.Last resort, the thinking, is tackled: Machine interprets “real” attitudes, not lip-service words

2.用户变得透明化（政府可以反恐，任何用户都可以被拉黑，嫉妒的配偶可以查奸情）

3.交流讨论意愿较弱（因为立场相差太远）

4.民粹主义者和民粹主义观点获得支持者

5.社会的两极分化

6.有动机不透露自己对对象了解多少，因为对象就可能质疑合法性、制度等。

7.最后的手段—思维，已经被破解：机器解释的是 "真实 "的态度，而不是口头禅--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 07:03, 27 December 2020 (UTC)

==Zhou Luoping 周罗平==
8.The knowing ones (algorithms, hackers, controllers of algorithms) have power over the unknowing ones (victims)

9.Exoskeleton ethics (like points/awards for measurable performances) reduce incentives to build inner ethics
'''
7 Simulation of the imminent future'''

1.The imminent future behavior of a human can be predicted

2.With many analyzed humans, the imminent future of reality can be predicted => simulation

8.知道的人（算法、黑客、算法的控制者）比不知道的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模拟即将到来的未来
1.人类即将发生的未来行为是可以预测的
2.有了许多被分析的人类，现实的即将到来的未来可以被预测=>模拟--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:00, 27 December 2020 (UTC)

8.已知的人（算法、黑客、算法的控制者）比未知im min的人（受害者）更有力量
9.外骨骼伦理（如可衡量绩效的积分/奖励）减少了建立内在道德的动机
'''
7模拟迫近的未来
1.人类的迫近未来行为是可以预测的
2.在分析了许多人类后，我们便可预测现实的迫近未来=>模拟--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:22, 27 December 2020 (UTC)

==Zhou Shiqing 周诗卿==
Is this an Orwellian dystopia or reality? Some cases of the above listed phenomena have been documented. However, we are still at the beginning of “little” AI development (optimizing existing processes) and on the brink of a much more powerful development, that of “big” AI (rethinking whole industries, being able to reproduce and enhance itself). (cf. Euchner 2019).

==Zhou Shuyao 周书尧==
'''8 Conclusion and Outlook'''

Data has succeeded oil as the most valuable resource for today’s economy. Big Tech companies already use users’ data and make big profits with it while legislation is delayed and national boundaries (which do not exist for the Tech companies) are struggled over.
Although input-legitimized liberal democracies and market economies, like that of the European Union, still protect privacy and data security, US- and China-based technology companies are already penetrating the European market.

==Zhou Siqing 周思庆==
We need to raise awareness and guide the youth to be careful with screen time and what they share online. We need to avoid addiction to social media.

'''The algorithms do not just check which film to suggest viewing next, they have started to invade the innermost sanctum of personality, our thoughts, dreams, wishes, visions, hopes, fears and secrets.
'''
'''
The listed consequences document a fundamental change of paradigms:
'''
我们需要提高意识，引导青少年注意屏幕时间和他们在网上分享的东西。我们需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的根本变化:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 01:38, 26 December 2020 (UTC)

我们需要提高意识，引导青少年留意屏幕时间和网上分享，需要避免沉迷于社交媒体。

'''算法不只是检查建议接下来看哪部电影，它们已经开始侵入人格、我们的思想、梦想、愿望、愿景、希望、恐惧和秘密的最深处的圣殿。'''

所列出的后果证明了范式的基本变化:--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:11, 26 December 2020 (UTC)

==Zhou Yiwen 周艺文==
'''The cause-based decision-making by humans with established institutions like politicians, judges etc. is being replaced with correlation-based decision-making by algorithms which often serve the profit interests of tech companies or the political interests of election-manipulators.
'''

AI took the wrong development path, when it changed from serving humans to trying to manipulate humans for economic or political profit. When AI is used to educate citizens – like helping German customers to keep a clean credit history and a good credit score – then it changes the behavior of citizens to an exoskeletal ethic.

人类通过建立政治、法官等制度所形成的原因导向的决策方法正在被算法形成的关联导向的决策方法所取代，算法通常为科技公司的利润利益或选举操纵者的政治利益服务。

人工智能走上了错误的发展道路，它从为人类服务变成了试图为了经济或政治利益而操纵人类。当人工智能被用于教育公民——比如帮助德国客户保持干净的信用历史和良好的信用评分——它就会改变公民的行为，使其成为一种外骨骼伦理。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:42, 27 December 2020 (UTC)

==Zhou Yuanqu 周园曲==
However, animals with an exoskeleton reduce their inside muscles and develop a soft inside, making them totally incapable of living without the exoskeleton. An exoskeletal ethic, giving reward points, for example, for behavior which is deemed positive and subtracting points for behavior which is deemed negative, deprives the human of the natural learning and developing process, in a social environment, of his responsibility and inner ethical judgment. If you were to meet a human with exoskeletal ethics and one who has inner ethics, whom would you trust more?

==Zhou Yujuan 周玉娟==
If we want to avoid the consequences listed in point 6, the public needs to become aware of this and nations and supranational organizations need to define legislation to a) protect privacy and data security, and b) give the user the control over his/her data including the commercial use of it where they earn a share from the profit made with the usage of his/her data.

==Zhu Meimei 祝美梅==
'''9 Outlook'''

We need to accept, that the development is irreversible. Every new technology has created fears. Important is, that we become aware of the developments and adjust where the development heads into the wrong direction. We need set the right framework and incentives that the new technology stays on track to serve humanity.

==Zhu Suyao 朱素瑶==
New developments open new possibilities. We need to make sure that not only a few tech companies and terrorists use this powerful new technology to achieve their goals, but that the mass of smart device users emancipate themselves from addiction to and manipulation by technology and gain back their dignity, privacy and free will.

'''References
'''
（参考文献不用翻译）

AI-Demand. (2020). www.ai-demand.com/insights/data/big-data/big-data-and-facebook-the-heavenly-pair-that-isnt-quite-in-heaven/

Baecker, Dirk. (2007). ''Studien zur nächsten Gesellschaft''. Frankfurt 2007

Banken-Technologie. (2020). 26. Handelsblatt Jahrestagung. Banken-Technologie. „New Normal” in der Finanzwirtschaft: digital – intelligent – automatisiert – hybrid. 2. und 3.12.2020, Digital [Conference Announcement] https://veranstaltungen.handelsblatt.com/bankentechnologie/ki-machine-learning-finanzanalyse/

Booth, T. "Cambridge Analytica controversy must spur researchers to update data ethics." ''Nature'' 555.7698 (2018): 559-560.

Clickworker. (2019). www.clickworker.com/2019/04/30/ai-for-ecommerce/

Cui, Yu, Qing He, and Alireza Khani. (2018). Travel behavior classification: an approach with social network and deep learning. ''Transportation research record'', 2672(47), 68-80. https://par.nsf.gov/servlets/purl/10109453

Daley, Sam. (2020). 32 Examples of AI in Healthcare that Will Make you Feel better about the Future (July 4, 2019, updated July 29, 2020). builtin.com/artificial-intelligence/artificial-intelligence-healthcare

Euchner, Jim. (2019). Little ai, Big AI—Good AI, Bad AI. Terminology Management 62:3, 10-12. pdf:

https://www.tandfonline.com/doi/pdf/10.1080/08956308.2019.1587280?needAccess=true

Golbeck, Jennifer, Cristina Robles, and Karen Turner. (2011). "Predicting personality with social media." ''CHI'11 extended abstracts on human factors in computing systems''. 2011. 253-262.

Jasso-Medrano, José Luis, and Fuensanta Lopez-Rosales. (2018). "Measuring the relationship between social media use and addictive behavior and depression and suicide ideation among university students." Computers in Human Behavior 87: 183-191.

Luhmann, Niklas. (1997). ''Die Gesellschaft der Gesellschaft''. 1997

Oddleifson, Evan. 2020, The Effects of Modern Data Analytics in Electoral Politics: Cambridge Analytica’s Suppression of Voter Agency and the Implications for Global Politics, ''Political Sciences Undergraduate Review'' 5 (2020) 7, 1-7.

https://journals.library.ualberta.ca/psur/index.php/psur/article/view/130/90/130-Article%20Text-642-1-10-20200401.pdf

Raj Kannan, J., Sabitha, R., Karthik, S., & Shanthini, J. (2020). Mouse Movement Pattern Based Analysis of Customer Behavior (CBA-MMP) Using Cloud Data Analytics. ''Wireless Personal Communications'', OnlineFirst, 1-17.

Ruan, Lotus, et al. "One App, Two Systems: How WeChat uses one censorship policy in China and another internationally." (2016).
Shensa, Ariel, et al. (2017). "Problematic social media use and depressive symptoms among US young adults: A nationally-representative study." ''Social Science & Medicine ''182: 150-157.

Talent Search People. (2020). How Will Artificial Intelligence Affect the Job Market? www.talentsearchpeople.com/en/blog/494-how-will-artificial-intelligence-affect-the-job-market/.

Van Den Eijnden, Regina JJM, Jeroen S. Lemmens, and Patti M. Valkenburg. (2016). "The social media disorder scale." ''Computers in Human Behavior ''61: 478-487.

Verschuere, Bruno, and Bennett Kleinberg. "ID‐check: Online Concealed Information Test reveals true identity." ''Journal of forensic sciences'' 61 (2016): S237-S240.

Vosoughi, Soroush, Deb Roy, and Sinan Aral. (2018). The spread of true and false news online. Science 359.6380: 1146-1151.. science.sciencemag.org/content/359/6380/1146

==Zhu Xu 朱旭==
'''Bio'''

Martin Woesler, PhD, is Jean Monnet Chair in European Studies with Hunan Normal University since 2020. At its Foreign Studies College, he is Distinguished Professor of Chinese Studies, Translation Studies and Comparative Literature since 2019. Woesler was elected Academian of the European Academy of Sciences and Arts, Salzburg in 2019.
Woesler has co-edited the books "China's Digital Dream", "Ethics of Information Society" and Springer has scheduled to publish the book "Diverse Voices in Chinese Translation and Interpretation" including his book chapter "Modern Interpreting with Digital and Technical Aids" in February 2021.

个人简历

自2020年起，吴漠汀（Martin Woesler）博士是湖南师范大学欧洲研究的讲座教授。自2019年来，他在湖师大外国语学院担任中国文化研究、翻译研究和比较文学的特聘教授。2019年，吴教授当选萨尔茨堡欧洲科学与艺术学院院士。吴教授曾与人合编《中国的数字梦想》、《信息社会伦理学》等书。施普林格（Springer）已计划于2021年2月出版《中国笔译与口译中的多种声音》一书，其中包括他的《数字与技术辅助的现代口译》一章。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:26, 27 December 2020 (UTC)

==Zou Xinyu 邹鑫雨==
Woesler was a Senior Fellow of the German Science Foundation's (Deutsche Forschungsgemeinschaft) Research College "Media Cultures of Computer Simulations" 2019‐2020 and hosted a related workshop with Bertelsmann Foundation in 2020. Woesler is also a researcher with Witten/Herdecke University, Germany, investigating the impact of daily screen time of children and of young people on their health.

20201221 cult

2020-12-27T10:12:38Z

Yang Hairong: /* Yang Hairong 杨海容 */

==Alsied, Saffana==
1. Their king was killed and his skull turned into a drinking vessel. As a result, the Rouzhi fled and bore a constant grudge against the Xiongnu. At this time, the Han became increasingly strong, and Emperor Wu was determined to defeat the Xiongnu.--[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 12:11, 25 December 2020 (UTC)

他们的国王被杀，他的头骨变成了饮酒器。结果，柔脂逃走了，对熊怒不断地怀恨在心。这时，汉人变得越来越强大，吴皇帝决心打败匈奴。

2.They even carried on their ships many foreign heads of state and envoys to China. On the voyage of 1423 alone, they brought 1,200 envoys from 16 countries to China, some of whom even preferred not to go back. --[[User:SAFFANA ALSIED 2|SAFFANA ALSIED 2]] ([[User talk:SAFFANA ALSIED 2|talk]]) 12:11, 25 December 2020 (UTC)

他们甚至还搭载了许多外国国家元首和特使前往中国。仅在1423年的航行中，他们就将来自16个国家的1200名使节带到了中国，其中一些人甚至不愿回国。

3.In the second half of the 16th century, foreign missionaries from the Society of Jesus came to China. They spread religious doctrines on the one hand and introduced on the other hand works on astronomy, mathematics, physics, geography, paintings, and music to China. Meanwhile, they brought to the West Chinese Confucian and Daoist doctrines, and made contributions to cultural exchanges between China and the West.

16世纪下半叶，耶稣会的外国传教士来到中国。他们一方面传播宗教学说，另一方面向中国介绍天文学，数学，物理学，地理，绘画和音乐方面的著作。同时，他们把西方的儒道思想带到了西方，为中西文化交流做出了贡献。

4.After the Second Opium War (1856-1860), Yi Xin (Prince Gong) and local officials realized that China had lagged far behind the West in weaponry and military technology, and advocated learning advanced production technology and troop training methods from the West so as to build a modern national defense. Known as the School of Westernization, these people launched a movement to learn from Western powers.

第二次鸦片战争（1856-1860）之后，巩义王子和当地官员意识到中国在武器装备和军事技术方面远远落后于西方，并主张从西方学习先进的生产技术和部队训练方法，以便建立现代国防。这些人被称为洋务派，他们发起了向西方列强学习的运动。

第二次鸦片战争（1856-1860）之后，奕䜣（恭亲王）和国内官员意识到中国在武器装备和军事技术方面远远落后于西方，因而他们主张从西方学习先进的生产技术和部队训练方法，旨在建立一支现代化的国防军队。这些人被称为洋务派，他们发起了一场向西方列强学习的运动。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:40, 26 December 2020 (UTC)Mo Ling

==Cao Runxin 曹润鑫==

==Chen Han 陈涵==

1.汉政府在西域设置常驻官员，派士卒屯田，设校尉统领保护，使汉族同新疆少数民族交往更加密切。汉朝在西域设立西域都护府为标志，丝绸之路进入繁荣时代。

The government of the Han Dynasty set up permanent officials in the Western Regions, dispatched soldiers to garrison the fields, and assigned a captain to lead the protection, so that the Han people had closer exchanges with ethnic minorities in Xinjiang. Marked by the establishment of Protectorate of the Western Regions by the Han Dynasty, the Silk Road entered the era of prosperity. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)

2.三国时代，魏、蜀、吴均有丝绸生产，而吴雄踞江东，汉末三国正处在海上丝绸之路从陆地转向海洋的承前启后与最终形成的关键时期。

During the Three Kingdoms Period, the states of Wei, Shu and Wu all produced silk. And Wu stood firmly on the east bank of the Yangtze River. In the late Han Dynasty, the three states were at a crucial period when the Maritime Silk Road shifted from the land to the sea and eventually took shape. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)

3.澳门由于在明嘉靖年间由朝廷让与葡萄牙人，因此在明末清初的西学东渐中，西方传教士常以澳门为中继站，而一些学术思想亦经由此逐渐传入中国内地，而许多与西人打交道的中国人亦在澳门及广州等地学习西方语言及文化。

Since Macau was ceded to the Portuguese by the imperial court during the years of Jaijing in the Ming Dynasty, Western missionaries often regarded it as a transition for eastward spreading of Western learning during the late Ming and early Qing dynasties, and some academic ideas were gradually introduced to the Chinese mainland, while many Chinese who had dealings with Westerners also learned Western languages and cultures in Macau and Guangzhou. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)

4.洋务派后期创办的民用工业，投资大多采取官督商办和官商合办形式，产品主要作为商品投放市场，管理上采取劳动雇佣制，所以其本质上属于带有封建因素的资本主义性质的企业。

The civil industry founded by Westernization Group in the late period of the Movement was funded mostly by taking the government-supervised and merchant-managed form and the government-merchant cooperation. Its products were mainly put on the market as commodities and its management adopted the labor-employment system, so that it belongs to capitalist enterprises in essence featuring feudalism. --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:39, 25 December 2020 (UTC)

==Chen Jingjing 陈静静==

==Dashkin, Gennadii==

==Chen Yongxiang 陈永相==

==Ding Daifeng 丁代凤==

1.丝绸之路沿途的大批历史文物、引人入胜的自然风景以及富有情趣的地方文化，使这一长途远游成了世界上最精彩的旅游项目之一。

A wealth of historical relics, fascinating scenery and interesting local cultures along the Silk Road make this long trip one of the world’s most exciting tourist attractions.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)

2.作为一个具有野心的拥有回族血统的穆斯林太监、一个典型的游离于儒家学者精英体制之外的人，郑和在1405到1433年间七下西洋，其中六次都在永乐帝的支持下进行。

An ambitious Muslim eunuch of Hui descent, a quintessential outsider in the establishment of Confucian scholar elites, Zheng He led seven expeditions from 1405 to 1433 with six of them under the auspices of Yongle.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)

As an ambitious Muslim eunuch of Hui descent and a quintessential outsider in the establishment of Confucian scholar elites, Zheng He led seven expeditions from 1405 to 1433, with six expeditions under the auspices of Yongle.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:26, 26 December 2020 (UTC)

3.从19世纪下半叶到20世纪初,伴随着“西学东渐”的进程,西方妇女生活现状、人权思想及女权理论渐次传入中国,引起了中国思想界的关注。

From the second half of 19th century to the beginning of 20th century, with the progress of the eastward spread of western learning, western women's living situations, thoughts of human rights and feminist theories were gradually introduced into China and attracted the attention of the Chinese ideological circle.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)

4.在具有现代性思维的汉家学者的引导下，人们学习了西方的科学和语言，一些大城市开设了特殊的学校，军械库、工厂和船坞也参照西方的模型得到了建造。

Under the direction of modern-thinking Han officials, western science and languages were studied, special schools were opened in the larger cities, and arsenals, factories, and shipyards were established according to western models.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:53, 26 December 2020 (UTC)

==Gan Fengyu 甘奉玉==
1.张骞被誉为伟大的外交家、探险家，是“第一个睁开眼睛看世界的中国人”、“丝绸之路的开拓者”、“东方的哥伦布”。

Zhang Qian, rated as a great diplomat and explorer, is "the first Chinese to open his eyes to see the world "," the pioneer of the Silk Road" and "Columbus of the East ". --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)

2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举，对中外经济、文化交往起到了积极作用。

Zheng He's voyage to the West was an unprecedented feat in the history of world navigation in the early 15th century and played a positive role in economic and cultural exchanges between China and foreign countries.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)

3.西学东渐，是指从明朝后期到近代的西方学术思想向中国传播的历史过程。

The Eastward World Spread of Western Learning refers to the historical process of spreading western academic thought to China from the late Ming Dynasty to modern times. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)

The Eastward World Spread of Western learning refers to the historical process from the late Ming Dynasty to modern times when western academic thoughts spread to China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:08, 27 December 2020 (UTC)

4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。

Westernization Movement, also known as self-strengthening movement. It is a self-help movement that introduced western military equipment, machine production and science and technology to save the rule of Qing Dynasty from 1860s to 1990s by Westernization School. --[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:51, 26 December 2020 (UTC)

==Gao Mingzhu 高明珠==

==Grosheva, Anna==

==Gu Dongfang 顾东方==

==Guan Qinqing 管钦清==

==Gui Yizhi 桂一枝==

==Guirou, Barthelemy==

==Guo Lu 郭露==

1. 丝绸之路是古代横贯亚欧的通道。其起点一般认为是长安（今西安），其实它随朝代更替政治中心转移而变化。长安（今西安）、洛阳、平城（今大同）、汴梁（今开封）、北京曾先后为丝路起点。

The Silk Road is an ancient across of asia-europe. Its starting point is usually ascribed to Changan (now xian), actually the starting point is changed according to the changed political center. Changan (now Xian), Luoyang, Pingcheng (now Datong), Bianliang (today Kaifeng), and Beijing has been the starting point of the Silk Road.

The Silk Road was an ancient crossing between Asia and Europe. Its starting point is generally considered to be Chang'an (present-day Xi'an). In fact, it changes with the change of the political center of dynasties. Chang'an (present-day Xi'an), Luoyang, Pingcheng (present-day Datong), Wei Liang (now Kaifeng), Beijing has been the starting point of silk road.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:09, 27 December 2020 (UTC)

2. 海上丝绸之路较之陆上，有共性，也有特性；有优势和潜力，也有难度和挑战。要推进21世纪海上丝绸之路建设，要在对接合作上下功夫。

Compared with the Silk Road, the Maritime Silk Road shares similarities but also has its unique characters. It has its own set of advantages, potentials, as well as difficulties and challenges. Going forward, I believe the success of the Maritime Silk Road of the 21st Century would require effective efforts to coordinate our cooperation.

Compared with the Silk Road, the Maritime Silk Road shares similarities but also has its unique characteristics. It has its own set of advantages, potentials, as well as difficulties and challenges. Going forward, the success of the Maritime Silk Road of the 21st Century would require effective efforts to coordinate cooperation.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:14, 25 December 2020 (UTC)

3. 在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。

The rising modern press during the period of the Eastward Spread of Western Learning deeply transformed the traditional aesthetic mechanism from the content to the form. Then the modern press has facilitated the modern reforms of Chinese esthetics.

4. 这场运动由士大夫们领导，比如李鸿章（1823——1901）和左宗棠（1812——1885），他们曾在太平起义中与政府军作战。1861到1894年间，现在成为大臣们的这些人负责建立了现代的机构，发展基础工业、通信和交通业并是军队现代化。

The movement was championed by scholar-generals like Li Hongzhang (1823—1901) and Zuo Zongtang (1812—1885), who had fought with the government forces in the Taiping Rebellion. From 1861 to 1894, leaders such as these, now turned scholar-administrators, were responsible for establishing modem institutions, developing basic industries, communications, and transportation, and modernizing the military.
--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:01, 24 December 2020 (UTC)

==Ha, Thi Thu Hang==

==He Changqi 何长琦==

==Hu Baihui 胡百辉==

==Hu Jin 胡瑾==

==Jiang Fengyi 蒋凤仪==

==Jiang Qiwei 蒋淇玮==
1.张骞（前164年-前114年），字子文，西汉外交家、探险家，是“丝绸之路的开拓者”“东方的哥伦布”。前139年，张骞奉汉武帝之命，出使西域，打通了汉朝通往西域的道路，即赫赫有名的丝绸之路，促进了东西方文明的交流。汉武帝以军功封其为博望侯。史学家司马迁高度称赞了其出使西域。

Zhang Qian( B.C. 164- B.C. 114), whose style name is Ziwen, was the diplomat and explorer in Western Han dynasty. He was called as the pioneer of the Silk Road and the Columbus of the East. In B.C. 139, at the command of Emperor Wu of Western Han dynasty, Zhang Qian visited Western Regions and carved out a way, advancing the communication between the Eastern and Western civilization. Therefore, Emperor Wu of the Han dynasty granted him the title of Marquis Bowang with military merit. And Historian Sima Qian highly praised his work.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)

2.海上丝绸之路是古代中国与外国交通贸易和文化交往的海上通道，分为东海航线和南海航线两条线路，主要以南海为中心。海上丝路萌芽于商周，发展于春秋战国，形成于秦汉，兴于唐宋，转变于明清，是已知最为古老的海上航线。海上丝绸之路途经100多个国家和地区，是中国与外国贸易往来和文化交流的海上大通道，推动了沿线各国的共同发展。

The Maritime Silk Road was a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries. It was divided into two routes, the East China Sea route and the South China Sea route, with the South China Sea as the center. The Maritime Silk Road originated in the Shang and Zhou dynasties, developed in the Spring and Autumn and Warring States periods, formed in the Qin and Han dynasties, flourished in the Tang and Song dynasties, and transformed in the Ming and Qing dynasties. And it is the oldest known maritime route. The Maritime Silk Road, passing through more than 100 countries and regions, is a major maritime corridor for trade and cultural exchanges between China and foreign countries and has promoted the common development of countries along the route.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)

3.西学东渐是指近代西方学术思想向中国传播的历史过程，通常而言是指在明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思想的传入。

The Eastward Spread of Western Learning refers to the historical process of the spread of western academic ideas to China in modern times. Generally speaking, it is the introduction of academic ideas from Europe and America in the late Ming and early Qing dynasties and the early Ming and Early Ming Dynasties.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)

4.洋务运动是19世纪60到90年代晚清洋务派进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。前期，洋务派以“自强”为旗号，创办了一批近代军事工业。后期，以“求富”为旗号，兴办了一批民用工业。甲午中日战争中，北洋海军全军覆没，洋务运动宣告破产。洋务运动虽然没有使中国富强起来，但期间引进了西方先进的科学技术，客观上促进了民族资本主义的产生和发展。

The Westernization Movement was a self-help movement carried out by the Westernization Group of the Qing Dynasty from the 1960s to the late 1990s, which introduced western military equipment, machine production and science and technology to save the Qing dynasty. In the early stage, the Westernization Movement established a number of modern military industries under the banner of "self-improvement". In the later period, under the banner of "seeking wealth", lots of civil industries were set up. In the Sino-Japanese War of 1894-1895, the entire Beiyang Navy was wiped out, and the Westernization Movement was bankrupt. Although Westernization Movement did not make China rich and powerful, it drew in advanced science and technology from the West, which objectively promoted the emergence and development of national capitalism.--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:12, 25 December 2020 (UTC)

==Kang Haoyu 康浩宇==

==Lei Fangyuan 雷方圆==

==Lei Kuangxi 雷旷溪==

==Li Lili 李丽丽==

==Li Liqin 李丽琴==

1. 汉通西域，虽然起初是出于军事目的，但西域开通以后，它的影响，远远超出了军事范围。这条通道，就是后世闻名的“丝绸之路”。丝绸之路则成为“一带一路”的重要历史符号，使得我们高举和平发展的旗帜，积极发展与沿线国家的经济合作伙伴关系。

Although the missions to the western Regions in the Han Dynasty were originally aimed for military purposes, their influence went far beyond the military scope. This passageway was later known as the Silk Road. The silk road has become an important historical symbol of "One Belt And One Road", which makes us hold high the banner of peaceful development and actively develop economic partnership with countries along the route.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)

2. 郑和当时率领着世界上最强大的船队下西洋，带去的不是血与火、掠夺与殖民，而是瓷器、丝绸、茶叶。下西洋是世界航海史上的壮举，现在东南亚一带还有许多几年内郑和的建筑物，表达了人们对他的尊敬。

Leading the most powerful fleet in the world, Zheng He made seven voyages to the Western Seas, bringing there porcelain, silk and tea, rather than bloodshed, plundering or colonialism. Zheng He's voyages were a great feat in the world's navigation history. There are still many buildings in present Southeast Asia dedicated to his memory.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)

3. 自十七世纪开始的西学东渐，对明清之际实学思潮的兴起起到了催生作用。

Since the 17th century, the west knowledge spread to the east gradually, which accelerated the rise of ideological trend during the period of Ming and Qing dynasty.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)

Eastward Spread of Western Learning starting from the 17th century accelerated the rise of ideological trend during the period of Ming and Qing dynasties.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:04, 27 December 2020 (UTC)

4. 洋务运动的历史作用不仅仅表现在经济上，其对中国近代思想启蒙的影响也是巨大的。洋务教育是洋务派为了满足洋务运动的需要，培养洋务人才进行的教育变革。

The effect of Westernization Movement in history is not only on economy but also greatly on contemporary ideological enllightenment in China. Westernization education was an education reformation launched by Westernization Faction intending to meet the needs of cultivating new-type talents.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:03, 26 December 2020 (UTC)

The historical role of the foreign affairs movement is not only in the economy, but also in the enlightenment of modern Chinese thought. Westernization education is the educational reform carried out by Westernization Faction in order to meet the needs of cultivating new-type talents.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:12, 27 December 2020 (UTC)

==Liu Liu 刘柳==

1.张骞先后两次出使西域，打开了中国与中亚、西亚、南亚以至通往欧洲的陆路交通，从此中国人通过这条通道向西域和中亚等国出售丝绸、茶叶、漆器和其他产品，同时从欧洲、西亚和中亚引进宝石、玻璃器等产品。

Zhang Qian has made two missions to the Western Regions, opening up the land transportation between China and Central Asia, West Asia, South Asia and even Europe. Since then, the Chinese have sold silk, tea, lacquerware and other products to the Western Regions and Central Asia and other countries through this road, while importing gems, glassware and other products from Europe, West Asia and Central Asia.

2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。

The Maritime Silk Road was a maritime route for traffic, trade and cultural exchanges between ancient China and foreign countries, which was mainly centered on the South China Sea, so it was also known as the South China Sea Silk Road. The Maritime Silk Road was formed during the Qin and Han Dynasties, developed during the Three Kingdoms to the Sui Dynasty, flourished during the Tang and Song Dynasties, and transformed during the Ming and Qing Dynasties, which is the oldest maritime route known to people.

3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术活动的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展。

The Eastward Spread of Western Learning brought various new academic achievements in modern West into China, which deeply influenced the development of various academic activities, and many academic disciplines that were not valued or even did not exist in traditional China also developed under this influence.

4.洋务运动虽然在客观上刺激了中国资本主义发展，并且在一定程度上抵制了外国资本主义的经济输入，但并没有使中国走上富强之路。

Although the Westernization Movement objectively stimulated the development of Chinese capitalism and to a certain extent resisted the economic input of foreign capitalism, it did not make China become prosperous and strong.--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 06:42, 25 December 2020 (UTC)

==Liu Ou 刘欧==

==Liu Yi 刘艺==

==Liu Yiyu 刘怡瑜==

==Lo, Minh Thao==

==Lou Cancan 娄灿灿==
1 陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。东汉时期丝绸之路的起点在洛阳，它的最初作用是运输中国古代出产的丝绸。

The Overland Silk Road originated from the Western Han Dynasty (202-8 BC), when Emperor Wudi of the Han Dynasty sent Zhang Qian on a mission to the western Regions. Starting from the capital Chang 'an (now Xi 'an), it passed through Gansu and Xinjiang, reached central Asia and West Asia, and connected the Mediterranean countries on land. In the Eastern Han Dynasty, the starting point of the Silk Road was Luoyang. Its primary function was to transport silk produced in ancient China.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)

2 郑和具备军事才能，并且得到朱棣的信任。在朱棣决策下西洋时，郑和正当壮年。朱棣曾询问袁忠彻以郑和率军出使是否合适，袁忠彻认为合适。

Zheng He had military talents and Zhu Di trusted him. When Zhu Di was planning to the West, Zheng He was in his prime. Zhu Di had asked Yuan Zhongche whether Zheng was the right person on such massion. Yuan Zhongche thought he was appropriate.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)

3 徐光启较早师从利玛窦学习西方的天文、历法、数学、测量和水利等科学技术，毕生致力于科学技术的研究，勤奋著述，是介绍和吸收欧洲科学技术的积极推动者，为17世纪中西文化交流作出了重要贡献。

Xu Guangqi studied western science and technology such as astronomy, calendar, mathematics, measurement and water conservancy under Matteo Ricci. He devoted his whole life to the research of science and technology and wrote assiduously. He was an active promoter in introducing and absorbing European science and technology and made important contributions to the cultural exchanges between China and the West in the 17th century.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)

4 曾国藩的崛起，对清王朝的政治、军事、文化、经济等方面都产生了深远的影响。在曾国藩的倡议下，建造了中国第一艘轮船，建立了第一所兵工学堂，印刷翻译了第一批西方书籍，安排了第一批赴美留学生。

Zeng Guofan's rise had a profound influence on the politics, military affairs, culture and economy of the Qing Dynasty. At Zeng's initiative, He built China's first ship, established the first military academy, printed and translated the first batch of Western books, and arranged for the first batch of overseas students to go to the United States.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 26 December 2020 (UTC)

==Luo Weijia 罗维嘉==

==Luo Yuqing 罗雨晴==

==Mo Ling 莫玲==

1.汉通西域，虽然起初是出于军事目的，但丝绸之路开通以后，它的影响，远远超出了军事范围。

Although the Han Dynasty connected with the Western Regions for military purposes at first, its influence was far beyond the military scope after the opening of the Silk Road.

Although the Han Dynasty connected with the Western Regions for military purposes at first, its influence was far-reaching, well beyond the military scope after the opening of the Silk Road.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:38, 26 December 2020 (UTC)

2.明初工商业的恢复和发展，宋、元以来中国海外贸易的发达，对外移民的增加，所有这一切，都为郑和下“西洋”准备了坚实的经济基础和物质条件。

The recovery and development of industry and Commerce in the early Ming Dynasty, the development of China's overseas trade since the song and Yuan Dynasties, and the increase of foreign immigrants all prepared a solid economic foundation and material conditions for Zheng He's "western" voyage.

3.利玛窦向中国社会传播了西方的几何学、地理学知识以及人文主义的观点，开了晚明士大夫学习西学的风气。

Matteo Ricci spread the western knowledge of geometry, geography and humanism to the Chinese society, which initiated the practice for the literati to absorb western learnings in the late Ming Dynasty.

Ricci spread western knowledge of geometry and geography as well as humanist views to Chinese society, opening the way for scholars in the late Ming Dynasty to absorb western studies.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:07, 26 December 2020 (UTC)

4.江南制造局虽是清末洋务派创办的规模最大的兵工厂，但是技术上仍是由外国技师垄断．

Although Jiangnan Manufacturing Bureau was the largest arms factory founded by Westernization Group in the late Qing Dynasty, it was still monopolized by foreign technicians in the aspect of technique.--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 11:33, 26 December 2020 (UTC)Mo Ling

Although Jiangnan Manufacturing Bureau was the largest arsenal founded by the Westernization Group in the late Qing Dynasty, the technology was still monopolized by foreign technicians.--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:07, 26 December 2020 (UTC)

==Ngo, Thi Minh Huong==

==Ouyang Ling 欧阳玲==
1.建元二年（前139年），张骞率领100多名随行人员，由匈奴人堂邑父为向导从长安出发前往西域。西行进入河西走廊。这一地区自月氏人西迁后，已完全为匈奴人所控制。正当张骞一行匆匆穿过河西走廊时，不幸碰上匈奴的骑兵，他们全部被抓获。

In the second year of Jianyuan(139 B.C.), Zhang Qian set off to the Western Regions leading an entourage of more than 100 men from Chang'an under the guidance of Tang Yifu who is a Hun. They travelled westward into the Hexi Corridor which had been completely controlled by the Huns since they moved westward. When they tried to hurry through this region, unfortunately they met the Hun cavalry, and they were all captured.

2.郑和下西洋所到之处主要是开展贸易活动，以“朝贡贸易”为基本形式，同时推行“官方贸易”、带动“民间互市”等。

Zheng He's voyages are mainly to carry out trade activities, during which they took "tribute trade" as the basic activity, and at the same time promoted "official trade" and "non-governmental trade".

3.在明末清初的一波西学东渐中，传教士扮演著相当重要的角色，当时主要以天主教耶稣会为主的传教士们，在试图将天主教传入中国的同时，引介了西方的科技学术思想，译著了大量的西方学术相关书籍。

From the late Ming Dynasty to the early Qing Dynasty, missionaries played an important role in the Eastward Spread of Western Learning. While trying to introduce Catholicism into China, the missionaries mainly composed of the Catholic Jesuits introduced western scientific and technological thoughts and translated a large number of western academic books.

4.在洋务运动存续的35年里，文化出版事业的发展达到了一个前所未有的水平。译书经历了由单纯的西方科技著作和书籍，向自然科学和社会科学，人文科学等著作并重，甚至后者略占上风的过程。

During the 35 years of Westernization Movement, the development of cultural publishing reached an unprecedentedly high level. The translation of books experienced a process from the dominance of western scientific and technological works to the emphasis laid equally on works of natural and social sciences and humanities, and even the latter took the majority.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 12:15, 24 December 2020 (UTC)

1. In the second year of Jian Yuan (139 BC), Zhang Qian led more than 100 serve men, with the Xiongnu man Tang Yi as the guide, to set off from Chang’ an to the West. This area has been completely controlled by the Xiongnu since the westward migration of the Ziyue people. Just as Zhang Qian passed through the Hexi Corridor, they unfortunately ran into the Xiongnu cavalry, who captured them all.

2. Zheng He mainly carried out trade activities in all the places he visited, taking “tribute trade” as the basic form. At the same time, he also promoted “official trade” and “private mutual market”.

3. In the wave of Western learning in the late Ming and early Qing dynasties, missionaries played an important role, mainly the Jesuit missionaries, who tried to introduce Catholicism into China, introduced Western scientific and academic ideas, and translated a large number of Western academic books.

4. During the 35 years’ Westernization Movement, the development of publishing reached an unprecedented level. The translation of books went through a process from purely Western scientific and technological works and books to works on natural sciences and social sciences, humanities, etc., with the latter even slightly prevailing.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:54, 25 December 2020 (UTC)Yang chenting

==Peng Ruihong 彭锐宏==

==Phyo, Su Kyi==
1-张谦出生于西汉（公元前206年至公元24年）的城固县（今陕西省城固县）。他是中国历史上杰出的使节和探险家，开辟了古老的丝绸之路，并带来了有关西部地区的可靠信息.

Zhang Qian was born in Chenggu (the present Chenggu County of Shaanxi Province) of Western Han Dynasty (206 BC-24 AD). He was an outstanding envoy and explorer in Chinese history, opening up the ancient Silk Road and bringing reliable information about the Western Regions.

Zhang Qian was born in Chenggu (the present Chenggu County of Shaanxi Province) of Western Han Dynasty (206 B.C.-24 A.D.). He was an outstanding envoy and explorer in Chinese history, opening up the ancient Silk Road and bringing reliable information about the Western Regions to China.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)

2-郑和（1371-1433）是一位伟大的中国探险家和舰队司令。他进行了七次主要探险，以探索中国皇帝的世界并在新地区建立中国贸易。

Zheng He (1371 - 1433) was a great Chinese explorer and fleet commander. He went on seven major expeditions to explore the world for the Chinese emperor and to establish Chinese trade in new areas.

Zheng He, a great Chinese explorer and fleet captain, has carrried out 7 major explorations to broaden Chinese emperor's world and establish Chinese trade in new regions.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:02, 24 December 2020 (UTC)

3-西方的儒道教说，为中西文化交流做出了贡献。

The West Chinese Confucian and Daoist doctrines, and made contributions to cultural exchange between China and the West.

The Chinese Confucian and Daoist doctrines in the West, and made contributions to cultural exchange between China and the West.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)

4-自强运动，又称为洋务运动（西洋运动或西洋运动）（约1861年至1895年），是鸦片战争的军事灾难后在清朝后期在中国发起的体制改革时期。

The Self-Strengthening Movement, also known as the Westernization or Western Affairs Movement ( c. 1861–1895), was a period of institutional reforms initiated in China during the late Qing dynasty following the military disasters of the Opium Wars.--[[User:Phyo Su Kyi 1|Phyo Su Kyi 1]] ([[User talk:Phyo Su Kyi 1|talk]]) 09:43, 24 December 2020 (UTC)Phyo Su Kyi

The Self-Strengthening Movement, also known as the Westernization Movenment or Western Affairs Movement ( c. 1861–1895), was a period of institutional reforms initiated in China during the late Qing Dynasty following the military disasters of the Opium Wars.--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 09:06, 25 December 2020 (UTC)

==Pingki, Tanchangya==

==Qu Miao 瞿淼==

==Rajabov, Anushervon==

==Seydou, Sagara==

==Shi Haiyao 石海瑶==

==Si Yu 司妤==

==Tan Yuanyuan 谭媛媛==

==Tang Bei 汤蓓==

==Tang Yiran 汤伊然==

==Wang Meiling 王美玲==
1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。

The land Silk Road originated from the Western Han Dynasty (BC 202-AD 8 ) when Emperor Wu of Han Dynasty dispatched Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, with connection to Mediterranean countries.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)

2.向西航行的郑和七下西洋：这是明朝政府组织的大规模航海活动，曾到达亚洲、非洲39个国家和地区，这对后来达·伽马开辟欧洲到印度的地方航线，以及对麦哲伦的环球航行，都具有先导作用。

Westward sailing of Zheng He's seven voyages was a large-scale sailing activity organized by the Ming government, which travelled 39 countries and regions in Asia and Africa, which had a pioneering effect on the Da Gamma’s opening up the local route from Europe to India, as well as on Magellan's worldwide voyage.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)

3.西学东渐所造成中国思想文化的影响和变化之大，在中国历史上只有百家争鸣可以与之媲美。中国人经过西学的洗礼，对于世界、历史发展、政治、经济、社会、自然界万事的看法，都有了巨大的改变。

The impact and the changes in Chinese thought and culture caused by Western learning can be rivaled only by the Hundred Schools of Thought in the history of China. After the baptism of Western learning, tremendous changes have been made on Chinese people's views on the world, historical development, politics, economy, society, and the whole nature.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)

4.清政府统治集团内的一些开明人士为了维护清政府的封建统治，而采取了一系列“自强”“求富”的措施，虽然其目的是为了维护封建统治，但这一运动是符合历史潮流的。

Some enlightened people in the Qing government adopted a series of measures for "self-improvement" and "seeking wealth" in order to maintain the feudal rule of the Qing government. Although they were aimed to maintain the feudal government, this movement was in line with the historical trend.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 10:53, 26 December 2020 (UTC)

==Wang Xuan 王轩==
1. 张骞出使西域，既是一次极为艰险的外交旅行，同时也是一次卓有成效的科学考察。张骞对广阔的西域进行了实地的调查研究工作。
Zhang Qian's mission to the western regions was not only an extremely difficult diplomatic trip, but also an effective scientific investigation. Zhang Qian made a field investigation on the vast western regions.

Zhang Qian's mission to the Western Regions was not only an extremely difficult and dangerous diplomatic trip, but also a fruitful scientific investigation. Zhang Qian conducted field investigation and research work on the vast Western Regions.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling

2. 十五世纪初期，郑和下西洋作为军事史上一项意义重大的事件，当前学术界从郑和下西洋的政治、经济及文化等角度对该事件的作用及影响进行了分析，鲜少从历史意义层面进行研究。郑和七次下西洋所到达的地区、实施的措施在人类航行史上占据至关重要的地位，了解郑和下西洋的历史意义非常必要。
At the beginning of the 15th century, Zheng He's voyages to the West was a significant event in the military history. At present, the academic circles have analyzed the role and influence of Zheng He's voyages from the political, economic and cultural perspectives, but rarely from the perspective of historical significance. The area Zheng He arrived at and the measures he took during his seven voyages to the West occupy an important position in the history of human navigation. It is necessary to understand the historical significance of Zheng He's voyages to the West.

At the beginning of the 15th century, Zheng He's voyages to the West was a significant event in the military history. At present, the academia have analyzed the role and influence of Zheng He's voyages from the political, economic and cultural perspectives, but rarely from the perspective of historical significance. The area Zheng He arrived at and the measures he took during his seven voyages to the West occupy an important position in the history of human navigation. It is necessary to understand the historical significance of Zheng He's voyages to the West.--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:49, 26 December 2020 (UTC)

3. 明代万历年间，以利玛窦为代表的西方传教士来华传教，同时带来西方科技、文化等。这对中国传统思想文化有所触动。此时的西方科学技术开始迅速发展，而中国这时科学技术的发展较缓慢，相对落后于同时期的欧洲。
During the Wanli period of the Ming Dynasty, Western missionaries represented by Matteo Ricci came to China to preach, bringing Western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, Western science and technology began to develop rapidly, while the development of science and technology in China was relatively slow, lagging behind Europe in the same period.

During the Wanli period of Ming Dynasty, western missionaries represented by Matteo Ricci came to China to preach and bring western technology and culture. This has touched the traditional Chinese ideology and culture. At this time, western science and technology began to develop rapidly, while The development of Science and technology in China was relatively slow and lagged behind that in Europe at the same time.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling

4. 随着经济全球化的发展，国与国之间的界限已经减少了。中国不断引进西方的文化，外国也不断引进中国的文化。在这个过程中，中国从最原始的封建社会，也逐步走向西化。
With the development of economic globalization, the boundaries between countries have been reduced. China is constantly introducing western culture, and foreign countries are also constantly introducing Chinese culture. In this process, China gradually moved from the most primitive feudal society to Westernization.
--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 10:38, 26 December 2020 (UTC)Wang Xuan

With the development of economic globalization, the boundaries between countries have been reduced. China continues to introduce Western culture, and foreign countries continue to introduce Chinese culture. In this process, China has gradually moved from the most primitive feudal society to Westernization.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:59, 26 December 2020 (UTC)Xiao Shuangling

==Wu Qiong 吴琼==

==Wu Yilu 吴一露==

==Wu Zijia 吴子佳==

==Xiao Shuangling 肖双玲==
1.陆上丝绸之路起源于西汉（前202年—8年）汉武帝派张骞出使西域开辟的以首都长安（今西安）为起点，经甘肃、新疆，到中亚、西亚，并连接地中海各国的陆上通道。东汉时期丝绸之路的起点在洛阳。它的最初作用是运输中国古代出产的丝绸。

1.The land Silk Road originated from the Western Han Dynasty (202-8 BC) when Emperor Wu of Han Dynasty sent Zhang Qian to the western regions to open up a land passage from Chang'an (today's Xi'an), the capital, to Central Asia and West Asia via Gansu and Xinjiang, and to connect Mediterranean countries. The starting point of the Silk Road in the Eastern Han Dynasty was Luoyang. Its original function was to transport silk from ancient China.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling

2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。海上丝绸之路形成于秦汉时期，发展于三国至隋朝时期，繁荣于唐宋时期，转变于明清时期，是已知的最为古老的海上航线。

2.The "maritime Silk Road" is a maritime channel for communication, trade and cultural exchanges between ancient China and foreign countries. The road is mainly centered on the South China Sea, so it is also called the South China Sea Silk Road. The maritime silk road was formed in the Qin and Han Dynasties, developed from the Three Kingdoms to the Sui Dynasty, flourished in the Tang and Song Dynasties, and transformed into the Ming and Qing Dynasties. It is the oldest known maritime route.

3.除了传教士之外，许多来华的官员、探险家等也成为传入西学的重要媒介，例如将领戈登对于中国洋务时期军事的影响。主持海关总税务司的赫德对于西方管理制度的引入，以及译介书籍、最早西方军乐队的引入都有影响。

3.Besides missionaries, many officials and explorers who came to China also became important media for the introduction of Western learning, such as general Gordon's influence on China's military during the Westernization period. Hurd, who presided over the General Revenue Department of customs, had an influence on the introduction of Western management system, the translation of books and the introduction of the earliest Western military band.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling

4.洋务运动内容涉及军事、政治、经济、外交等，以“自强”为名，兴办军事工业并围绕军事工业开办其他企业，建立新式武器装备的陆海军。洋务派经营的这些近代企业，是在不改变封建统治为前提下所办企业，具有很强的对外依赖性、封建性和一定程度的垄断性。

4.The Westernization Movement involved military affairs, politics, economy, diplomacy and so on. In the name of "self-improvement", the Westernization Movement set up military industry and other enterprises around the military industry to establish the army and Navy with new weapons and equipment. These modern enterprises managed by the Westernization clique were established on the premise of not changing the feudal rule, and had strong external dependence, feudalism and a certain degree of monopoly.--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 12:55, 26 December 2020 (UTC)Xiao Shuangling

==Xiao Ting 肖婷==

==Xie Fan 解帆==
1.张骞第一次虽然没有完成出使目的，但是对西域诸国的山川地理、风土民情等重要信息，有了非常细致全面的掌握。

Although Zhang Qian did not reach the destination for the first time, he had a very detailed and comprehensive grasp of important information such as mountains, rivers, geography, people and local conditions of the western countries.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)

Although Zhang Qian did not arrive at the destination for the first time, he had a very detailed and comprehensive grasp of important information such as mountains, rivers, geography, people and local conditions of many western countries.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)

2.郑和下西洋，是15世纪初叶世界航海史上的空前壮举。郑和本人也在这一历史事件中展现出其外交才能、军事谋略以及精神品质，并赢得世人的尊重和纪念。

Zheng He's voyage was an unprecedented achievement in the world's maritime history in the early 15th century. Zheng He, showed his diplomatic skills, military strategies and spiritual qualities in this historical event, and won the respect and honor of the world.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:06, 25 December 2020 (UTC)

Zheng He's voyage was an unprecedented achievement in the world's maritime history in the early 15th century. Zheng He himself showed his diplomatic skills, military strategies and spiritual qualities in this historical event who has won the respect and honor of the world.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)

3.甲午战争以后，由于中国当时面临着国破家亡的命运，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。

After the War of 1894, as China was reduced to separation, many people of insight began to learn from the West more actively and comprehensively. At that time appeared Liang Qichao, Kang Youwei, Tan Si-tong and other thinkers.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)

After the War of 1894, as China was reduced to separation, many people of insight began to learn from the Western countries more actively and comprehensively. At that time appeared Liang Qichao, Kang Youwei, Tan Si-tong and other thinkers.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)

4.戊戌变法是一次具有爱国救亡意义的变法维新运动，是中国近代史上一次重要的政治改革，也是一次思想启蒙运动。

The Hundred Days' Reform is a movement with the significance of patriotic salvation, an important political reform in modern China's history, as well as an ideological enlightenment movement.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:05, 25 December 2020 (UTC)

The Hundred Days' Reform is a movement with the significance of patriotic salvation, a significant political reform in modern China's history, as well as an ideological enlightenment movement.--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 11:00, 26 December 2020 (UTC)

==Xu Jia 徐佳==

1.丝绸之路是古代中国联系中亚、西亚、非洲和欧洲的交通要道。19世纪，德国一个地理学家首次使用“丝绸之路”这一术语，一直沿用到今天。期初，它指从中国新疆到中亚的陆地通道。

The Silk Road was a general name for the ancient strategic transportation channel which started from China and passed through Central Asia, West Asia, Africa and Europe. In the 19th century, when the name of Silk Road was first used by a German geographer, it just included the land road from China’s Xinjiang to Central Asia.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia

2.海上丝绸之路在时间和空间上经过了长期的发展，在东方各国共同的经营下，形成了东方历史上一道独特而壮丽的风景，至今仍然承载着东方文明的传统。

The Maritime Silk Road has gone through long-term development in time and space. Under the joint management of eastern countries, it has formed a unique and magnificent scenery in the history of the East and still carries the tradition of eastern civilization.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia

3.中华文明是古代六大原生文明之一，由于所处的独特地理位置，中华文明的发展一直具有极强的独立性，较少受到其他文明的影响。但随着历史向前发展，中国与世界的联系也更为密切，直到明末清初“西学东渐”，中国人才第一次系统地接触到西方文明。

The Chinese civilization is one of the six ancient civilizations. Due to its unique geographical location, the development of the Chinese civilization has always been highly independent and less influenced by other civilizations. As history progressed, however, China became more connected with the rest of the world. It was not until the eastward spread of western learning in the late Ming and early Qing Dynasty that Chinese people formed systematic knowledge about western civilization.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia

4.洋务运动创办了近代中国由国人自办的最早一批军用和民用近代企业，揭开了中国资本主义生产方式的序幕。

The Westernization Movement established the first modern military and civilian enterprises run by Chinese people in modern China, which provided an opening for capitalist production in China.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 01:14, 27 December 2020 (UTC)Xu Jia

==Xu Jing 许静==

==Yang Chenting 杨晨婷==

1. 丝绸之路经济带，是在古丝绸之路概念基础上形成的一个新的经济发展区域。包括西北五省区陕西、甘肃、青海、宁夏、新疆。

1. Silk Road Economic Belt is a new economic development region formed on the basis of the ancient Silk Road. It includes the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang.

The Silk Road Economic Belt is a new economic development region based on the ancient Silk Road. It includes the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:03, 24 December 2020 (UTC)

The Silk Road Economic Belt is a new economic development region based on the ancient one. It covers the five northwestern provinces—Shaanxi, Gansu, Qinghai, Ningxia and Xinjiang. --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 16:08, 25 December 2020 (UTC)

2. 海上丝绸之路，是古代中国与外国交通贸易和文化交往的海上通道，也称"海上陶瓷之路"和“海上香料之路”，1913年由法国的东方学家沙畹首次提及。

2. Maritime Silk Road is a maritime route of trade and cultural exchanges between ancient China and foreign countries, also known as “Maritime Ceramic Road” and “Maritime Spice Road”, first mentioned by the French orientalist Chavan in 1913.

3. 西学东渐是指从明朝末年到近代的西方学术思想向中国传播的历史过程，虽然也可以泛指自上古以来一直到到当代的各种西方事物传入中国，但通常而言是指明末清初以及晚清民初两个时期之中，欧洲及美国等地学术思传入。

3. The Eastward Spread of Western Learning is a historical process of spreading Western academic thought to China from the late Ming Dynasty to modern times. Although it can also refer to the introduction of various Western things into China from ancient times to contemporary times, but usually refers to the introduction of academic thought from Europe and the United States in the late Ming and early Qing dynasties.

4. 鸦片战争后，他们的基本思想就是了解夷情,“师夷长技以制夷”。这些卓识远见表明近代向西方学习的思潮的始初就和爱国精神交融在一起。

4. After the Opium War, their basic idea was to understand the situation of the barbarians and “learn from them in order to control them”. These insights show that the modern trend of learning from the West was intertwined with the spirit of patriotism from the very beginning.--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 02:34, 24 December 2020 (UTC)Yang Chenting

==Yang Hairong 杨海容==

1.明代中期以后，政府采取了闭关锁国的政策，与此同时，造船技术和航海技术不断发展，海上交通代之而起，使丝绸之路贸易全面走向衰落。

After the mid-Ming Dynasty, the government adopted a policy of shutting down the country. At the same time, shipbuilding technology and navigation technology continued to develop, and maritime traffic took its place, causing the Silk Road trade to decline in an all-round way.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)

2.郑和，这位航海史上的先驱，以智慧为舵，扬起和平的风帆，缔造了世界航海业发展的里程碑，厚植了“一带一路”的文化底色与民心基石，书写了中国同其他国家友好交往的千古佳话。

Zheng He, a pioneer in the history of navigation, took wisdom as the rudder and raised the sail of peace. He created a milestone in the development of the world’s navigation industry. An eternal story of friendly exchanges between countries.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)

3.利玛窦向中国社会传播了西方的几何学、地理学知识以及人文主义的观点，开了晚明士大夫学习西学的风气。

Matteo Ricci spread Western geometry, geography knowledge, and humanistic views to Chinese society, and developed the ethos of scholar-officials in the late Ming Dynasty to learn Western studies.--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 10:12, 27 December 2020 (UTC)

==Yang Hui 阳慧==

==Yang Yue 杨悦==
1、丝绸之路经过亚洲、中东、北非和欧洲。几个世纪以来，丝绸之路是东西方交流的最重要的线路。尽管名字叫丝绸之路，人们进行贸易的商品却不仅仅是丝绸。玄奘和马可·波罗都留下了他们丝绸之路之旅的详尽记录。

The Silk Road went through Asia, the Middle East, North Africa and Europe. For centuries, the Silk Road was the most important line of communication connecting East and West. Although it's called the Silk Road, people traded much more than silk. Both Xuan Zang and Marco Polo left detailed records of their journeys along the Silk Road.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)

2、郑和（1317-1435）是中国最有名的探险家之一。1405至1433年间，郑和完成了七次著名的航行。他游览了亚洲和非洲的许多国家。郑和还从他游览的国家带回来很多礼物，像药品，珍珠和珍禽异兽。

Zheng He (1371-1435) was one of China's most famous explorers. Zheng He completed seven famous voyages between 1405 and 1433. He visited many countries in Asia and Africa. Zheng He also brought back many gifts from the countries he visited, such as medicines, pearls and strange animals.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)

3、在西学东渐大潮中兴起的近代报刊改变了传统的审美机制，使美学从内容到形式都发生了根本性的变化，从而促成了中国美学的现代转型。

The rising modern press deeply transformed the traditional aesthetic mechanism from the content to the form. Then the modern press has facilitated the modern reforms of Chinese esthetics.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)

4、洋务运动是部分先进的中国人探索中国近代化的过程。太平天国运动加速了中国近代历史的进程，推动了洋务运动的勃兴。洋务运动的历史作用不仅仅表现在经济上，其对中国近代思想启蒙的影响也是巨大的。

Westernization Movement is the process in which some Chinese with advanced knowledge explore how to modernize China. The Taiping movement accelerated the progress of China's modern history and promoted the Westernization movement. The effect of Westernization Movement in history is not only on economy but also greatly on contemporary ideological enlightenment in China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 06:05, 27 December 2020 (UTC)

==Yang Ziling 杨子泠==

==Yi Zichu 义子楚==

==You Yuting 游雨婷==

1.张骞出使西域本为贯彻汉武帝联合大月氏抗击匈奴之战略意图，但出使西域后汉夷文化交往频繁，中原文明通过"丝绸之路"迅速向四周传播。

Zhang Qian's mission to the Western regions was to implement the strategic intention of emperor Wudi of the Han Dynasty to unite with the Yuezhi clan to fight against the Xiongnu. However, after his mission to the Western regions, there were frequent cultural exchanges between the Han and The Barbarians, and the civilization of the Central Plains rapidly spread around through the "Silk Road".

2.海上丝绸之路自秦汉时期开通以来，一直是沟通东西方经济文化交流的重要桥梁，而东南亚地区自古就是海上丝绸之路的重要枢纽和组成部分。

Since its opening in the Qin and Han Dynasties, the Maritime Silk Road has been a significant bridge for economic and cultural exchanges between the East and the West, and Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.

3.西学东渐所造成中国思想文化的影响和变化之大，在中国历史上只有百家争鸣可以与之媲美。

The influence and change of Chinese ideology and culture brought by the eastward dissemination of Western learning can only be matched by the contention of a hundred schools of thought in Chinese history.

4.洋务运动推动了近代中国生产力的发展，促使了中国民族资本主义的产生。

Westernization movement advanced the development of productive forces in modern China and the emergence of Chinese national capitalism.--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 12:47, 26 December 2020 (UTC)

1.Zhang Qian's mission to the Western regions was originally to implement the strategic intention of emperor Wudi of the Han Dynasty to unite with the Yuezhi clan to fight against the Xiongnu. However, after his mission to the Western regions, there were frequent cultural exchanges between the Han and the Barbarians, and the civilization of the Central Plains rapidly spread around through the "Silk Road".--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)

2.Since the opening of the Maritime Silk Road in Qin and Han Dynasties, it has been a significant bridge for economic and cultural exchanges between the East and the West, and Southeast Asia has been an important hub and part of the Maritime Silk Road since ancient times.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)

3.In Chinese history, only contention of a hundred schools of thought can match the great influence and change of Chinese ideology and culture caused by the the eastward spreading of western learning.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)

4.The Westernization Movement promoted the development of productive forces in modern China and the emergence of Chinese national capitalism.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 15:09, 26 December 2020 (UTC)

==Yu Ni 余妮==

==Yuan Tianyi 袁天翼==

唐代丝绸之路的畅通繁荣，也进一步促进了东西方思想文化交流，对以后相互的社会和民族意识形态发展，产生了很多积极、深远的影响。

The smooth and prosperous development of the Silk Road in the Tang Dynasty also further accelerated the ideological and cultural exchanges between the East and the West, causing a lot of positive and far-reaching influences on the development of mutual social and national ideologies in the future.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)

宋代海上丝绸之路的持续发展，大大增加了朝廷和港市的财政深收入，一定程度上促进了经济发展和城市化生活，也为中外文化交流提供了便利条件。

The continuous development of the Maritime Silk Road in the Song Dynasty greatly increased the deep financial income of the imperial court and the port city, promoted the economic development and urban life to a certain extent, and also provided convenient conditions for the cultural exchanges between China and foreign countries.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)

西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展，

The eastward spread of Western learning brought various new academic achievements of modern Western learning into China, which deeply influenced the development of various academic disciplines. Under such an influence, many disciplines that were not valued or even did not exist in traditional China also developed.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)

甲午中日战争中，北洋海军全军覆没，标志着清朝海军实力的完全丧失，也标志着35年的洋务运动宣告破产。

The total annihilation of the Beiyang Navy in the Sino-Japanese War marked the complete loss of naval power in the Qing Dynasty and the bankruptcy of the 35-year-old Westernization Movement.--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:00, 24 December 2020 (UTC)

==Zeng Liang 曾良==

==Zeng Xinyuan 曾心媛==

==Zhang Hui 张慧==

==Zhang Ling 张玲==

1. 丝绸之路全长约7000公里，经由这条线路所进行的贸易中，中国的丝绸最具代表性，因此得名“丝绸之路”。

The total length of the silk road is about 7000 km. Among the trade carried out along this route, China's silk is the most representative, so it is named the "Silk Road". --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)

2. 在中国，作为国家的政治任务，郑和下西洋对于中国的经济的刺激作用微乎其微。而在西方，东方的商品和航海贸易的利润直接加速了资本主义的原始积累。

In China, as a national political task, Zheng He's Voyages had little stimulating effect on China's economy. However, in the west, the profits from the eastern commodity and maritime trade directly accelerated the primitive accumulation of capitalism. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)

3. 甲午战争以后，许多有识之士开始更积极全面地向西方学习，出现了梁启超、康有为、谭嗣同等一批思想家。他们向西方学习大量的自然科学和社会科学的知识，政治上也要求改革。这一时期大量的西方知识传入中国，影响非常广泛。

After the Sino-Japanese War of 1894-1895, many people with breadth of vision began to learn from the West more actively and comprehensively, and a group of thinkers such as Liang Qichao, Kang Youwei and Tan Sitong appeared. They learned a lot from the West about natural science and social science, and demanded political reform. During this period, a large amount of Western knowledge was introduced into China, and its influence was very extensive. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)

4. 洋务运动前期，洋务派以“自强”为旗号，采用西方先进生产技术，创办了一批近代军事工业。

In the early stage of Westernization Movement, the School of Westernization established a number of modern military industries under the banner of "self-improvement" and adopting advanced western production technology. --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:56, 27 December 2020 (UTC)

==Zhang Peiwen 张佩闻==

==Zhang Weihong 张维虹==

==Zhang Yinliu 张银柳==

==Zhang Yu 张瑜==
1.通过张骞的外交实践，构建了汉朝与西方国家友好交往的桥梁，促进了东西方文化、经济的交流和发展，为中国汉代昌盛和后世的对外开放奠定了坚实的基础。

Through Zhang Qian's diplomatic practice, he built a bridge of friendly relations between the Han Dynasty and the West, promoting cultural and economic exchanges and development between the East and the West, and laying a solid foundation for the prosperity of the Han Dynasty and the opening up of China to the outside world in later generations.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)

2.郑和下西洋折射出的中国先进航海科技光辉，表现了中国古代人的伟大智慧，从而创造了郑和下西洋的伟大航程。

Zheng He's voyage to the West reflected the glory of China's advanced navigation technology and demonstrated the great wisdom of ancient Chinese people, thus creating the great voyage of Zheng He to the West.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)

3.西学东渐，是指从明朝末年到近代的西方学术思想向中国传播的历史过程。

The Eastward Spread of Western learning refers to the historical process of the spread of Western academic thoughts to China from the end of the Ming Dynasty to modern times.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)

4.甲午中日战争中，北洋海军全军覆没，标志着清朝海军实力的完全丧失，也标志着35年的洋务运动宣告破产。

In the Sino-Japanese War of the First Sino-Japanese War, the Beiyang Navy was wiped out, marking the complete loss of the Qing Dynasty's naval power and the bankruptcy of the 35-year Westernization Movement.--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:33, 25 December 2020 (UTC)

==Zhang Yujie 张毓婕==

==Zhang Yuxing 张宇星==

1. 张骞出使西域本为贯彻汉武帝联合大月氏抗击匈奴之战略意图，但出使西域后汉夷文化交往频繁，中原文明通过“丝绸之路”迅速向四周传播。

Zhang Wei out of the Western Region to carry out the Han Wu Emperor United Moon's strategic intention to fight against the Hunnu, but out of the Western Region after the Hanyi cultural exchanges frequent, the Central Plains civilization through the "Silk Road" spread rapidly around.

2. 郑和下西洋是中国古代规模最大、船只和海员最多、时间最久的海上航行，也是15世纪末欧洲的地理大发现的航行以前世界历史上规模最大的一系列海上探险。

Zheng He's Voyage to the West Was the largest, largest and longest maritime voyage in ancient China, and the largest series of maritime expeditions in the history of the world before the great geographical discovery of Europe at the end of the 15th century.

3. 在明末清初的一波西学东渐中，传教士扮演著相当重要的角色，当时主要以天主教耶稣会为主的传教士们（较晚亦有方济各会、多明我会等的教士），在试图将天主教传入中国的同时，引介了西方的科技学术思想，译著了大量的西方学术相关书籍。

Missionaries played a very important role in a wave of Western studies in the late Ming and early Qing years, when the missionaries, mainly Catholic Jesuits (later franciscans, polyseigns, etc.), introduced Western scientific and technological academic ideas and translated a large number of Western academic books while trying to introduce Catholicism to China.

4. 甲午战争的结果给中华民族带来空前严重的民族危机，大大加深了中国社会半殖民地化的程度；另一方面则使日本国力更为强大，为其跻身列强奠定了重要基础。

The result of the Sino-Japanese War brought unprecedented serious national crisis to the Chinese nation, which greatly deepened the degree of semi-colonization of Chinese society, and on the other hand, made Japan stronger and laid an important foundation for its ranks among the great power.--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:22, 26 December 2020 (UTC)

==Zhao Xi 赵茜==
1.“丝绸之路”是指起始于古代中国，连接亚洲、非洲和欧洲的古代陆上商业贸易路线。

Silk Road refers to the ancient land trade route which started in the ancient China and connected Asia, Africa and Europe.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)

2.“海上丝绸之路”是古代中国与外国交通贸易和文化交往的海上通道，该路主要以南海为中心，所以又称南海丝绸之路。

Maritime Silk Road is the sea-lane by through which ancient China traded and did cultural exchanges with other countries. This Silk Road is mainly centered with the South China Sea, thus is called the South China Sea Silk Road as well. --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)

3.西学东渐，是指从明朝末年到近代的西方学术思想向中国传播的历史过程。

Eastward Spread of Western Learning refers to the historic process of the spread of western academic thought to China from the end of Ming Dynasty and the modern times.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)

4.洋务运动，又称自强运动。是19世纪60年代到90年代晚清洋务派所进行的一场引进西方军事装备、机器生产和科学技术以挽救清朝统治的自救运动。

Westernization Movement, also known as Self-strengthening Movement, is a self-helping movement carried out by the late Qing dynasty in the 1860s and 1990s to introduce Western military equipment, machine production and science and technology to save the Qing dynasty.--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:59, 27 December 2020 (UTC)

==Zhao Xiaoyan 赵晓燕==

==Zhou Yiwen 周艺文==

==Zhou Yuanqu 周园曲==

==Zhu Meimei 祝美梅==

==Zhu Xu 朱旭==
1.唐代丝绸之路的畅通繁荣，也进一步促进了东西方思想文化交流，对以后相互的社会和民族意识形态发展，产生了很多积极、深远的影响。

The prosperous Silk Road in the Tang dynasty also further promoted the exchange of thoughts and cultures between the east and the west, and had a lot of positive and far-reaching effects on the later development of both side’s social and national ideologies.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)

2.欧洲人相继进行全球性海上扩张活动，特别是地理大发现，开启了大航海时代，开辟了世界性海洋贸易新时代。西欧商人的海上扩张，改变了传统海上丝绸之路以和平贸易为基调的特性，商业活动常常伴随着战争硝烟和武装抢劫。

The European maritime expansion around the world, especially the discovery of the Age of Discovery, ushered in a new era of world trade in the oceans. The maritime expansion of western european merchants, often accompanied by war and armed robbery, changed the traditional sea route of Silk Road of peaceful trade.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)

3.西学东渐将西方近代各种学术上的新成果带入了中国，深深影响到各种学术的发展，而许多在传统中国不被重视甚至不存在的学科也在此影响下得到发展,但许多传统的学术受到西学的冲击。

The Eastward Spread of Western Learning brought to China various new academic achievements in modern times, deeply affecting the development of various academic disciplines. Many subjects which were not valued or even did not exist in traditional China were also developed under this influence. On the contrary many traditional academies have been impacted by Western academies.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)

4.洋务运动是近代教育的开端。要开始洋务运动，兴办洋务就必须要有精通洋务的人才，但是中国传统的科举制教育却远远无法满足洋务运动对人才的需要。因此兴办新式学堂，派遣留学生，就成了洋务运动进行下去的一项重要的举措。

Westernization Movement was the beginning of modern education. In order to start the Westernization Movement, it is necessary to have people who are proficient in Westernization, but the traditional imperial examination system in China can not meet the needs of the Westernization Movement. Therefore, the establishment of new schools and the dispatch of foreign students has become an important initiative of the Westernization Movement.--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:03, 27 December 2020 (UTC)

==Zou Xinyu 邹鑫雨==

==Zubareva, Ekaterina==

History of Translation Studies 4

2020-12-21T13:41:35Z

Yang Hairong: /* 1.Major Language Differences between English and Chinese */

这里是《翻译学史》的书稿第四部分(Part 4)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。

学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。

*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].

=Theories=

==Passive and Hypotaxis- Chinese Culture and EC Translation 杨海容 Yang Hairong, 202070080616，MTI 英语笔译==

<center>杨海容 Yang Hairong, 202070080616 </center>

===Abstract===

Under the background of the language differences between Chinese and English and the cultural background of English hypothesis and Chinese parataxis, this thesis discusses how to solve the problem of the translation of English passive voice.
It is divided into five parts. The first part of the thesis is about major language differences between English and Chinese; the second part of the thesis is about passive sentences; the third part of the thesis is about parataxis and hypotaxis; the fourth part is about EC translation methods of passive voice and the fifth part is conclusion. In the context of Chinese language and culture, translators can use functional equivalence as a guide to translate English passive sentences through the following translation methods: one could translate English passive voice into Chinese passive Sentences, Chinese Active sentences, Chinese Judgment sentences and Chinese sentences without subjects.

===Key Words===

parataxis, hypotaxis, passive voice

===题目===

被动与形合——以中国文化和英汉翻译为视角

===摘要===

本文在中英语言文化差异的背景和英文形合与中文意合的文化的背景下，讨论如何解决英文被动语态的翻译问题。
本文分为五个部分。第一部分是关于英语和汉语之间主要语言的差异。论文的第二部分关于被动语态。论文的第三部分关于形合与意合。第四部分是英译汉中被动语态的翻译方法。第五部分是结论。在汉语文化的语境中，翻译者可以以功能对等为指导，通过以下翻译方法来解决英语被动语态问题：可以将英语被动语态翻译为汉语被动句、汉语主动句、汉语判断句和汉语无主语句式。

===关键词===

意合，形合，被动语态

===1.Major Language Differences between English and Chinese===

English emphasizes on structure, while Chinese emphasizes on semantics. The famous Chinese linguist Wang Li once said: "In terms of sentence structure, Western languages are grammatically restricted, while Chinese languages are dominated by people." (Wang li, 1984) For example:

SL Text 1: This will be particularly true since energy pinch will make it difficult to continue agriculture in the high-energy American fashion that makes it possible to combine few farmers with high yields.

TL Text 1: 这种困境将是确定无疑的，因为能源的匮乏，高能量消耗这种美国耕种方式将很难在农业中继续下去，而这种耕种方式使投入少数农民就可获得高产成为可能。

SL Text 1: The main structure of the sentence “This will be particularly true... since” leads the adverbial clause of reason. In this clause, an attributive clause guided by the relative pronoun that is embedded to modify "the high-energy American fashion". In the attributive clause, “that” is the subject, “makes” is the predicate, and “it” is the formal object. The infinitive phrase "to combine few farmers with high yields" is the real object.

SL Text 2: These new observational capabilities would result in simply a mass of details were it not for the fact that theoretical understanding has reached the stage at which it is becoming possible to indicate the kind of measurements required for reliable weather forecasting.

TL Text 2: 理论上的认识已达到了这样一个阶段，即现在已能指出需要哪种测量方式才能可靠地预报天气。如果做不到这一点，那么上述这些新的观察能力只不过提供了一大堆细节而已。

The frame of this sentence is "These new observational capabilities would result in simply a mass of details...". It is followed by the conditional sentence "were it not for the fact that..." that is, "if it were not for the fact that...;" “that” clause is used as an apposition clause of “the fact”. An attributive clause is embedded in this clause to modify its antecedent “the stage”; "required for reliable weather forecasting" is a past participle phrase that modifies “the kind of measurements". (Wang li, 1984)

English prefers long sentences, while Chinese prefers short sentences. English is a language emphasizes on structure and ruled by grammar. As long as there are no structural errors, many meanings can often be expressed in a long sentence, while Chinese is totally different in this aspect. Because it is ruled by human, the semantics are directly expressed through words, and different meanings are often expressed through different short sentences. It is for this reason that almost 100% of the English-Chinese translation test questions are long and complex sentences, and the translation into Chinese often becomes many short sentences and vice versa. (Cheng Hongzhen, 2003)

English often uses clauses, but Chinese often uses short sentences. English sentences can not only use very long modifiers in simple sentences to make the sentence longer, but also use clauses to make the sentence more complex. These clauses are often connected to the main sentence or other clauses through the clause guide. It looks intricate but it is a whole. Chinese originally like to use short sentences, and the expression structure is relatively loose. When translated into Chinese, the clauses in English sentences often become some clauses. (Duan Manfu, 2006)

Among nouns such as subject and object, English often uses more pronouns, and Chinese uses more nouns. Moreover, in sentences, nouns and prepositions are more used in English, while verbs are more used in Chinese. English not only has personal pronouns, such as "we", "you", "he", "they", but also relative pronouns, such as "that" and "which". In long and complex sentences, in order to make the sentence structure correct and clear, and to avoid repetition in expression, many pronouns are often used in English. Although Chinese also has pronouns, due to its relatively loose structure and relatively short sentences, too many pronouns cannot be used in Chinese. The use of nouns often makes the semantics clearer.(Xu Jianping, 2003)

English often uses passive sentences, while Chinese uses more active sentences. English prefers to use the passive voice, especially in scientific texts. Although there are words such as ''bei'' (被) and ''you'' (由) in Chinese that indicate that the action is passive, this expression is far less common than the passive voice in English. Therefore, the passive voice in English often becomes active in Chinese translation.(Ni Wei, Shao Zhihong, 2004)

English often uses variable words and sentence patterns, while Chinese uses repeated words. When English expresses the same meaning, the way of expression is often changed. For example, the first time you may use "I think", and then the second time if you use "I think" again, it is obviously monotonous and repetitive in English. So it should be replaced by expressions like "I believe" or "I imagine". In contrast, Chinese has less requirements for transformable expressions than English. Many transformable expressions in English can be translated into repetitive expressions in Chinese. (Wang Jiayi, 2011)

English language mostly uses abstract concepts, while Chinese uses more concrete concepts. The main reason why it is difficult to translate English to Chinese lies in its complex structure and abstract expression. By analyzing the structure of sentences, long English sentences are transformed into Chinese short sentences, and English clauses are transformed into short sentences in Chinese. In this way, structural problems are often solved. To express abstraction requires the translator to understand the meaning of the original text, the deep meaning of the sentence, and express it in specific Chinese. (Xu Shihong, 2006)

===2.Passive Sentences===

====2.1 The Usage and Reasons of Passive Sentences in English and Chinese====

The structural forms of the predicate and non-predicate of English passive sentences are relatively simple. The predicate of the passive sentence changes with the change of English tense, but its basic structural form is only "be" + "past participle". The complication of the explicit form and structure of the passive voice in Chinese is mainly due to the large number of prepositions in the guiding agent's subject and many changes. (Kui Xueyan, Wang lei, 2001)

There are a total of four prepositional vocabulary signs in the passive voice of modern Chinese, namely ''bei'' (被) , ''jiao'' (叫) , ''rang'' (让) and ''gei'' (给) . Almost every word has a basic form and an ellipsis of non-finite subject .''Bei'' in Chinese can be replaced with ''jiao'', ''gei'' and ''rang''. ''Gei'' is a collocation word used with ''bei'', and is no longer a preposition to guide the agent. In ancient Chinese, the most commonly used prepositions are ''jian'' (见) and ''yu'' (于) . (Kui Xueyan, Wang lei, 2001)

English has two voices: active voice and passive voice. The passive voice is generally used in the cases where there is no need to mention the perpetrator, unwilling to mention the perpetrator, unable to know the perpetrator, or in order to facilitate contextual cohesion. (Kui Xueyan, Wang lei, 2001)

The passive voice is more widely used in English texts for science and technology. According to the statistics of foreign linguists, at least one-third of the finite verbs in English science and engineering textbooks use the passive voice. The reasons for the large use of passive voice in scientific English are following: First of all, Scientific and technological works focus on objective facts, and the passive voice has less subjective color than the active voice; Second, the passive structure highlights the main argument, explains the object, and is eye-catching; Last but not least, in many cases the passive structure is shorter than the active structure. In fact, there are many situations in which the formal English styles, including technical styles, use passive voice in writing. (Kui Xueyan, Wang lei, 2001)

Passive sentences are rarely used in Chinese. Because the passive words in Chinese are often used in conjunction with verbs that have an adverse effect on the action recipient. The other reason is that many sentences with passive meaning can be expressed in active form. In modern Chinese, the passive type is much narrower than the active type, and its special tasks cannot be replaced by the active type. Passive narratives are usually undesirable or negative things, such as being deceived, harmed, or causing unfavorable results. For the passive sentences used in formal English writing, Chinese often uses the form of no subject sentence to express its objectivity. (Kui Xueyan, Wang lei, 2001)

Therefore, the number of passive sentences in Chinese is far less than in English. However, because of the influence of foreign words, the use of passive sentences in Chinese tends to increase, not only expressing unsatisfactory or undesirable things, many expressions of wish or hope can become passive sentences. (Kui Xueyan, Wang lei, 2001)

====2.2 Various Forms of Passive Meaning in English====

(1)Passive voice

It usually uses the passive voice to express the passive meaning in English. Generally speaking, it is composed of "be + past participle", and it can also be composed of "get /become+ past participle". (Kui Xueyan, Wang lei, 2001)

Passive voice formed by "be+ past participle". As mentioned above, this passive voice is generally used in the situations where there is no need to mention the agent, who is unwilling to mention the agent, cannot know the agent, or to facilitate contextual cohesion, etc. (Kui Xueyan, Wang lei, 2001)

Then, passive voice formed by "get /become+ past participle". The usage of “get and become” as auxiliary verbs in the passive voice, comprehensively speaking, there are the following points: First, the passive voice formed by "get /become+ past participle". It generally refers to the result of the action rather than the action itself, and often contains meanings such as the final, sudden occurrence, and unexpected encounter. For example: (a) She get caught in the storm. (b) He got hurt in the head. (c) Jack and Jane got married finally. (Kui Xueyan, Wang lei, 2001)

Secondly, the passive voice composed by "get /become+ past participle" can express the "gradual change" of the state and emphasize the action process. For example: (d)This water got /became mixed with these solids. (Kui Xueyan, Wang lei, 2001)

Thirdly, the passive voice sentence formed by "get + past participle" does not use the word “by” to express the agent. For example: (e) The company’s core competition was told by this manager. (Kui Xueyan, Wang lei, 2001)

Fourthly, the passive voice sentence composed of "get /become + past participle" is generally not suitable for the following structures: double object, "verb + noun + preposition" structure, subject clause structure and structure with sensory verbs. For example: (f) He taught us Chinese cultures in this semester. (g) We were taught Chinese cultures in this semester. (Kui Xueyan, Wang lei, 2001)

Fifthly, the active form expresses the passive meaning. Some verbs in English are formally active, but they actually express passive meaning. (Kui Xueyan, Wang lei, 2001)

(2)The active form expresses the passive meaning

Some verbs in English are active in form, but they actually express passive meaning. A Chinese translator, Lin Yutang, called this situation "False Active Sentences".(Tang Guoping, Li Fei, 2003)

====2.3 Comparison of Passive Meaning in English and Chinese====

(1)"be+ past participle" English form and corresponding Chinese forms: (a)It is equivalent to a passive sentence with formal signs in Chinese. (b)It is equivalent to the active sentence with passive meaning in Chinese. (c)It is equivalent to the subjectless sentence in Chinese, especially the passive voice of the formal style in English often corresponds to the sentence without subject in Chinese. (d)It is equivalent to the active sentence in Chinese. (Tang Fenfen, 2012)

(2)The English "get /become+ past participle" form and the corresponding Chinese forms: (e)They are often equivalent to passive sentences with formal signs in Chinese. (f)Sometimes it is equal to the active sentence in Chinese. (Tang Fenfen, 2012)

(3)English active sentences with passive meanings and corresponding Chinese forms: (g)Basically they are equivalent to Chinese active sentences with passive meaning. (h)The present continuous tense in the active voice with passive meaning can also be equivalent to the subjectless sentence in Chinese. (i)The active form of some prepositional phrases and be combined with passive meaning is often equivalent to the passive sentence with formal signs in Chinese. (Tang Fenfen, 2012)

====2.4 The Passive Implicit of English Lexical Means====

The main means of expressing passivity in English is the passive voice of verbs. (a) The following nouns in English imply passivity: one’s assassination, one’s promotion, one’s discharge, one’s conviction, one’s nomination and so on. (b) Prepositional phrases can also be used to express passive states: at a discount, on penalty, on the shelf, in the custody of, in the pay of, under the influence of, under the attack of, under criticism, under constrain and so on. (c) Many adjective phrases can also be used to express passiveness, such as: be welcome, be beneficiary, be accused of...by, be subject to, be deprived of and so on. From this point of view, in English, it is a syntactic means to express the passive voice by means of verb morphological changes. In inter-language conversion, we must also choose the most suitable way to express. It is not necessary to express the passive meaning in a sentence with a passive verb. (Liu Miqing, 2006)

The passive voice of English is only a grammatical category and has no modal expression function. The active and passive voices of English are generally the same in the deep sense, so there is a conversion relationship between them. After conversion, the semantics of the two are equivalent. For example: (d)People considered him too conservative. (e)He was considered too conservative. Of course, the conversion between active and passive sentences in English is not unlimited. There are many verbs that cannot be converted from active to passive, such as last, lack, become, ensue, suit, recur, happen and so on. This is a question of customary rules and logic. But one thing is certain, after the English active sentence is converted into a passive sentence, there is no meaning added. (Liu Miqing, 2006)

However, the passive voice of Chinese has obvious negative modality. More and more passive sentences are used in modern Chinese, and some positive colors have also appeared. Unfortunately, the unfortunate modality of the passive voice has always been dominant. Therefore, under the background that Chinese uses less passive voice, the process of Chinese-English translation can appropriately and intentionally express more English sentences in passive sentence patterns or express passive meaning. (Liu Miqing, 2006)

====2.5 Pragmatic Analysis of English Passive Voice====

As for the English passive voice, its pragmatic analysis can be conducted from the following aspects. The establishment of a topic requires the use of the passive voice. The topic is the part of the sentence that indicates someone, something, or a concept, and it is also the object and starting point of the sentence statement. The use of the passive voice has a certain impact on the text structure and the development of the topic. It can make the topic more focused and clear, and it can better predict the development direction of the topic. Topics established by the passive voice are more focused and clearer than those established by the active voice, and can better predict their development direction. (Liu Mingdong, 2001)

The coherence of the text requires the use of passive voice. Coherence refers to the semantic connection between sentences in a text. It is a language system and a basic feature of a text. It is not only related to the topic, but also related to the organization of information, which constitutes a part of the textual component of the semantic system. Discourse does not jump from one topic to another in a disorderly manner, but always develops rationally with a certain topic coherence and the possibility of topic development. Therefore, it is necessary to use the passive voice to ensure that the topic unfolds smoothly and naturally. (Liu Mingdong, 2001)

The politeness principle requires the use of the passive voice. Politeness is a symbol of human civilization and an important criterion for human social activities. As a social activity, language activities are also restricted by this standard. The principle of politeness maintains the equal status of both parties in conversation and the friendly relationship between them. Only under this major premise can people communicate. The specific principles of politeness include: strategy guidelines, magnanimity guidelines, modesty guidelines, approval guidelines and sympathy guidelines. The passive voice is sometimes used to follow the principle of politeness. (Liu Mingdong, 2001)

The balance of sentence structure requires the use of passive voice.English sentences mostly appear in the structure of "S +V +O", often the subject part (S) is shorter, and the predicate part (V +O) is longer. Sometimes the passive voice is used to avoid top-heavy sentence structures (he actor with a longer modifier). The objectivity of expression requires the use of passive voice. Expression is divided into two categories: subjectivity and objectivity. Sometimes subjective expressions are in line with the context and are easy to be accepted, but in some specific contexts, especially in English texts for science and technology, objective expressions are very important, because the subject of English texts for science and technology is often an objective thing, phenomenon or process, so using the passive voice at this time is not only more objective, but also allows the reader's attention to focus on the things, phenomena or processes described. (Liu Mingdong, 2001)

The objectivity of expression requires the use of passive voice. Expression is divided into subjectivity and objectivity. Sometimes subjective expressions are in line with the context and are easily accepted, but in some specific contexts, especially in English texts for science and technology, objective expressions are very important, because the subject of English texts for science and technology is often an objective thing, phenomenon or process, so using the passive voice at this time is not only more objective, but also allows the reader's attention to focus on the things, phenomena or processes described. (Liu Mingdong, 2001)
===3.Parataxis and Hypotaxis===

====3.1 English and Chinese Sentence Characteristics====

As it takes form first, English uses form to drive its meaning. Although sentences are ever-changing and many of them have special forms of expression, no matter how they change, no matter how special and complex the formal structure of the sentence is, it is composed of a few basic sentences with subject-predicate structure as the core. In terms of sentence composition, English sentence patterns are divided into several basic types. On this basis, they use various types of words, phrases, clauses and other language entities to expand. (Li Jingmin, 2012)

In terms of sentence types, English sentences expanded on the basis of basic sentence patterns are divided into several basic types according to their structural characteristics, such as simple sentences and compound sentences. Although their internal structures are also flexible and diverse, the formal structure regulations are also very rigorous, and they still cannot break away from the basic framework centered on the subject-predicate structure. (Li Jingmin, 2012)

This is just like what people often say, English sentences are like trees, which have various poses, but they never leave their origins. The main stem is connected to the branches, and the branches are connected with leaves and flowers. In contrast to the rigorous internal structure of the sentence, English speakers have less constraints on the specific language entity that carries a certain information. (Li Jingmin, 2012)

Under the premise of complying with the common language conventions, English users will arrange the information they intend to convey to this sentence or a certain language entity in the sentence group according to the specific needs of sentence construction and their respective writing characteristics and preferences. Under normal circumstances, people do not care what kind of language entity should carry a certain layer of information. The logical relationship between the information carried by these language entities does not necessarily depend on their grammatical functions, but can be determined by people. (Li Jingmin, 2012)

In addition, when arranging information-bearing language entities, English users are often not limited to a single sentence, and may extend beyond the sentence or even a sentence group. However, their first consideration is still allowed in the formal structure specification. The convenience of making sentences within the scope is the diversification of language expression. (Li Jingmin, 2012)

Therefore, the so-called English takes form first, and form controls meaning. Simply put, as long as you observe the premise that the subject-predicate structure is the core of the formal structure convention, and don't try to jump out of the palm of the Buddha, you can cross the sea and show their magical powers. This is a mode of information transmission in which English construction conventions and communication methods are organically unified, which embodies the basic characteristics of the information transmission mechanism oriented to the formal structure, that is, the actual meaning of the so-called English duplication. (Li Jingmin, 2012)

Chinese, on the other hand, focuses on meaning, which is not constrained by the subject-predicate structure like English does. Instead, according to the thinking habits of Chinese users, the information to be transmitted is laid out in the order of logical affair, forming one by one each carrying specific information. The information sections constructed by two language entities are connected by semantic logic as a link to form an information chain. Form and structure of Chinese are far more important than the emphasis on English with the subject-predicate structure as the core formal structure is much more complicated. (Li Jingmin, 2012)

====3.2 Definition and Connotation of Parataxis and Hypotaxis====

Wang Li (1984: 310) put forward the two concepts of parataxis and hypotaxis and he said, "In Chinese, the meaning is legal, and the connection component is not necessary; in the West, the form is legal and the connection component is in most cases The next is indispensable". Later, many other scholars also elaborated on this concept and its meaning. Lian Shuneng (1993: 48) pointed out that “the so-called hypothesis refers to the connection of words or clauses in a sentence by means of linguistic forms to express grammatical meaning and logical relations. The so-called parataxis refers to Words do not need to be connected by linguistic formal means. The grammatical meaning and logical relationship in the sentence are expressed through the meaning of words or clauses. " (Xu Jun, 2006)

According to our understanding, there must be differences in the form of expression when using different language expressions to express the same communication content. English is different from Chinese. English uses conjunctive elements (such as conjunctions and logical connection elements) to express more and more obvious semantic relationships than Chinese. Foreign scholars have also noticed these differences. For example, Nida (1982: 16) pointed out that the most important distinguishing feature between English and Chinese is no more than hypotaxis and parataxis. In a sense, hypotaxis and parataxis are not only reflected in the differences in the composition of Chinese and English texts, but also in the Chinese-English language context and way of thinking. (Xu Jun, 2006)

====3.3 Cultural Explanation of Parataxis and Hypotaxis====

From the perspective of cultural linguistics, the characteristics of Chinese emphasizing parataxis and English emphasizing hypothesis are not only a reflection of the differences in the expression patterns of the two languages, but also the embodiment of cultural differences between China and English. Therefore, the comparative analysis of parataxis between Chinese and English will naturally involve the differences between the two modes of thinking and their cultural background. (Li Jingmin, 2012)

The holistic and intuitive thinking habits of Chinese nation are expressed in language, which is the emphasis on parataxis of Chinese. On the whole, the holistic thinking habits of the Chinese people have a strong integration function. Therefore, although the Chinese sentence patterns formed by meaning and legally lack the vocabulary to express the grammatical relationship within the sentence, the Chinese people can quickly grasp them with the holistic thinking habits. Staying at the fulcrum of meaning, integrating the sentence with the peripheral semantic components in the context, and then supplementing the overall content of the sentence with experience, so as to understand the exact connotation of the sentence. (Li Jingmin, 2012)

Moreover, the Chinese people are very good at understanding the true meaning hidden in the words and between the lines, relying on the overall grasp of things. The famous Chinese scholar Professor Wang Li once said: "Western languages are hard and inflexible; Chinese grammar is soft and flexible. So Chinese grammar is mainly expressive." It can be seen that Chinese, which is legally constituted by the Chinese people, is characterized by emphasizing comprehension and implication, savoring illocutionary meanings, and even emphasizing subtlety and pursuing using parataxis to integrate the whole article. (Li Jingmin, 2012)

===4.EC Translation Methods of Passive Voice===

When translating the passive voice from English to Chinese, one should not blindly translate it literally, but can translate from the perspective of functional equivalence. Functional equivalence theory is the famous American linguist and translator-Eugene Nida proposed. In the 1980s, Eugene Nida published ''From One Language to Another'', in which he proposed functional equivalence, which is the core of Nida's theory. Functional equivalence means that in the process of translation, one-to-one correspondence between the text forms is not forced, but functional equivalence between the two languages should be achieved. It requires the translator to express the content and meaning of the original work, but also try to be equal in form, because some styles are also one of the content that the original author wants to express. (Liu Mingdong, 2001)

(1)Translate into Chinese Passive Sentences

In order to emphasize the action, or do not know the person who sent the action, or in a specific context, or in order to maintain the consistency of the subject clause, or to make the key point, English passive sentences can be translated into Chinese passive sentences. In addition to using the word ''bei''(被) in expression, you can also choose words such as ''zao''(遭), ''ai''(挨), ''gei''(给), ''shou''(受) and ''wei...suo'' (为……所) according to the needs of Chinese collocation. (Liu Mingdong, 2001) For example:

SL Text 1: I was touched by warmhearted stories during the pandemic.

TL Text 1: 我为疫情期间发生的感人故事所感动。

(2)Translate into Chinese Active Sentences

Since Chinese habitually uses active sentences, many passive sentences in English can be translated into active sentences in Chinese. When translating, it can be translated into a formally active and passive Chinese sentence, and it can also change the original predicate verb to translate it into a complete active sentence in Chinese, and it can also directly translate the passive voice of the original text into the active voice. (Liu Mingdong, 2001) For example:

SL Text 2: In all, at least 600 people have been declared dead and another 650 missing.

TL Text 2: 总计至少六百人已证实死亡，另有六百五十人失踪。

(3)Translate into Chinese Judgment Sentences

Those English passive sentences that focus on describing the process, nature and state of things are very similar to the table structure, so they can be translated into Chinese judgment sentences and expressed by the structure of Chinese judgment sentences. (Liu Mingdong, 2001) For example:

SL Text 3: Beauty cannot be measured by any absolute standard.

TL Text 3: 美是不可能用任何绝对标准来衡量的。

(4)Translate into Chinese Sentences without Subjects

Chinese emphasizes harmony and loose structure, while English emphasizes form and compact structure. Therefore, the most basic sentence structure in English is the subject-predicate structure. In other words, any English sentence pattern must have a subject,, but Chinese is often eclectic and does not require a subject. (Liu Mingdong, 2001) For example:

SL Text 4: The cost can not be met unless the region has ample food resources.

TL Text 4: 除非该地区具有丰富的食物资源，否则无法满足这种消耗。

In the completion of an action, there are usually actors and recipients. If you want to introduce the perpetrator in English passive sentences, you usually use "by" to elicit it. But it is not difficult to find that many English sentences do not lead to the perpetrator. Therefore, such sentences can be translated into Chinese without subject sentences. (Liu Mingdong, 2001)

===5.Conclusion===

As Wang Li once said: "In terms of sentence structure, Western languages are grammatically restricted, while Chinese languages are dominated by people." (Wang Li, 1984) Through combing the differences between English and Chinese in language expression, sentence structure, and passive voice, explaining the relationship between hypotaxis and parataxis, and using teleology as the guiding theory, the method of translating English passive voice is obtained and examples are given. In the context of Chinese language and culture, translators can use functional equivalence as a guide to translate English passive sentences through the following translation methods: one could translates English passive voice into Chinese passive sentences, Chinese active sentences, Chinese judgment sentences and Chinese sentences without subjects.

===6.Reference===

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Xu Jun徐珺. (2006). 汉英语篇意合与形合的文化阐释 [Cultural Explanation of Parataxis and Hypotaxis in Chinese and English Text]. 外语与外语教学 Foreign Languages and Their Teaching. (12) 26-29.

Li Jingmin 李靖民. (2012). 英汉语形合和意合研究中的几个问题 [Several Issues in the Study of Hypotaxis and Parataxis in English and Chinese]. 外语研究 Foreign Languages Research. (02) 45-50+112.

Liu Mingdong刘明东. (2001). 英语被动语态的语用分析及其翻译 [Pragmatic Analysis and Translation of English Passive Voice]. 中国科技翻译Chinese Science & Technology Translators Journal. (01) 1-4.

Kui Xueyan, Wang lei 隗雪燕,王雷. (2012). 英语与汉语的被动含义 [Passive Meaning in English and Chinese]. 外语教学 Foreign Language Education. (05) 18-23.

Tang Fenfen汤芬芬. (2012). 英汉被动含义句式的对比及翻译 [Comparison and Translation of English and Chinese Sentences with Passive Meaning]. 海外英语 Overseas English. (21) 139-141.

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==On Metaphors - 游雨婷 You Yuting, 202070080619, 英语笔译==
<center>游雨婷 You Yuting, 202070080619 </center>
===Abstract===
Metaphor is not only a simple linguistic phenomenon, but also closely related to human thinking mode and cultural tradition. In English-Chinese metaphor translation, translators should analyze the psychological causes of metaphor and its hidden cultural information, and adopt corresponding translation strategies in order to accurately and vividly convey the basic information of the original language. If we ignore metaphor in English-Chinese translation, it will not only fail to achieve the translation effect, but also make readers confused or even misunderstood, resulting in an immeasurable consequence.

This thesis aims to discuss the development and issues of metaphor translation. Then, in comparison of the differences between Chinese and English in various aspects, the author aims to seek the most appropriate and effective metaphor translation strategies and skills, and lastly through the comparative analysis of metaphor translation in English versions of Tribute to White Poplar as an example from the perspectives of structural metaphor and ontological metaphor help translators to overcome translation obstacles resulted from metaphors. By truly integrating the language into the specific cultural context, one can help promote the quality of translation.

===Key words===
Metaphor cultural differences translation strategies different perspectives

===题目===
论隐喻

===摘要===
隐喻不只是一种简单的语言现象，它与人类的思维方式、文化传统紧密相连。在英汉隐喻翻译中，译者应分析隐喻产生的心理原因及其隐藏的文化信息，采取相应的翻译策略，以求准确而生动地传达原语言的基本信息。如果忽略英汉中的隐喻翻译问题，不仅达不到翻译效果，还会令读者费解甚至误解，造成无法估量的后果。

本文旨在从隐喻切入，讨论英汉隐喻翻译的发展及问题。其次通过从多个方面比较中英文的差异，从而寻求最合适有效的隐喻翻译策略和技巧，最后从结构隐喻和本体隐喻两个视角对《白杨礼赞》英译本的隐喻翻译进行比较分析，帮助翻译工作者克服由于隐喻带来的翻译障碍。真正将语言融入特定的文化语境，促进翻译质量的提高。

===关键词===
隐喻文化差异翻译策略不同视角

===1. Introduction===
Given the prospect of word economic integration, translation between two languages is in great need. Especially in English-Chinese metaphor translation, the original information could be wrongly transmitted or even lost. The reason for this is that metaphor translation is more a cultural conversion, rather than a simple language shift. So in this thesis, the author focuses on analysing the reasons and proposing strategies for metaphor translation and comparing metaphor translation of different English versions from the perspectives of structural metaphor and ontological metaphor. (Wang Bo 2016,115).

There will be three parts. The first chapter is to give a general picture of metaphor translation which involves its definition, development and reflections. In the second chapter, the author will discuss about the factors affecting metaphor translation, such as geographical and environmental conditions and so on. The third chapter is about strategies and skills to solve problems arose in metaphor translation, such as literal translation, and so on. The last chapter is to make a comparative analysis of metaphor translation in English versions of Tribute to White Poplar as an example from the perspectives of structural metaphor and ontological metaphor. (Wang Bo 2016,115).

===2. The Overview of Metaphor===
A metaphor is a figurative rhetoric, the use of one thing to denote another. It is the psychological behavior, linguistic behavior and cultural behavior of perceiving, experiencing, imagining, understanding and talking about such things under the suggestion of other kinds of things. (Shu Dingfang 2000,2).

===2.1 Definition of Metaphor===
In different periods of history, people have different definitions for metaphor. In ancient Greece, Aristotle named the rhetorical phenomenon metaphorical language, believing that it, like simile, is a contrast between different things and a phenomenon requiring the use of modification. (Shu Dingfang 2000,11).

In the early period of China, there was no specific concept of metaphor, only the Chinese words such as "譬", "比" that generally referred to figurative rhetoric appeared in the literature. (Hu Zhuanglin 2004,207), which showed that there was no clear concept of metaphor. At present, the study of metaphor exists in linguistics, pragmatics, semantics, cognitive psychology and other disciplines. American linguist Lakeoff and others hold that metaphor is not only a linguistic phenomenon, but fundamentally a cognitive one. (Shu Dingfang 2000,2).

Modern metaphor theory advocates that the essence of metaphor is a cognitive phenomenon, language is one of the main forms of metaphor, and metaphor in language has many forms. Understanding the definition of metaphor and distinguishing it from the concept of simile can help translators to deal with the problems in metaphor translation.(Shu Dingfang 2000,2).

Therefore, we should have a clear understanding of metaphor before discussing the metaphor translation skills. The comprehension of metaphor becomes a process of cognitive reasoning of language, understanding the pragmatic intention of the writer through association and inference.(Chen Yulian, Zhang Yingxian 2020,6).Poetry, especially the modern poetry, has a prominent feature in the collocation of words and sentences. Considerable imageries, which contains numerous metaphorical meanings, are existed in Chinese poetry, therefore, metaphor translation must be accurate, complete and expressive.(ZHANG Jie 2020,84).

===2.2 The Development of Metaphor Translation===
For a long time, how to realize the transformation of metaphor has been an important topic in the field of text translation. In 1918, for example, the western translators and translation theorist Peter Newmark paid great attention to metaphor translation, whose understanding of metaphor translation strategies are based on language form and the semantic equivalence, as well as the discussion of metaphor translation from rhetoric perspective. The criteria for the result of metaphor translation is determined by the rhetoric function usually from the form and semantic level.（Wang Bo 2016,115）.

Newmark believes that metaphor is a figure of speech. He regarded all the extended expression of meaning as metaphors and thought that all the words with multiple meanings were potential metaphors. The shift of the meaning of a metaphor or a specific word, or the personification of an abstract concept, or the use of some words or phrases, do not indicate their literal meaning; rather all imply another meaning. Metaphor can stand alone,which means we can use one word to achieve the rhetorical effect. Extendability refers to phrases, sentences, idioms, proverbs, fables, or even the whole part that can evoke the imagination.(Wang Bo 2016,115).

Based on the above views, he proposed several ways to guide metaphor translation: retaining the same metaphorical images, that is, literal translation, on the condition that it makes target language readers feel natural; turning into simile; replacing the metaphor with the equivalent metaphor in the target language; retaining the same metaphorical image and simpifying the similarity; conducting Interpretive translation. (Wang Bo 2016,115).

However, Maalej points out that there are two main drawbacks of such prescriptive methods: one is that translators do not know how to choose metaphor translation methods, for it is not clear which method should be chosen under what kid of circumstances; Secondly, the translation of metaphor cannot be carried out according to a set of abstract rules, and it must be dealt with according to the structure and function of a specific metaphor in a specific context.(Wang Bo 2016,116).

Compared with Nida, he sees metaphor as a figurative meaning of vocabulary, and it is equivalent in rhetorical function to idiomatic methods. Nida put forward the metaphor translation strategy earlier, that is, translating metaphor into metaphor; turning metaphor into simile; shifting non-metaphor into metaphor. These strategies are relatively general in concept and do not go far in discussion for many aspects of metaphor translation. While Newmark further pointed out that metaphor translation is the epitome of translation of all languages, because it gives translators' various choices: expressing practical meaning, reproducing image, or making appropriate modifications to achieve the perfect combination of meaning and image.(Wang Bo 2016,116).

As for Nida, he sees metaphor as a figurative meaning of vocabulary, and it is equivalent in rhetorical function to idiomatic methods. Nida put forward the metaphor translation strategy earlier, that is, translating metaphor into metaphor; turning metaphor into simile; shifting non-metaphor into metaphor. These strategies are relatively general in concept and do not go far in discussion for many aspects of metaphor translation. While Newmark further pointed out that metaphor translation is the epitome of translation of all languages, because it gives translators' various choices: expressing practical meaning, reproducing image, or making appropriate modifications to achieve the perfect combination of meaning and image.(Wang Bo 2016,116).

The metaphor translation emerged in the early period from Four Books and Five Classics and classic poetry.The problem is that metaphor translation is included in the translation of figurative rhetoric.We seldom take the metaphor as a kind of independent system with its own translation methods and strategies and its internal cause analysis. because of the particularity and complexity of Chinese language and characters, it’s hard to trace its translation results.(Wang Bo 2016,115).

===2.3 Reflections on Metaphor Translation Studies===
The research on metaphor translation in the past 50 years has made remarkable achievements both at home and abroad. Scholars have conducted detailed and in-depth studies on how to translate metaphor from multiple perspectives and disciplines. Through sorting out, we find that there are still some problems in the study of metaphor translation, and some aspects need to be strengthened. The following are some views on the study of metaphor translation:(Wang Bo 2016,116).

The first one is the center or the focus of the research on metaphor translation. The core of metaphor translation research should be "how to translate". In the study stage of rhetoric-oriented metaphor translation, although there are many thesis in China in terms of the strategies and methods of metaphor translation, great efforts have been made on "how to translate" and some significant progress have been made. In foreign countries, metaphors are considered untranslatable by scholars such as Nida and Dagut. So generally speaking, there are few research thesis in this field during this period.(Wang Bo 2016,116).

In the stage of cognition-oriented metaphor translation, foreign researches are relatively pragmatic. Most of them not only provide explanation for metaphor translation, but also put forward specific methods on how to translate metaphor. Making a comprehensive analysis of the research on metaphor translation in the cognition-oriented stage in China, it is not difficult to see that a great deal of space has been devoted to the interpretation of metaphor translation from different perspectives. There are many research thesis on this aspect, but relatively insufficient research thesis on how to translate metaphor.(Wang Bo 2016,116).

The second is the originality of research. Since the 1980s, there has been a linguistic shift from source language to target language center in translation studies. In this context, domestic scholars still can closely grasp the development of translation studies and study metaphor translation from the perspectives of linguistics and culture. Especially since the cognitive view of metaphor has become the mainstream paradigm of metaphor research. However, if we look at the obtained results, there are few achievements coming from self-creation. Thus, domestic research on metaphor translation lacks originality.(Wang Bo 2016,116).

The third is that blind spots exist in the research field. What are the criteria or standards for a good metaphor translation? At present, there is no unified and specific understanding, and few people have been dedicating themselves to this field of research. We can strengthen relevant research. For example, we can try to study the evaluation system of metaphor translation. It is also advisable to strengthen the research on the acceptability of translation metaphor readers and examine the effectiveness of Chinese culture transmission in English-speaking countries. Describing the translation methods adopted by Chinese translators when translating metaphors is also a feasible way. (Wang Bo 2016,116).

Overall, in research on metaphor translation, we see progress as well as shortcomings which are waiting to be coped with along the way we explore a wider space for metaphor translation.(Wang Bo 2016,116).

===3. Reasons for Metaphor Translation===
Metaphor is not just a simple linguistic phenomenon, but also is concerned with human thinking mode and cultural tradition. In English-Chinese metaphor translation, translators should analyze the reasons of metaphor translation and its hidden cultural information so as to accurately convey the general information of the original language.(Guo Huiqing 2013,122).

===3.1 Geographical and Environment Factors===
It’s clear that metaphor is closely associated with culture. And culture reflects the local conditions and is the representative of a region. With the extension of time, the local cultural characteristics shaped by geography and environment will become more distinct. It is called regional culture. It’s a symbol of specific ecology, folk customs, habits, and civilization. The regional culture bears the brand of the targeted region with uniqueness and stability for it integrated into the environment and formed something special. At the same time, people in different areas create various cultures. (Guo Huiqing 2013,122).

Regional culture exerts great influence on vocabulary, sentence patterns, as well as the way people use metaphor. Different regional cultures enable different nations to produce various cognitions toward the same thing. One may find it hard to exchange conversations with different groups of people, yet still see it as a beautiful regional feature. Because of their different life experiences, geographical locations, and political environments, English and Chinese nations are bound to boast their own national personalities, adding a strong national color into their languages. (Guo Huiqing 2013,122).

For example, the “east wind” in Chinese literature reminds people of the genial warmth, while “the west wind” goes the opposite way, recalling a taste of bitterness. People across the national boundary tend to make use of “east wind” and “west wind” to imply something else in their literary works yet with different or even totally opposite meanings. And that meaning gap in metaphor translation is caused by different features of geography and environment. Thus, translators should attach great attention to the geography and environment when they do metaphor translation.(Guo Huiqing 2013,123).

Each nation's unique natural environment and regional characteristics make its language contain typical national characteristics. China has been a major agricultural country since ancient times. In the long feudal society, people lived a self-sufficient life that men did farm work and women engage in spinning and weaving.(Guo Huiqing 2013,122).

Therefore, the famous proverbs of our people bear bright agricultural colors, for example: Fishing industry and navigation industry play an important role in boosting British economy. The life style of sailing and fishing has left a deep mark on English language, such as: when the ship comes home(好运来临); Ships that pass in the night(萍水相逢). Here, we use ship to imply opportunity, luck and people, instead of using its literal meaning. Therefore, attention must be paid to the regional differences, and treat metaphor translation in a right way. (Guo Huiqing 2013,122).

===3.2 Religious Belief Factors===
Westerners have a deeply rooted Christian tradition, while Chinese have long believed in Buddhism and Confucianism, which determines the difference between two languages in terms of metaphorical expression. For example, in Chinese, there are sayings like "Laying down the butcher’s knife to become the Buddha" (放下屠刀，立地成佛) and "Saving a life is better than building a seven-win Buddha"(救人一命胜造七级浮屠). In English, there are sayings such as "Every dog has his day and Every his hour", which reflects the equality doctrine of Christianity.(Guo Huiqing 2013,123).

Religious belief can be regarded as the universal cultural characteristics of all mankind. Religious culture constitutes an important part of the whole national culture, formed by religious consciousness and religious belief of a certain nation. The differences of religious culture reveal itself in respect of worships and taboos and languages are more or less affected by the religious differences.Most of the Westerners believe in Christianity; thus their language is closely linked to this religion. Thus, in English, some idioms are often related to Christianity, while in Chinese, some things connected to Buddhism are often borrowed for figurative rhetoric. (Guo Huiqing 2013,123).

For example, "as patient as Job", "as poor as Lazarus", "as rich as Croesus". The characters as “Job”, “Lazarus”, and “Croesus” in these idioms used as metaphors originate from the Bible. However, some Chinese idioms derive from Buddhism such as "not enough to go round"(粥少僧多). (Guo Huiqing 2013,123).

Confucianism, Taoism and Buddhism, these three religions prevailed in ancient China, and they still have a profound influence on the Chinese people now, therefore it’s no wonder that one can find many religious words such as “Buddha” and “Bodhisattva” “the Jade Emperor”, “Avalokitesvara”, in daily life. Then they gradually evolve into some typical phrases like “presenting Buddha with borrowed flowers,” “random acts of kindness”, “do not burn incense in spare time, but cram for the moment” and so on. (Guo Huiqing 2013,123).

And a majority of people in many western countries regard the Bible as their behavioral standard because of their belief in Christianity. One can find many English idioms from the Bible, such as “sell one’s birth right for a mess of pottage”, “God helps those who help themselves” and so on. The Bible as a classic work of Christianity has played an immeasurable role in the development of western language. (Guo Huiqing 2013,123).

Through a comparative analysis of Some Chinese idioms and English idioms derived from religions, historical stories, fairy tales or fables, it is not difficult to find that there are many cultures in both Chinese and English that share the same meaning though in different forms. For example, this English sentence “sow the wind and reap the whirlwind” can be expressed as “善有善报，恶有恶报” in Chinese. Both of them stress karmic retribution. (Guo Huiqing 2013,123).

Take the English phrase "to meet one's Waterloo" as an another example, it refers to this historical fact that Napoleon was defeated at The battle of Waterloo. In Chinese, there is a similar allusion, "败走麦城". Different historical allusions are quoted, but the meanings of the two expressions are identical. When using idiomatic expressions to carry out metaphorical meaning, we should pay special attention to the significance of the vehicle in English culture and the basic principle of its image transformation.(Guo Huiqing 2013,123).

In the metaphor translation practice, one should take the religious differences of different ethnic groups into consideration, lifting the mysterious veil of religion. At the same time, one should avoid imposing foreign religious culture and belief on other cultures, which would end up like a big or even absurd joke. Only based on the full understanding of different religious belief, can one successfully complete the metaphor transformation that is agreeable and acceptable to readers.(Xu Aihua 2019,64).

===3.3 Cultural Background Factors===
From the process of the generation of metaphor, we can know that metaphor is the creation of national psychology based on the similarity of things. This kind of national psychological creation contains rich cultural connotation, and different life customs and cultural background will inevitably lead to the difference of metaphor（Xu Aihua 2019,64）. Metaphors are frequently used to constitute strong emotional expressions within human communication. The sentiment of a metaphor is decided by many factors, including its context, target, cultural background, etc(.Chang Su, Junchao Li, Ying Peng, et al 2019,33).

Therefore, in the process of English-Chinese Metaphor Translation, cultural differences should be considered first. In the process of metaphor translation, one should not only be familiar with the culture of the source language, but also with the culture of the target language, so as to achieve the purpose of communication.（Chang Su, Junchao Li, Ying Peng, et al 2019,33）.

People tend to use idioms and simple words serving as metaphorical expressions to deliver imaginary effect in literary works. There are also cultural differences between Chinese idioms and English idioms that contain figurative rhetoric. The difference of cultural background between Chinese and Western countries determines the difference of metaphor in English and Chinese. For example, the Chinese expression “杀鸡取卵” can be spelled as "To kill the goose that lays golden eggs " in English, while the Chinese word for chicken turns into a goose. The corresponding Chinese idiom “雨后春笋” is turned into "spring up like a mushroom" in English. Translators should take cultural factors into account when doing metaphor translation.（Chang Su, Junchao Li, Ying Peng, et al 2019,33）.

Of course, this kind of difference caused by cultural background doesn’t only appear in idioms, but also in a single word as follows: The word “death” in almost all languages is a taboo. Euphemistic expressions for death in English and Chinese both have its own characteristics, showing cultures of different nations. For example, in China, Buddhism calls it “圆寂”, and Taoism names it “仙逝”. The death of the elderly is called “寿终”, “谢世”; the death of the young is called “夭折”, and the death of the middle-aged is called “早逝”. （Chang Su, Junchao Li, Ying Peng, et al 2019,33）.

Therefore, regarding social status, age, gender of the dead, attitude of the living toward the dead are all presented in the euphemism used. While in English, they replace “death” with “go to west”, “to be taken to paradise”, and “to be asleep in the arms of God”. Because the westerners hold the view that every man must give to God an account of what he has done on earth at the final judgment. （Chang Su, Junchao Li, Ying Peng, et al 2019,33）.

While in English, they describe “death” by using expressions as “go to west”, “to be taken to paradise”, and “to be asleep in the arms of God”. Because the westerners hold the view that every man must give to God an account of what he has done on earth at the final judgment. （Chang Su, Junchao Li, Ying Peng, et al 2019,33）.

Another example is that getting old is the law of nature, but people tend to have different psychological reactions to this word “old” given different cultural backgrounds. In China, the word “old” is a positive word and symbolizes one’s wisdom and rich experience, and one often refer it to the senior who is high above in the company management. (Guo Huiqing 2013,124).

The word “old” gradually becomes some positive idioms like “an old hand is a good hand”. Sometimes, one addresses someone as the old man in order to show respect to the elderly, so the meaning of age is reduced. While in English, “old” appears to be a negative word, which means useless and worthless. So it’s kind of a taboo in English. When translating, translators should replace “old” with “elderly” or “senior”. (Guo Huiqing 2013,124).

Unfamiliar with the cultural back ground, mistakes are usually made in using metaphor or doing metaphor translation. Take “cowboy” as an example. In China, many translators think cowboy literally as someone outstanding, so they interpret it as one running a business as a cowboy. The fact is that the genuine image of the cowboy is someone who is independent, unconstraint and act on its own will in westerner’s mind. The real meaning goes opposite that he runs business with dishonesty and a lack of experience and is sloppy in work. (Guo Huiqing 2013,124).

It’s obvious that in the translation progress, the primary issue to be dealt with is to overcome and solve cultural differences so as to avoid cultural shock. Impossible as it may be to achieve the exact equivalence between the source culture and the target culture, one may realize the equivalence of sense through the means of perspective conversion.(Guo Huiqing 2013,124).

To sum up, errors made in metaphor translation are not only brought by the vocabulary, pronunciation, grammar, but by the fact that translators’ sole attention to the equivalence of language forms yet ignoring the underlying cultural meaning. In cross-culture communication, cultural background, thinking patterns, conventional habits and behaviors all have a role to play. Translators must respect the readers’ aesthetic psychology. It is essential for translators to strengthen learning in culture. Through contrast one can find the appropriate metaphor translation skills and strategies to improve the quality of translation so as to the same metaphorical effect to the target reader. (Guo Huiqing 2013,124).

===4. Translation Strategies for English-Chinese Metaphor Translation===
Throughout the development of human society, due to the geographical and environmental differences and other reasons, a rich civilization system has been formed. But objectively speaking, due to the similarity of human external living environment, there are many similarities in terms of people’s thoughts and cognition. Thus, there are feasible ways to address problems in English-Chinese metaphor translation known as translation strategies.(Xu Aihua 2019,64).

===4.1 Literal Translation===
Literal translation is the first stage of translation in which we simply transfer words from one language to another. It is also called “word-for-word” translation. Strictly speaking, it strives "to keep the sentiments and style of the original". We usually resort to this kind of translation when we want the reader in the target language to understand the overall meaning of the text in the source language. This is different from the higher levels of translation in which the interpretation of the source text varies from one person to another person as the style, linguistic expressions and undertones differ.(Xu Aihua 2019,64).

Mangy differences exist between languages. As far as English and Chinese are concerned, they also have some commonalities in some aspects which is also the application basis of literal translation. For translation, the most common and simplest method is literal translation. It is not easy for a translator to quickly catch the hidden meaning of metaphor and translate it. It requires a certain cultural accumulation. It is worth emphasizing that literal translation does not mean translating the sentence literally. The translator should keep the rhetorical devices and language structure of the original text and adopt literal translation to make it easier for readers to understand. (Xu Aihua 2019,64).

For example, the English sentence “An eye for An eye and a tooth for a tooth” can be translated into “以眼还眼，以牙还牙” in Chinese. This kind of idiom containing metaphor is straightforward with less complicated metaphorical meaning. Thus, as long as the literal meaning of the source language is delivered and understood, the corresponding target language can be well understood, which is relatively simple for most readers.(Xu Aihua 2019,65).

To sum up, when the translator adopts the strategy of literal translation in metaphor translation, the translator needs to have a deep understanding of Chinese and Western cultural background and find the similarities between them, so as to make readers understandable with metaphorical and vivid effect.(Xu Aihua 2019,65)

===4.2 Free Translation===
Free translation aims to convey the meaning and spirit of the original without paying much attention to the lexical details. The unequal information is caused by the cultural background, and so on. In this case, free translation can be adopted. In the process of metaphor translation, it is necessary to make appropriate trade-offs when the metaphorical images cannot be fully preserved and cannot be replaced. Therefore, in the process of translation, we should carefully examine the linguistic and cultural characteristics of the source language and the target language. And we should adopt free translation to effectively maintain the information transmission and aesthetic value of metaphor. (Li Chunying 2020,1).

For example, the sentence “Don't show the white feather to the enemy”. In the original text "white feather " implies " weakness and cowards ", but in Chinese "white feather "has no such meaning. If “white feather” is translated as " white feather of some animal ", readers will definitely have no clue of what the whole sentence means. (Li Chunying 2020,1).

Therefore, it is necessary to interpret the meaning and transfer its metaphorical meaning. Take another example, when we integrate literal translation with free translation in metaphor translation, then the English sentence “Like a duck to water” can be translated as “如鱼得水” in Chinese. Here, we’ve managed to achieve the goal of conveying both original meaning and its metaphorical message. (Li Chunying 2020,1).

Besides, in the process of free translation, we should not stick to the form but pay attention to the harmony of the form and structure of language. From the point of view of purpose, free translation mainly conveys the idea of the original text to the reader, and it should realize the flexible processing of the words and texts according to the context. For example, "To face the music" can be translated as" 面对现实" in Chinese. Here, “music” stands for “reality” instead of its literal meaning.(Xu Aihua 2019,65).

Therefore, free translation can fill in the blanks where literal translation doesn’t fit in. When translators do metaphor translation, free translation can help deliver the metaphorical meaning more vividly.(Xu Aihua 2019,65).

===4.3 Metonymy Translation===
Due to the different yet similar natural and social environments, including climate, geographical environment, cultural tradition and religious belief, many metaphorical vehicles in English and Chinese are almost the same, although they are actually different. Some scholars have pointed out that different nations may have different perspectives toward the same world, which leads to the synonymy music of different forms. In short, the vehicle is different but has common ground. Metaphor not only contains the characteristic connotation of the language itself, but also the words that cannot be expressed in a straightforward manner(Li Chunying 2020,1).

At this time, according to the custom of the target language, the vehicle in the original language can be changed into the vehicle familiar to the target readers. Therefore, we can adopt the strategy of metonymy translation. For example, the Chinese words “傻笑” can be expressed in English as "grin like a Cheshire cat" . This shift is successful because the Cheshire cat is kind of silly but a very lovely cat in England. The Chinese idioms "多此一举" can be expressed in English as “carry coals to Newcastle”, as the “Newcastle” once was a famous British coal port. (Xu Aihua 2019,65).

According to the custom of the target language, the vehicle in the original language can be changed into the vehicle familiar to the target readers. Therefore, we can adopt the strategy of metonymy translation. For example, the Chinese words “傻笑” can be expressed in English as "grin like a Cheshire cat" . This shift is successful because the Cheshire cat is kind of silly but a very lovely cat in England. The Chinese idioms "多此一举" can be expressed in English as “carry coals to Newcastle”, as the “Newcastle” once was a famous British coal port. (Xu Aihua 2019,65).

In summary, using the strategy of metonymy translation is a good solution to problems arose in metaphor translation as it takes advantage of different and familiar vehicles to convey clear information to the target readers.(Li Chunying 2020,1).

===5. Metaphor Translation in English Versions of Tribute to White Poplar As An Example===
Metaphor is not only a rhetorical device, but also a way of thinking, which can guide people's actions. Lakoff believes that human beings' understanding of the objective world is based on their own experiences, and metaphor belongs to the conceptual system, which is ubiquitous. The last chapter is to make a comparative analysis of metaphor translation in English versions of Tribute to White Poplar as an example from the perspectives of structural metaphor and ontological metaphor.(Li Yanhong 2015, 19).

===5.1 Theoretical Framework===
In 1980, he and Johnson put forward the concept of conceptual metaphor for the first time in the book Metaphors We Live by, which became an important symbol of the birth of conceptual metaphor. Although conceptual metaphor is ubiquitous, it also depends on the context.(Li Yanhong 2015, 19).

Lakoff divides conceptual metaphors into three categories: orientational metaphor, ontological metaphor and structural metaphor. This classification can be said to cover almost all the conceptual metaphors. Orientational metaphor is the basis and an image schema metaphor, that is, it takes the spatial concept as the original domain and constructs other non-spatial target domains (Lan Chun 1990, 4).

Ontological metaphor refers to describing abstract concepts with the certain physical entities. Structural metaphor refers to the construction of another concept with the structure of one concept, and the words that talk about various aspects of one concept are used to talk about another concept, thus producing the phenomenon of polysemous word. Based on the comprehensive analysis of the reasons affecting metaphor translation and the strategies of metaphor translation by many scholars, we’ll then analyse metaphor translation in different English versions of Tribute to White Poplar as an example from the perspectives of structural metaphor and ontological metaphor.(Li Yanhong 2015, 19).

===5.2 Metaphor Translation from the Perspective of Structural Metaphor===
Structural metaphors play the most important role because they allow us to go beyond orientation and referring and give us the possibility to structure one concept according to another. Here are some examples.(Li Yanhong 2015, 19).

E.g.1

SL text:白杨树实在是不平凡的，我赞美白杨树。(Tribute to White Poplar 1941).

TL text 1: The white poplar is no ordinary tree. Let me sing its praises.(Zhang Peiji 2007)

TL text 2: The white poplar tree is by no means a common tree. I praise it!(Zhang Mengjing, Du Yaowen 1999)

E.g.2

SL text:让那些看不起民众、贱视民众、顽固的倒退的人们去赞美那贵族化的楠木(那也是直挺秀颀的)，去鄙视这极常见、极易生长的白杨树罢，我要高声赞美白杨树!(Tribute to White Poplar 1941).

TL text 1: The reactionary diehards, who despise and snub the common people, can do whatever they like to eulogize the elite nanmu (which is also tall, straight and good-looking) and look down upon the common, fast-growing white poplar. I, for my part, will be loud in my praise of the latter!(Zhang Peiji 2007)

TL text 2: Let those who look down upon the masses, disrelish them and are stubborn to retrograde the duke nanmu, which is also a straight and graceful tree. They may go on despising this white poplar tree, which is frequently seen and grows so very easily. But as for me, I’ll continue to praise the white poplar tree!(Zhang Mengjing, Du Yaowen 1999)

A core idea of these sentences is that “树是人”. People's cognition and understanding of trees originates from people. When people talk about trees, they will think of a series of words to describe people, such as “不平凡”、“婆娑”、“好女子”、“赞美”、“贵族化”、“鄙视” in the text. This refers to the "cross-domain mapping" of conceptual metaphors, which draws an analogy between the concepts of "tree" and "people". In the first source text, to translate “平凡 ”, Zhang Peiji uses "ordinary", while Zhang Mengjing and Du Yaowen use "common". (Li Yanhong 2015, 19).

Although they choose different words, they are both used to describe people. Both sides adopt literal translation to restore the metaphor in the original text and translate the metaphor into the same metaphor. In the second example, although the words used by both sides were different, Zhang Peiji's "Eulogize", "elite", "look Down Upon", as well as Zhang Mengjing and Du Yaowen's "Praise", "Duke" and "despising" were all used to describe people. Therefore, they both restored the meaning of the original text and retained the images in the original.(Li Yanhong 2015, 19).

===5.3 Metaphor Translation from the Perspective of Ontological Metaphor===
Ontological metaphor, also called entity metaphor, also plays an important role.(Li Yanhong 2015, 19).

E.g.3

SL text:当汽车在望不到边际的高原上奔驰，扑入你的视野的，是黄绿错综的一条大毡子。(Tribute to White Poplar 1941).

TL text 1: When you travel by car through Northwest China’s boundless plateau, all you see before you is something like a huge yellow-and-green felt blanket.(Zhang Peiji 2007)

TL text 2: When your car is speeding along a boundless highway, what meets your eyes is a huge blanket of yellows and greens mingled together.(Zhang Mengjing, Du Yaowen 1999)

When the car is driving on the plateau, the people in the car see the scene. When Zhang Peiji translated this sentence, he added the element of "something like" to adapt to the English context and changed the metaphor into simile, which not only retained the image and meaning of the original, but also made the translation more convenient. Zhang Mengjing and Du Yaowen , on the other hand, adopted literal translation and retained the metaphorical structure in the original.(Li Yanhong 2015, 19).

E.g.4

SL text:然而同时你的眼睛也许有点倦怠, 你对当前的 “ 雄壮 ” 或 “ 伟大 ” 闭了眼，而另一种味儿在你心头潜滋暗长了———“单调”！可不是？单调，有一点儿吧？(Tribute to White Poplar 1941).

TL text 1: Meanwhile, however, your eyes may become weary of watching the same panorama, so much so that you are oblivious of its being spectacular or grand. And you may feel monotony coming on. Yes, it is somewhat monotonous, isn’t it?(Zhang Peiji 2007).

TL text 2: However, at the same time, your eyes may feel somewhat tired and close before the “magnificent” and the “great” that lie in front of you. And another sensation rises in your heart monotonous! Isn’t it monotonous, maybe a bit?(Zhang Mengjing, Du Yaowen 1999).

The metaphor used in this sentence materializes the words “雄伟”、“壮大”、“单调”, and gives them characteristics that you can close your eyes to when you are tired; They can also grow in your mind and make for interesting reading. In Zhang Peiji's translation, we can see that the translation does not use metaphor, but translate directly according to people's normal thinking, and adopt the strategy of "translating metaphor into non-metaphor".(Li Yanhong 2015, 19).

Zhang Mengjing and Du Yaowen retain the organic structure of the metaphor in the original text, personify the two words “伟大”、“雄壮”, and retain the "container metaphor" in the ontological metaphor in the second half of the sentence, which not only retains the thinking and cognitive characteristics of the original text, but also conveys the effect of semantic rhetoric.(Li Yanhong 2015, 19).

===6. Conclusion===
To sum up, metaphor translation is not merely a transformation of one language to another. It’s a complexity involving multiple factors. The purpose of metaphor translation is to re-express the original information, faithful to its style, geographical and environmental condition, cultural environment, religious belief and so on. Still, people shouldn’t impose thoughts on the translators and deny their role in language transformation only in pursuit for the full fidelity to the original text, for there is no exactly identical thing in the world. (Wang Bo 2016,117).

As language is the shell of ideas, shaped by cultural background in particular, applying the method of metaphor translation helps better convey the information carried by the source language. Conversion Strategies like literal translation, free translation and metonymy translation are applicable. And the analysis of metaphor translation in different English versions of Tribute to White Poplar as an example from the perspectives of structural metaphor and ontological metaphor will give readers an understanding of metaphor translation. (Wang Bo 2016,117).

At long last, the author of this thesis hopes the above discussion gives readers a better understanding of the role of metaphor in cross-cultural translation and gives translators an insight into future translation practice. However, for the author has little talent and learning, the argument may be superficial. The author will keep learning from predecessors and peers.(Wang Bo 2016,117).

===7. References===
*Chen Yulian, Zhang Yingxian. Cognitive-Pragmatic Strategies for English Translation of Colloquial Metaphors in Political Discourse.[J]. International Journal of Applied Linguistics and Translation. 2020, 6(3)-12.

*Chang Su, Junchao Li, Ying Peng, et al. Chinese metaphor sentiment computing via considering culture.[J]. Science Direct. 2019, 352:33-41.

*Li Chunying. Translation of Metaphor from the Perspective of Cognitive Linguistics.[J]. Education, Society and Human Studies. 2020, 1(1)-11.

*ZHANG Jie. Metaphor Translation from the Perspective of Conceptual Metaphor Theory: Based on the Analysis of Imagery“Hong Sushou”in Song Ci. [J]. Studies in Literature and Language. 2020, 21(1):84-87.

*Guo Huiqing. 郭卉青.(2013). 浅议影响隐喻翻译的主要因素.[A Brief Discussion on the Main Factors Affecting Metaphor Translation].[J]. 晋中学院学报[Journal of Jinzhong College], 30(05):122-124.

*Hu Zhuanglin. 胡壮麟.(2004). 认知隐喻学.[Cognitive Metaphor].[M]. 北京大学出版社[Peking University Press].

*Li Yanhong. 李艳红.(2015).概念隐喻视角下《白杨礼赞》两个英译本比较研究.[A Comparative Study of Two English Translations of Tribute to White Poplar from the Perspective of Conceptual Metaphor].[J].考试周刊[The Exam Week],(65):19-20.

*Lan Chun. 蓝纯.(1999).从认知角度看汉语的空间隐喻.[Spatial Metaphor in Chinese from a cognitive perspective][J].外语教学与研究[Foreign Language Teaching and Research],(04) :5-10.

*Shu Dingfang. 束定芳. (2000). 隐喻学研究.[Studies in Metaphor].[M]. 上海外语教育出版社[Shanghai Foreign Language Education Press].

*Wang Bo. 王勃. (2016). 概念语法隐喻视角下的英汉翻译探讨.[A Study on English-Chinese Translation from the Perspective of Conceptual Grammatical Metaphor].[J]. 黑龙江教育学院学报[Journal of Heilongjiang Institute of Education],35(07):115-117.

*Xu Aihua. 徐爱华. (2019). 中西方差异视角下英汉隐喻翻译策略研究.[A Study on Metaphor Translation Strategies in English and Chinese from the Perspective of Chinese and Western differences].[J]. 海外英语[Overseas English],(20):64-65.

*Zhang Mengjing,Du Yaowen. 张梦井,杜耀文.(1999).中国名家散文精译.[Chinese Famous Prose Translation][M].青岛出版社[Qingdao Press].

*Zhang Peiji. 张培基.(2007). 英译中国现代散文选.[A Selection of Chinese Modern Prose][M]. 上海外语教育出版社[Shanghai Foreign Language Education Press].--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:31, 21 December 2020 (UTC)

==A Comparative Study of Liang Shiqiu’s and Lu Xun’s Translation Views 王源 Wang Yuan==
===Abstract===

Both Liang Shiqiu and Lu Xun were productive writers and translators. They held different translation views. Lu Xun have adopted literal translation and hard translation in different periods, claiming that “tranlsation should rather be faithful than smooth”. His translation views were highly consistent with his political views, which were to change people’s conservative and old thinking pattern. Liang Shiqiu took readers as the priority and emphasized the unity of faithfulness and smoothness, which mean a text should be both faithful and readable. Having been influenced by Confucianism and Babbitt’s new humanism, Liang put “humanity” as the highest standard of translation. The paper aims to give a comparative study of Liang Shiqiu’s and Lu Xun’s translation views.

===keywords===
mean translation view; new humanism; hard translation; Lu Xun; Liang Shiqiu

===摘要===

鲁迅和梁实秋是中国著名文学家、翻译家和思想家。他们两个有着不同的翻译观。鲁迅在不同的时期分别采用直译和硬译的方法进行文本翻译，主张“宁信而不顺”的翻译原则。他的翻译观和政治观是高度一致的，即改变国民保守而陈旧的思维模式。梁实秋以读者为第一要义，强调“信”“顺”统一，即译文既要忠实于原文，又要通顺可读。在儒家思想和白璧德新人文主义思想的影响下，梁实秋成为一名坚定的人性论者，同时也形成了他独特的“中庸翻译观”。本文将对梁实秋和鲁迅的翻译观进行对比研究。

===关键词===
中庸、新人文主义、鲁迅、梁实秋

===1. Background===
===1.1 The formation of Liang Shiqiu's translation views===

Liang Shiqiu's view of translation was homogeneous and heterogeneous with his literary thought, which in turn was closely related to his philosophy of life. The essence of Liang’s philosophy of life was "mean", which was derived from Confucianism, Irving Babbitt’s new humanism and his aristocratic and gentle temperament. (Yan Xiaojiang,2008:29)
(Yan Xiaojiang,2008,29)

Confucianism has been deeply rooted in Liang’s mind when he was young, and the experience of going abroad for further study helped him accept Babbitt’s new humanism, as both of them have shared some similar ideas.(Yan Xiaojiang,2008,30)

First, “mean” is the core of Confucianism and new humanism. The doctrine of “mean” has existed in different aspects, such as in education, ethics, politics and aesthetics. For example, Confucius said “To learn without thinking is confusing, to think without learning is dangerous”, which is to emphasize the balance of learning and thinking. “Pleasure but not lust, sorrow but not injury” also tells us the danger of being extreme. Irving Babbitt also regarded “mean” as the best philosophy of life. Liang believed that Babbitt’s conclusion of humanity shows his view of “mean”. In his opinion, life had three states, which were natural, humanistic and religious. Naturalism advocated indulgence, religion the extinction of desire and humanism abstinence. Babbitt attempted to find a balance between material and spirit, and his philosophy had been greatly influenced by ancient Greek philosophy, who had the similar concept of “mean”. Liang Shiqiu knew the “mean” spirit had long been existed in human civilization and he himself was also deeply influenced by the “mean” spirit.(Yan Xiao Jiang,2008:32)

Second, humanism was the tradition of Confucianism and new humanism. Confucianism has always been concerned with the social reality and life, reflecting the idea of "putting people first". Confucius' basic concepts such as "benevolence," "ritual," and "filial piety" have had a profound impact on Chinese culture, not only laying the foundation of humanism for Chinese philosophy, but can be said to be the foundation of humanism for all times and all peoples. Babbitt believed that humanism was about keeping a balance between the "one" and the "many", and that excessive naturalism and supernaturalism could destroy this balance. He believed that naturalism since the Renaissance and the Enlightenment has misunderstood humanism as a sympathy without choice. Therefore, he opposed Rousseau's "theory of goodness of human nature" and proposed a "dualistic theory of human nature of good and evil. He believed that good and evil have always coexisted, and that it was the constant conflict between good and evil, reason and desire, that caused the suffering of individuals and society. The idea of humanism laid the foundation for Liang Shiqiu's humanistic literary thought, which was somehow in line with the central idea of humanism expressed in Shakespeare's works. Humanist literature focused on people, lookd at people dialectically, and was concerned with people’s fate and future. Besides, both Confucianism and new humanism have shared some similar ideas such as focusing on morality, reason and the tradition of respect.(Yan Xiaojiang,2008)--[[User:Tan Xingyue|Tan Xingyue]]

===1.2 The formation of Lu Xun's translation views===

===1.2.1 The first period (1903-1906)===

After the defeat of the Opium War, people began to introduce and learn the advanced ideas and technologies of the West in order to find a way to save their lives. Inspired by the slogan “ Traditional Chinese values aided with modern management and technology”, Westernization Group have translated a large number of works, mainly on military and scientific works. After that, Kang Youwei and Liang Qichao initiated the Reform Movement of 1898, attempting to save China by changing state institution. The focus of translation also shifted from technology to politics, laws and academic research. (Wang Yanling, 2009, 39)

During the period of the Sino-Japanese War, two great translators appeared in China, Yan Fu and Lin Shu. Yan Fu was mainly engaged in the translation and interpretation of social science theories. At the same time, Lin Shu began to translate foreign novels. He mainly translated Italian into Chinese, with many abridgements and changes to the original texts. At this time, Lu Xun went to Japan to study, and soon published his maiden translation De la Terre à la Lune. (Wang Yanling, 2009, 39)

Lu Xun’s early translations were deeply influenced by Lin Shu and Yan Fu. When he was studying in Tokyo, he would look for and read every translation work from Lin Shu. Lin Shu did not know English at all, and his translations were done by listening to the dictations of other people, understanding them and then translated them through his own profound Chinese skills. Therefore, domestication was his major translation technique. Having read dozens of Lin Shu’s translations, Lu Xun also applied domestication into his own translation. What’s more, in some translations, he would made some additions and deletions. (Wang Yixing, 2017, 38)

===1.2.2 The second period (1907-1927)===

With the deepening of the national crisis, Lu Xun gradually realized that the numbness and ignorance of the people was the root of the backwardness and weakness of our country. The national crisis in the modern history of China has made Chinese people face a dilemma: to maintain their own culture, or to learn from the strengths of the West? Lu Xun believed that we had to absorb fresh and new ideas from other countries. (Wang Yanling, 2009, 39)

In 1909，Lu Xun and Zhou Zuoren translated “A collection of foreign novels”. The work adopted a new translation method, which not only have maintained the contents and style of the original, but also has done no changes of the chapter and format. In 1918, he wrote to his friend Zhang Shoupeng: “ I think Chinese should accept foreign languages in later translations.” Therefore, we can see Lu Xun adopted literal translation, attempting to accept and absorb foreign languages to develop and enrich Chinese, and to resurrect China. (Wang Yanling, 2009, 39)

From the perspective of culture, the New Culture Movement, which advocated democracy, science and vernacular Chinese, was prosperous at that time. As one of the leaders of the movement, Lu Xun realized the importance of introducing advanced culture and abandoned the dross of traditional Chinese culture. The reason why Lu Xun chose literal translation was that he wanted to popularize vernacular Chinese and push the development of Chinese. (Wang Yanling, 2009, 39)

===1.2.3 The third period (1928-1937)===

In this period, with the deepening of national crisis and the spread of Marxism, it was urgent to establish Chinese proletariat class, Lu Xun’s translation strategy was developing accordingly. After revolution, a general “political anxiety” emerged among people. This kind of anxiety should be released according to some channels, and translating advanced foreign works could erase the anxiety to some extent. (Wang Yanling. 2009, 39)

In his later translation activities, he not only advocated literal translation, but also “hard translation”. By using “hard translation”, he tried to introduce new expressions and syntax to change Chinese people’s conservative and corrupt thoughts. In fact, the adoption of this extreme translation strategy was not for literary purpose, but mainly political purpose.

===2.Translation views===

===2.1 Liang Shiqiu's translation views===

===2.1.1 Be a translator caring both readers and original works===

Liang Shiqiu advocated that translation activities should prioritize the need of readers, believing that the purpose of translation was to faithfully express the meaning of a work in another language for those who do not understand the original language. The translator's duty was to make the translation as smooth as possible without losing the original meaning. Therefore, the translation must be faithful and smooth, conform to Chinese norms and must not be translated into Europeanized text. In the course of his debate with Lu Xun, he proposed the unified translation concept of “faithfulness” and “smoothness”. He did not agree with Lun Xun’s idea that “tranlation is better to be faithful than be smooth” or Zhao Jingshen’s idea that “translation is better to be smooth than be faithful”. He believed that bad translations could be reflected in the following aspects. First, it does not accord with the meaning of the original text. Secondly, it fails to convey the strong tone of the original text. Third, it is unintelligible. If one of these three points is satisfied, it is a bad translation; if all three points are satisfied, it is the worst translation. (Liang Shiqiu,1933)

Liang Shiqiu took the reader as the priority and emphasized the unity of faithfulness and smoothness. He concluded the relationship between “faithfulness” and “smoothness”, “People often say that the best translation is one which does not be read like a translation. However, it is only true when the translation is faithful to the original text and also the language of the translation is smooth. If one only knows the general meaning of the text, and then translate it in his native language fluently, it can only be considered as free translation, which is acceptable to be used in some normal articles. However, a large part of the value of a literary work lies in the subtlety of its use of words, so the translator must also be careful with the words.” (Liu Tianhua,1900:22)

Liu Bingshan once commented on Liang Shiqiu's translation: "Liang's translation is not based on the beauty of the language, but on the purpose of preserving the truth, sticking closely to the original work, not easily changing the original text, not avoiding all kinds of difficulties, and doing his best to convey the original meaning of Shakespeare. His translations are meticulous, euphemistic and clear, and can maintain the original characteristics of Shakespeare's plays. (Liu Bingshan,1992)

Liang disagreed with Lu Xun’s advocation of “hard trasnaltion”, and regarded it as word-by-word translation. He criticized Lu Xun's claim that the original shortcomings of the Chinese text was the reason for the difficulty of his translation. “Chinese and foreign languages are different, and there are grammars that can not be found in Chinese, so this is where the difficulty of translation lies. If the grammar, syntax and lexis of both languages were exactly the same, would translation still be a job? (Liang Shiqiu,2002)

===2.1.2 Be a translator advocating liberalism literature===

Liang Shiqiu was one of the representatives of Chinese liberalism literature theory in 20th century. He claimed that literature was derived from humanism, based on humanism and ended in humanism. He was a determined humanist, denying the class nature of literature and opposing the use of literature as enlightenment and political tool. Liang said: “Universal humanity is the basis of all great works .... Pure humanity is the only criterion of literary criticism.” In his mind, literature was literature, and the core of literature was to describe humanity. Liang Shiqiu's literary thought was reflected in the selection of works to be translated, which should be classical works and should reflect "permanent humanity". In his article "On Mr. Lu Xun's "Hard Translation," Liang Shiqiu pointed out that the primary purpose of translation was to introduce first-rate literary works to the nation: "I believe that works of scholarly and permanent value should be given priority in translation." Liang Shiqiu advocated "reading first-class books and translating first-class books" and opposed translating foreign works without discrimination. His translation works, such as the complete edition of Shakespeare’s plays, The Wuthering Heights, and Silas Marner, all have met his translation principles.

===2.1.3 Be a scholarly translator===

Liang Shiqiu taught at several universities and was a rigorous scholar. His strict attitude was reflected in his translation attitude. He pointed out: “ If a translator cannot completely understand what he is going to translate, then he is not a responsible translator. When encountering quotations from the classics, we should take trouble to look them up and annotate them so that the readers can understand.” (Liang Shiqiu,1967) This showed that translation was not only a simple act but also a rigorous academic work for Liang Shiqiu. His translation attitude reflected on his translating process of the complete edition of Shakespeare’s plays.

In the process of translating Shakespeare’s plays, Liang realized that translation works sometimes should do some research at the same time. “ Translation should properly combine with research, and without researching, one may not know how to translate precisely.” (Liang Shiqiu,1967) Therefore, he managed to collect different editions of Shakespeare, as well as various sources related to him. Day by day, his collection was more complete than any universities in China. In the end he chose the Oxford edition of the complete works of Shakespeare. Regarding the obscene words and jokes in this version of Shakespeare's play, Liang Shiqiu believed that the gags in the play originally had their own significance in the context of the times. Even though obscene words were involved, they were harmless and could sometimes be considered to have a psychological health implication. In addition to translating the contents of the works, Liang Shiqiu also conducted a large number of studies. In each part of The Complete Works of Shakespeare, there was a preface detailing the history of the edition, the dating of the writings, the sources of the stories, the history of the stage, and the study of the text. The contents of the works or linguistic techniques such as puns and colloquialisms were extensively annotated, a method that some experts called "scholarly translation". Research showed that Liang Shiqiu was "the first expert scholar to introduce the British and American Western traditions of Shakespearean studies, opening the way for the study of Oriental Shakespeare in Taiwan, China." (Chen Shufen,2002)

===2.2 Lu Xun's translation views===

Lu Xun once wrote to Qu Qiubai, “Translation should rather be faithful than smooth". The importation of new contents and new forms of expressions advocated by Lu Xun were precisely what made his translations innovative. He advocated that the reader "must take the trouble to chew", rather "a few bites and then swallowed". This process of chewing was precisely the process of understanding and absorption by the readers. Lu Xun’s statement “rather be faither than smooth” indicated his advocation of literal translation. Literal translation required translators to express the original text faithfully, and remained the language characteristics at the same time. For example, for the names of characters and places in foreign literary works, many translators have been accustomed to make them easy to read for Chinese readers, but Lu Xun thought it was unnecessary to do so, believing the exoticism and national color of the original work should be preserved. His early translation version of De la Terre à la Lune contained a large number of names of people and places, all of which were adopted transliteration. In the process of translation, with the introducing of new contents and new expression, we can have a better understanding of the cultural characteristics and social condition hidden in the text.

In Lu Xun’s translations, he tried hard to reappear the language characteristics of the original text, unique cultures and ethos of the society, all to make sure the “foreignness” of the translations. It not only preserved the characteristics of the original text, but also respectd the author and facilitated the readers access to foreign cultures, thus expanding their horizons and enriching their knowledge. In fact, Lu Xun's "hard translation" is only an alternative to "direct translation," and the word "hard" in Lu Xun's "hard translation" is only for certain syntactic lexicons. The "hard translation" advocated by Lu Xun was only intended to be more faithful to the original text. Lu Xun always insisted on translating with an analytical and differentiated attitude, and he advocated different styles of translation according to the contents of the translated work (general or theoretical book) and the status of the reader (general reader or expert). (Chen Fukang,2000:295)

Lu Xun had once mentioned in his translation work, “From the translation, Lunakarsky's thesis is clear enough. However, due to incapability of the translator and the original shortcomings of Chinese, there are many obscure points after the translation. If the short sentences in the long sentences are dismantled, the concise and sharp tone of the original is lost. Therefore, there is nothing I can do but to do hard translation.” (Chen Fukang,2000:291)

In response to Liang Shiqiu's criticism of his "hard translation" view of translation, Lu Xun explained his views on "hard translation" from an academic perspective, mainly with the following meanings. First, there was a difference between "hard translation" and "word-by-word translation", and it was not a deliberate "distorted translation". Second, The "hard translation" (mainly referring to the translation of scientific literary theories and other revolutionary theoretical works) had its own target audience. Third, "My translations, which are not intended to be enjoyable but uncomfortable. People who are opposed to my ideas often feel "bored, disgusted, and resentful"; and those "critics" who know little about theories should not be greedy for pleasure but try to study these theories. " Fourth, The "hard translation" was not only for the sake of not losing the original concise and sharp tone, but also for gradually adding new syntax, which will be assimilated into your own after a period of time. Fifth, “there will always be better translators in this world, who can translate without distorted, hard or word-by-word translation. At that time, my translation will be eliminated, and I am just here to fill the space from ‘nothing’ to ‘better’.” (Cheng Kangfu,2000:292-293)

===3.Examples===
===3.1 Liang Shiqiu's transaltions===
Liang Shiqiu's translation of Shakespeare's works is based on the strategy of foreignization, which mainly contains two levels of connotation: the first refers to the linguistic form, and the second refers to the cultural content. On the level of linguistic form, Liang Shiqiu focuses on introducing new expressions and strives to expand and enrich certain norms in the target language culture. On the level of cultural content, Liang mainly introduces the original text without any deletion, allowing readers to appreciate the original and exotic culture as much as possible.

Liang Shiqiu's translation of Shakespeare's works takes its artistry, and the strategy of foreignization helps to allow readers to confront the differences of foreign cultures and thus expand their horizons. On the form of names, Liang Shiqiu did not advocate shortening the translation of names in Shakespeare's works to the Chinese style. He said humorously, "Foreigners often have such long, wordy and eccentric names, so why should we bother to give them names and surnames?" In the process of translation, he usually adopted transliteration. For example, he translated “Julius Caesar” into “朱利阿斯西撒”，but not “凯撒大帝”. Likewise, he did not translate Antony and Cleopatra into a title which is charming like movie title, but chose transliterating into “安东尼与克利奥佩特拉”.

Another two examples can show Liang Shiqiu’s loyalty faithfulness to original text.

梁实秋译文：
卡先生，适才发生了这样不幸的事故，我们没有时间劝导我们的女儿：您知道，她对她的表兄提拔特是甚微友爱的，我也是很喜欢那孩子：唉，我们有生即有死。现在很晚了，她今晚不会下楼了：说实话，若非您在这里，我一个小时前就早已经上床了。
巴在这悲伤的时候也不便求婚。夫人，晚安：请代我向小姐致意。

朱生豪译：
凯欧莱特夫人伯爵，舍间因为遭逢变故，我们还没有时间去开导小女；您知道她和她那个表兄提博尔特是友爱很笃的，我也非常喜欢他；唉！人生不免一死，也不必再去说他了。现在时间已经很晚，他今夜不会再下来了；不瞒您说，倘不是您大驾光临，我也早在一个小时以前上床啦。
帕里斯我在你们正在伤心的时候来此求婚，实在是太冒昧了。晚安，伯母；请您替我向令媛致意。
This is a conversation between Madame Capulet, Juliet's mother, and Paris, a young nobleman. Since both speakers are persons of status, both Liang Shiqiu's and Zhu Shenghao's translation use formal style. Zhu Shenghao, following the Chinese tradition of "demeaning oneself and respecting others," uses the terms "伯爵"， "小女" ，"伯母"，"令媛” ， with a flavor of the old Chinese literati. Liang Shiqiu uses the terms "先生" ，"女儿"，"夫人" ，"小姐"，which can be used both in the west and east, with polite and respectful overtones, showing that there is a certain distance in the relationship between people.

PORTIA If I live to be as old as Sibylla, I will die as chaste as Diana, unless I be obtained by the manner of my father’s will. I am glad this parcel of wooers are so reasonable, for there is no one among them but I dote on his very absence, and I prey God grant them a fair departure.

梁实秋译：波如果我活到西逼拉那样老，我也愿意贞洁如戴安娜而死，除非是按照我父亲遗嘱的方法出嫁。我很高兴这群求婚的人如此知趣，因为这些人当中没有一个不是我深愿他快快离开的，我求上帝准他们平安归去吧。
朱生豪译：鲍西娅要是没有人按照我父亲的遗命把我娶去，即使我活到一千岁，也只好终身不字。我很高兴这一群求婚者都是这么懂事，因为他们中间没有一个人不是我唯望其速去的；求上帝赐给他们一帆风顺吧！
This scene is the response of Portia, a rich girl, to Nerissa, a maidservant. In this case, Zhu Shenghao translated “Sibylla” into “living to one thousand years”, which may be easier to be accepted by readers yet the domestication strategy has erased the exotism of original language. Liang Shiqiu translated “Sibylla” literally and added some notes to explain the allusion, which has efficiently expressed the “foreignness” and also helped Chinese readers to learn the allusion. “Diana” is the god of the moon, which has the implication of “chastity”. Zhu Shenghao translated it into “终身不字”，meaning “never get married the whole life, the semantic meaning of which is close to “as chaste as Diana”,yet the important information “chastity” has not been translated, while Liang Shiqiu’s transliteration did not miss the information.

===3.2 Lu Xun's translations===

Lu Xun's translations can be roughly divided into three stages. The first stage is Lu Xun's early translations, which were mainly adaptation and compilation. In the second stage, literal translations were used. He said in his article ：“ All translations must take into account both sides. On the one hand, it must be easy for readers to read, and on the other hand, it must be faithful to the original work and preserve the foreigness. The third stage is to adopt hard translation. He believed that Chinese was an imprecise language with inherent flaws. And in order to make the translation not lose its precision, new expressions and syntax should be introduced. Lu Xun tried to improve the imprecision of the Chinese language through hard translations, so as to change the national thinking habits and transform the national character. Next, this paper will give two examples to reflect Lu Xun's ideas of literal translation and hard translation.

Er ging durch die gute Stube，wo alles sauber und ordentlich dastand wie immer-die hohen Lehnstühle unter ihren weien berzügen wie Leichen in ihren Totenhemden． An dem einen Fenster hing ein Drahtkfig － aber leer， mit weit geffneter Türe．

“Nastaszia! ”schrie Pater Ignatius， und grob hallte seine Stimme durch die stillen Ｒume，die verlegen schienen，da er gleich nach der Tochter Beerdigung so schreien konnte．

“Nastaszia，”rief er leiser，“wo ist der Kanarienvogel?”

Die Kchin，so verweint da ihr die Nase rot wie eine Ｒübe im Gesichte glnzte，erwiderte grob: “Wo soll er sein? -weggeflogen ist er．”

“Weshalb habt ihr ihn hinausgelassen?” Pater Ignatius zog die Brauen drohend zusammen．
Nastaszia brach in Trnen aus，und die Augen mit den Zipfeln ihres Kopftuches wischend，stammelte sie:

“Fruleinchens Seele hat ．．． ihn ．．． gerufen ．．．，wie durften ．．． wir ．．． ihn denn ．．． halten?”

鲁迅译：伊革那支入客室，见全室整洁，弗殊平时，几衣纯白，卓立如死人临敛。呼其婢曰，“那思泰娑，”则自觉声在虚室中，至复犷厉。窗外悬鸟笼，阑槛已启，其中虚矣。因复微呼曰: “那思泰娑，鸟安在?”婢哀毁，鼻已如芦萉，嗫嚅对曰， “自……自然去矣! ”伊革那支蹙额曰， “胡为纵之?”婢复泣失声，掣韨角拭其目，咽泪曰，“此性命，……此女士性命， ……何可留耶! ”

Although the translation adopted Classical Chinese, yet readers have a basic knowledge of Classical Chinese can feel the fluency and elegance of the translation. Lu Xun abandoned the practice of arbitrary additions or deletions and rewrites in the translation field at that time, and faithfully preserved the spirit of the original work. However, this kind of “faithfulness” is neither word-to-word translation, nor stiffly borrow syntax structure of the original text. For example, he combined seven paragraphs into one. Putting a single sentence as a paragraph is normal in modern Chinese While it is quite wired in Classical Chinese. Therefore, Lun Xun adopting domestication was to cater to the reading habits of Chinese readers. Besides, Lu Xun also made adjustment in some detailed descriptions. For example, the original meaning of "erwiderte Grob" in German,
"replied rudely", but it was translated into “嗫嚅”, meaning “ replied haltingly”. The chef’s attitude changed from impatience into hesitation and fear. Lu Xun probably had fully considered the culture of target language and the receptive ability of readers. Lu Xun’s translation strategies were flexible and was totally different from “hard translation” claimed in his later translation period. (Xie Haiyan, 2020, 52)
In another example, Lu Xun’s “hard translation” had fully in practice.

Maksimowa，hier fragt jemand nach Ihrem Zimmer，” erklrte der Angekommene，ein langer hagerer Student． Er ging als erster durch den Korridor，in dem die Luft sauer und dampferfüllt war， wie in dem schmutzigen Vorraum einer Badeanstalt． Er hrte nicht weiter auf das， was die Greisin sprach，schob sich durch den Korridor，an Koffern und Vorhngen， hinter denen sich irgend etwas rührte，vorbei und verschwand in seinem Zimmer． Erst als er seine Sachen abgelegt hatte und in roter Bauernbluse mit offenem Kragen ohne Gürtel dastand，fiel ihm der neue Mieter wieder ein und er fragte die Alte， die ihm einen siedenden Samowar brachte…

“玛克希摩跋( Maksimova), 这里有人问你的房子呢。”上来的人告诉说，是一个瘦而且长的大学生。他先向那空气又酸又湿，仿佛浴场的腌臜的前房一般的廊下的那边走。他也不再听老女人说什么，一径走过了堆着行李和挂着帐幔，那后面有什么正在蠢动的廊下，躲进他自己的屋子里去了。他放下物件，穿着畅开领口没有带子的红色的农家衣的时候，才又想到新来的客人，便问那老女人，恰恰捧着煮沸的撒摩跋尔进来的……

Both texts are detailed descriptions of dwelling environments, characters and language, but here the translation is stiff, full of Europeanized syntax, and in some places even obscure. The original (German) language is similar to English in that several adjectives can be placed before nouns and a long sentence can contain several finite clauses. These syntactic features are very different from the Chinese syntax, so in the process of translating into Chinese, the translator has to disassemble the text and replace them with multiple phrase structures or phrases. The juxtaposed adjectives should also be either combined or split into phrases as needed. Lu Xun’s translation strictly obeyed the syntax structure of German yet was too “faithful” to read. Besides, Lu Xun also kept heterogeneous information on purpose. For example, the word “Samowar” is a kind of metal teapot in Russia, which has no counterpart in Chinese. A translator can adopt domestication, using a word that Chinese readers are more familiar with, or use the word “teapot”. However, Lu Xun transliterated it into “撒摩跋尔” so that readers may find it hard to know the meaning of it. (Xie Haiyan, 2020, 56)
It can be seen that if the collection of foreign stories adopted literal translation, the labourer Suihuilov should be a hard translation. Excerpt above is clear and easy to understand, even if a mediocre translator can also easily and smoothly translate this paragraph of text, while Lu Xun's translation is quite rigid and stiff. This translation has showed Lu Xun’s typical translation -- hard translation, which has fully reflected his determination to reform Chinese and to change the thinking pattern of Chinese people. (Xie Hai, 2020, 57)

===4.The practical significance of translation views===

===4.1 Liang Shiqiu===

First, cultural conservatism should be opposed, while the principles of openness and absorption should be promoted. Taking the value system of Babbitt’s new humanism and the spirit of classicism as references, Liang advocated freedom and independence of thoughts, hoping to import new ideas, new literature and new culture through translation activities. This open vision helped the local people to learn from and absorb the heterogeneous culture. Translation is the bond of cultural communication. Translators should not only consider nationality, but also treat the other with tolerance and openness. Human culture is exactly developing in the process of understanding and communicating. (Yan Xiaojiang,2008:285)

Second, cultural radicalism should be opposed, while the principles of filtration and creativity should be promoted. Liang Shiqiu protected traditional culture with reason, and emphasized historical continuity of culture and the values of tradition. Liang tried hard to resurrect Chinese traditional culture by introducing western modern culture. The biggest characteristic of cultural radicalism was that it was more destructive than constructive, and even completely abandoned its own tradition and copied western modern culture. Therefore, translators should on the one hand maintain the good of Chinese culture, and also learn new cultures and expressions on the other. (Yan Xaiojiang,2008:286)

Third, cultural conflicts should be avoided while hospitality and order should be promoted. Liang Shiqiu combined the artistic spirit of ancient Greece, Irving Babbitt’s new humanism and Confucianism’s spirit of "moderation", and finally found the juncture between the heterogeneous discourses of Chinese and western traditional culture, and constructed and strengthened the liberal cultural ideal with classical spirit. This principle of compatibility and moderation set an example for resolving cultural conflicts and realizing the ideal of harmony. An important characteristic of cultural conflictionism was that it exaggerated the conflict of culture and ignored the feature of accommodation and complementarity between cultures. Each culture has its own inherent rules. Differences and collisions are the process of communication between heterogeneous cultures. Only differences can maintain self-identity, only collisions can promote development, and only diversity can present prosperity. However, the recognization of differences does not mean erasing consensus, and real consensus does not obliterate differences. We should grasp the problem of contemporary Chinese cultural identity in the tension structure of globalization and localization with understanding, communication and integration, striving to construct the modernity of Chinese literature and culture, participating in the world dialogue with artistic creation with national characteristics, opposing to replace another culture with one culture, and insisting on inheriting foreign culture critically. (Yan Xiaojiang,2008:287)

In a word, Liang Shiqiu's "mean" translation view not only formed his own theoretical system by combining observation with cognition, but also put this rational system into practice, which promoted the communication between traditional and modern culture, foreign and local culture, individual and common culture, so as to optimize cultural integration. In today's context of cultural pluralism, we must update our values and ways of thinking, understand the relationship between cultural identity and context with the concept of compound identity, and realize the rationality and effectiveness of cultural integration. （Yan Xiaojiang,2008:287)

===4.2 Lu Xun===

In the comparison between Chinese and foreign languages, Lu Xun realized the imprecision of Chinese grammar and thus associated it with the "imprecision of Chinese thinking". He tried to introduce the expressions of foreign languages into Chinese through literal translation, and to promote the modernization of the Chinese language. Although there were many difficulties at the time, Lu Xun's efforts did, to a certain extent, contribute to the development of vernacular Chinese and the "Europeanization" of Chinese, and he also succeeded in absorbing the expressions and vocabulary of foreign languages. Even though the foreign grammar that Lu Xun borrowed from his direct translations at that time is not fully used today, and many of the expressions have been completely abandoned today, it is because Lu Xun pioneered the introduction of foreign expressions and persevered with them that modern Chinese today has rich and flexible syntax that can be extended and contracted, and sentences that are long but not chaotic and well-organized. This fully proves Lu Xun's foresight and wisdom. (Wang Yanling,2009:38)

Lu Xun’s translation views still have some practical significance in modern society. We can get some inspirations after reviewing Lu Xun’s translation views. On the one hand, western translation theories should be introduced. On the other hand, Chinese translation studies should be systematic, scientific and unique through constantly concluding, digging, refining and sublimating. We should treat translation theories Dialectically and developmentally and only in this way can translation theory studies have some breakthrough and creation. With the accelerated process of globalization, China is ushering in a new round of translation climax, and good academic ethos and translation ethics are the guarantee of translation quality. ( Wang Yanling,2009:38)

===Conclusion===

From the analysis of several texts above, we can see clearly that Lu Xun and Liang Shiqiu have shared some similarities and differences in their translations practice.
From the perspective of translation views, both Liang Shiqiu and Lu Xun adopted literal translation. Liang Shiqiu emphasized the consistence of “faithfulness” and “smoothness”, claiming that translations should be faithful to the original work and also be readable. With the influence of Confucianism and Babbitt’s new humanism, he has formed “mean” translation view, which means that his translation were not extreme but appropriate and moderate. Lu Xun’s translation works mainly adopted literal translation and even “hard translation”. Compared with Liang Shiqiu, he claimed that translation works should “rather be faithful than smooth". In his opinion, Chinese is not precise enough, thus new syntax and expressions should be introduced to improve and enrich Chinese. The so called “ hard translation” appeared in Lu Xun’s later translations, which were unreadable and unacceptable. However, the political function was more important than its literary purpose.

From the choice of translation works, Liang Shiqiu encouraged translators to translate classics which are based on humanity such as Shakespeare’s works. He was a determined advocator of humanism, denying the class nature of literature and opposing regarding literature as the tool of enlightenment and politics. Lu Xun, however, was quite different. He translated a lot of Soviet literary works and wanted Chinese people to learn their rebellious and revolutionary spirit. Most of his translations had political function, aiming to change Chinese people’s conservative and corrupt thoughts.

From the purpose of translating activities, Liang Shiqiu put “humanism” as the core of his translation works. His purpose of translation was very pure,which was to translate western classics, to give the Chinese people the pleasure of aesthetics and spirit. Lu Xun, however, was more “utilitarian”. The purpose of his translations was to bring more new culture and absorb new expressions to enrich Chinese. Lu Xun was living in an era when China was weak and corrupt, he wanted to use his translations as weapons to fight with corruption, ignorance and conservatism.

===Rrferences===
*Fang Mengzhi. 方梦之. (2004). "译学词典". [A Dictionary of Translation Studies]. 上海外语教育出版社[Shanghai Foreign Language Education Press] 296.

*Yan Xiaojiang. 严晓江. (2008). "梁实秋中庸翻译观研究". [On Liang Shiqiu's View of "mean" in Translation]. 上海译文出版社 [Shanghai Translation Publishing House] 32-52.

*Wang Yanling. 王燕玲. (2009). "鲁迅翻译观的形成及其现实意义". [The Formation of Lu Xun's Translation Theory and its Practical Significance]. 时代教育 [TIME EDUCATION] 39-40.

*Wei Sichao. 魏思超. (2011). "直视鲁迅“硬译”观". [A Direct View of Lu Xun's "Hard Translation"]. 文学教育 [Literature Translation]. 24-25.

*Jin Boya. 金博雅. (2011). "鲁迅和梁实秋的文学翻译对比研究". [A Comparative Study of Literary Translation Between Lu Xun and Liang Shiqiu]. 北方文学 [Northern Literature] 118-119.

*Liu Fang. 刘芳. (2014). "论鲁迅直译观的形成及其历史意义". [On the Formation and Historical Significance of Lu Xun's Literal Translation]. 名作赏析 [Masterpieces Review] 123-125.

*Xie Haiyan. 谢海燕. (2020). "协商直译: 重论鲁迅的直译与《域外小说集》". [Negotiating Literal Translation: Ｒeinterpreting Lu Xun’s Literal Translation and Collection of Foreign Short Stories].绍兴文理学院学报 [JOUＲNAL OF SHAOXING UNIVEＲSITY] 51-60.

*Zheng Chun. 郑春. (2017). "再谈鲁迅的翻译以及“硬译”". [The Second Discussion on Lun Xun's Translation and Literal Translation]. 广西师范学院学报 [Journal of Guangxi Teachers Education University] 6-11.

*Chen Fu. 陈芙. (2017). "鲁迅的“硬译”与译者惯习解析". [Analysis on Lu Xun's "Hard Translation" and His Habitus]. 浙江理工大学学报 [Journal of Zhejiang Sci-Tech University] 505-510.

*Song Liulin. 宋柳霖. (2019). "“信”与“顺”的交锋——鲁迅和梁实秋翻译论战的分歧探析". [The Confrontation Between "Faithfulness" and "Smoothness"——On the Differences in the Translation Debate Between Lu Xun and Liang Shiqiu]. 校园英语 [Campus English] 241-242.

*Lv Xuemei. 吕雪梅. (2020). "鲁迅翻译思想三大“异”及其价值". [Three Differences in Lu Xun's Translation Thoughts and Their Values]. 江苏外语教学研究 [Research on Foreign Language Teaching in Jiangsu Province] 81-83.

*Yang Xiaohua. 杨小花. (2020). "鲁迅“硬译”思想发展脉络分析". [An Analysis of the Development of Lu Xun's "Hard Translation" Thought]. 文学教育 [Literature Education] 27-29.
--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:57, 21 December 2020 (UTC)

==A Brief Introduction to Deconstruction and Venuti's Translation Strategy of Foreignization 徐佳 Xu Jia 202070080613 MTI英语笔译==
===Abstract===
Deconstruction, founded in a critique of structuralism, emphasizes the uncertainty of textual meaning and denies the supreme authority of the original author. As a representative figure of deconstruction, Derrida's theories have had a great impact on the Western traditional theories. Under the influence of deconstruction, Venuti proposed the translation strategy of foreignization, criticizing the "invisibility" of translators and arguing that the purpose of translation is to protect and reproduce cultural differences, which contributes a lot to translation studies.

===Key words===
Deconstruction; Domestication; Foreignization

===题目===
解构主义及韦努蒂的异化翻译策略刍议

===摘要===
解构主义是在对结构主义的批判中建立起来的，强调文本意义的不确定性，否认原作者至高无上的权威性。德里达作为解构主义的代表人物，其理论观点对西方理论传统产生了巨大冲击。在其思想影响下，韦努蒂提出异化翻译策略，批判译者“隐身”，认为翻译的目的是要保护再现文化差异，其理论具有一定的进步意义。

===关键词===
解构主义；归化；异化

===Introduction===
Translation has a long history and translation studies have gone through a long journey. In the 20th century, along with the changes in the fields of philosophy and literature, linguistic and cultural shifts emerged in translation studies, and new translation schools have sprung up one after another. Among them, the most controversial one is Deconstruction and its translation views. Deconstructionism is established in the criticism of structuralism, with decomposition as its main feature, systematically deconstructs the concepts of "structure" and "meaning". It focuses on overturning the traditional concept of translation fidelity so as to highlight the central position of the translator, thus opening up new horizons for contemporary translation studies.

===The Emergence of Deconstruction and Derrida’s Theories===
Deconstruction is an all-open critical theory that emerged from France in the late 1960s, which questions rationality and subverts tradition. It takes interpretive philosophy as its philosophical foundation, advocates pluralism, and aims to break the closedness of structure, eliminate logos-centrism, and overturn the western philosophical tradition of binary oppositions.

Jacques Derrida, a French philosopher, is the father of deconstructionism. He wrote an essay named "Structure, Symbols, and Play in the Language of the Humanities" , which was publicly read at Johns Hopkins University in 1966, thus marking the birth of deconstruction. In the United States, it has received unprecedented spread and creative development. Among many scholars, the most influential was the "Yale School" represented by Paul Derman, Geoffrey Hartmann, Hillis Miller and Harold Bloom. They interpreted and popularized the ideas of Deconstruction, leading to its tremendous impact and flourishing in North America.（Wen Hong 2010,185）

Deconstruction is a critical inheritance of structuralism. Structuralism holds that everything has its structure, which determines the essence of things, and to study the essence of things needs to study their deeper structure. Deconstructionists, on the other hand, believe that structuralism is inherited from the dualistic mode of thinking in traditional western philosophy, which always establishes one original and one center for the world, such as the idea, God, man, etc. Around the original and the center, the world is formed and there are a series of two oppositions, such as subject and object, sound and writing, reason and sensibility, truth and error, philosophy and literature, etc. The former always takes precedence and the latter is a kind of derivation, dependence or exclusion of the former.（Xie Tianzhen 2000,314）

Its attack against structralism mainly focuses on the binary opposition between sound and words. The long-standing western tradition of valuing sound over words assumes that meaning comes before words, and that words themselves are of little importance, but merely serves as megaphone for expressing meaning. Derrida called it "logocentrism," which is another name for reason, truth, subject, being, essence, etc. Derrida traced and extensively gave examples that written words had been looked down upon. For example, Plato once claimed that words are the invention of children, while language embodys the wisdom of adults. Aristotle also believed that language are the representation of inner experience, while words, the representation of language, is the medium of medium, so it is in a secondary position.(Ren Shukun 2000, 55)

Derrida, however, introduced the concept of "archetypal words," which raised the status of written words to a new level. In his view, words is the original and prototype of language and it is the prerequisite of all linguistic phenomena and construction of meaning. In addition, Derrida created a new word "differance", which is only one letter different from "difference" and has the same pronunciation. This difference, which can only be seen in words but cannot be told in speech, makes the western tradition of emphasizing sound over writing collapse. (Ren Shukun 2000, 55)

Thus, we can see that deconstruction, though based on the criticisim of structuralism, actually points at the western tradition of rationalism. According to Derrida, deconstruction is a thought about being and metaphysics. It thus lead to a discussion of the authority of being, or the authority of essence, and such a discussion or interpretation cannot simply be generalized as a negativistic destruction. (Fan Zhongying 1997, 36)This sentence can be understood in two ways. first, deconstruction represents a spirit of rebellion in that it dares to think about, discuss, and reinterpret authoritative philosophies that have existed for thousands of years.Behind the radical attitude of deconstruction lies a profound spirit of questioning tradition, a determination to destroy any form of rigidity and privilege. (Huang Zhending 2005,21)

Deconstruction has always been regarded as a thoery of merely breaking without establishing. According to Derrida, however, deconstruction cannot simply be generalized as a negative destruction. Actually, breaking itself implies building. Through denying the "truth" of the structuralism and metaphysical traditions, deconstruction aims to create a pluralistic, tolerant and open system. Deconstructionism is undeniably revolutionary for its total rejection of binary opposition. And at the same time, since it acknowledges the coexistence of multiple logics constituted by varied traditional factors, the revolution is relative. (Huang Zhending 2005,21)

Generally speaking, every ideological trend is marginal, fragmented, and even radical at its inception, and so is deconstruction. Compared to structuralism, it is still unmature. Nevertheless, deconstruction, with its continuous negation against the thinking mode of binary opposition and its thoroughness in decomposing it, is an evolving and vigorous ideology.

The first thing Derrida's deconstruction theory wants to eliminate is the concept of "structure", which is the cornerstone of structuralism. He launched a fierce attack on the logos-centralism and instead emphasize the uncertainty of the meaning of the text. In his theory, Derrida created a series of terms that he called "new concepts" such as "trace", "differance","dissemination", "decentering", etc. Take "dissemination" as an example. According to Derrida, dissemination is the inherent ability of all words. It does not convey any meaning, for the production of every meaning is the result of "differance". Every reading is a search for "trace" of the seeds that have been disseminated, and every reading is a re-understanding of what seems to have met before. (Wen Hong 2010, 186)

Roland Barthes, another representative of deconstructionism, compares the text to an onion, which has many layers but no core, no original, and unity is its superficial phenomenon. This metaphor suggests that the meaning of the text is uncertain and that the search for the original meaning of the text is futile. Barthes asserted that "the author is dead", which completely denies the author's creativity and crushes all attempt to trace the author's original meaning. The intertextuality and indeterminacy of textual meaning make reading a concrete act associated with the specific times and reading subjects, which strongly breaks the traditional view that reading is only a passive consumption of texts, and greatly promotes the enthusiasm, initiative and creativity of readers. (Bai Xiaohong 2012,21)

Indeed, apart from literary criticism which necessarily analyses and evaluates the work from the critic's subjective view, the phenomena of distorting the meaning of original for one's own profit are not rare, and even general reading is never a passive absorption of the ideas in the work. This point of view, in fact, has long been embodied in the keynote of reception aesthetics, which explicitly emphasizes the role of human in textual relations and the great initiative of participants in discourse communication. It actually reveals that in the rich and complex history of all language and text, there lies the rich and complex history of human spiritual activity. This process can by no means be summed up in Hegel's rigid dialectical model of "positive-negative-combination".(Bai Xiaohong 2012,21)

Like other fields of the humanities, translation community is inevitably impacted by the ideas of deconstruction. Traditional translation theories regard the original text as an unshakable authority, which is always above the translation and translation activities. Fidelity exists as a supreme standard for translation, and the discussion of equivalence has always been a hot topic in the translation community. Deconstruction reveals the relationship between texts. It argues that since every text is born in a specific historical environment, there is no absolute equivalence between the original text and the translation, and any factors that affect human thinking, such as ideology, values, ethics, morality, cultural traditions, political system, etc., will affect the translation. (Huang Zhending 2005,19)

Therefore, any original text is always in the process of being constantly rewritten, and every reading and translation of the original text means a reconstruction of the original text rather than a tracing of the original meaning. Translation involves two languages and two cultural systems, and deconstructionists believe that the purpose of translation is to pretect and reproduce the differences between languages and cultures instead of eliminating them with sameness. There is no accurate and fixed meaning of translation, and even a detailed retelling can produce new meanings that give life to the original. (Ren Shukun 2000, 55)

Before the advent of deconstruction, Walter Benyamin, a German translation theorist, put forward ideas related to deconstruction in his book "The Task of the Translator" in 1923, and thus he has been widely regarded as the founder of deconstructionist translation theory. Benyamin uses the term "pure language" to explain the differences between languages, which refers to the universal language shared by all human beings before they built the Tower of Babel. According to Benjamin, a pure language is complete and abstract, and the many languages used today derive from it. Only when these languages complement each other can it be possible to reproduce the whole picture of a pure language. The essence of language can be grasped only in the differences of specific languages. Therefore, translation should try to reflect these differences. The languages we use today is fragments of pure language, and so are the original text and its translation. Since they are fragments, their main characteristics are fragmentation and mutilation, and the task of the translator is to find and reflect the formal characteristics of the fragments. (Xie Tianzhen 2000, 316)

===Venuti’s Translation Theory of Deconstruction ===
In the late 20th century, under the influence of deconstructionism, many translation theorists put forward some new views, including Edwin Gentzler, Ander Lefevere, Susan Bassnett, Theo Hermans, Gideon Toury, Lawrence Venuti, etc. Putting translation in the overall social and cultural context, they reconsidered many factors affecting translation, and tried to build new translation theories. Among them, Venuti's theory has been recognized as a representative one.

In 1992, Venuti compiled a collection of essays on translation named Rethinking Translation. In the preface of the book, he mentioned several neglected issues, mainly the marginal status of translators and its causes, and called for a rethinking of translating. In 1995, he published Translator's Invisibility, a masterpiece on the history of Western translation over 200 years, which is a representative work of foreignizing translation theory that drew much attention in the late 20th century. The book describes the situation and behavior of translators in Anglo-American cultures, traces the history of transparent discourse in English translation that has emerged since the seventh century, and reveals the various cultural hegemonies that originated as smooth discourse. (Zhao Shang2007,76)

The ultimate goal of Venuti's translation theory of foreignization is to have translators and readers reflect on the violence of nationalism in translation, and thus they can have an expectation to feel linguistic and cultural differences when translating and reading translations. Deconstruction has rewritten the history of western translation by rejecting the viewpoint of western-centralism and advocating an equal relationship between national cultures and languages. This naturally links translation studies with power, ideology and colonialism, regarding translations as a political act. Of course, the aim of it is not to raise the value of every foreign culture by treating Anglo-American culture as an object of racial discrimination. It focuses on how to study and practice translation as a site of differences at the theoretical, critical and textual levels rather than emphasizing homogeneity, as is popular nowadays.(Zhao Shang2007,76)

====Objections to Domesticating Translation====
Venuti build his translation theory on the basis of deconstruction, and his definition of translation is as follows: "Translation is a process that the translator replaces the chain of signifier in the source text with that in the target language." (Venuti 1998, 22) Since meaning is produced by relations and differences in a potentially infinite chain, there will always be differences and delays and will never be the whole of an original text. Both the foreign text and the translation are derivative and are made up of different linguistic and cultural materials. Therefore, neither the foreign author nor the translator is the original author, and the meaning of the work is so unstable that it can transcend the intent of the work. This is very different from the traditional concept of translation.

Traditionally, it is believed that the author is the original creator of a unique text where he expresses his own feelings and has absolute authority and ultimate right to interpret it. Given this, the translator's work can only be an imitation of the original text, and the translation is neither self-expressive nor unique, but a derivative of the it. This concept has ruled the translation world for a long time, decisively placing the translator in a subordinate position to the author and the translation to the creation. Translated text has always been compared with the original text, and any deviation from it is considered a flaw or even a shame. In order to increase the faithfulness of the translation, translator goes to great lengths to hide himself, by erasing as much as possible linguistic and cultural differences and assimilating the original text with the linguistic features and values of the target language. A translation based on such a strategy will be immediately accepted by the target language readers. Therefore, the ideal translation that translators have long strived for is one that makes the reader feel as if they were reading the author's original text in the target language.(Ren Shukun 2004,56)

Venuti have different ideas. Under the influence of deconstructionist thinking, Venuti points out in the preface of his book Rethinking Translation that "a translation can never be faithful to the original text, and is always more or less free. It is never definite, and always has an addition to or subtraction from the original. It can never be a transparent representation, but only an interpretive transformation, revealing the multiple meanings and ambiguities of the foreign text and translate them into other multiple and divergent meanings." (Venuti 1992, 67) He began his book, The Invisibility of the Translator, by quoting Norman Shapiro: "I think translation should be transparent and not look like a translation. A good translation is like a piece of glass, you will not notice it without tiny imperfections such as scratches and bubbles. Ideally, of course, there should be no flaws at all. It should not draw attention on itself." (Venuti 1995, 81)

"Invisibility" describes the condition and activities of translators in contemporary Anglo-American culture. According to Venuti, such a smooth and transparent translation gives the reader a sense of fidelity and thus becomes the translator's major pursuit. However, a fluent translation conceals the subjective interpretation of the translator, and also obscures the process of mediation between the original text and the translation and that between the author and the translator. In this way, the hard work of the translator is eclipsed by the authority of the author, and many cultural and linguistic differences are also tucked away.(Huang Zhending 2005,20)

According to Venuti, the meaning of a work is plural. A translation only temporarily fixes one meaning of the work, and it is based on different cultural assumptions and interpretive choices, and subject to the constraints of particular social forms and different historical epochs. Meaning is plural and indefinite, and it is by no means an unchanging and unified whole. Therefore, translation cannot be measured by the mathematical concept of equivalence of meaning or one-to-one correspondence, while the norms of exact translation, the concepts of "fidelity" and "freedom" are historically-determined categories. Translation is built by translation and translation. It is the relationship between the translation and the cultural and social conditions resulting from it that allows the translation to survive.（Feng Yihan 2006,41）

Among contemporary translation schools, Nida's translation theory is a typical one of domestication. Naida argues that the translation of dynamic equivalence is to pursue the complete naturalness of the words, (Nida 2004, 159) the essence of which is to eliminate linguistic and cultural differences in inter-linguistic communication. Venuti, however, pointed out that the so-called communication, which originates from the culture of the target language and is at the same time controlled by it, is in fact a selfish interpretation. Thus, this kind of communication is an appropriation of foreign texts for one's own profit rather than information exchange." Nida's translation theory that takes communication as a starting point does not adequately take into account the ethnocentric distort that is inherent in the translation process. Naida's advocacy to produce the same response in the readers of the target language and in the readers of the source language is a kind of cultural violence that denies the differences between languages and cultures.（Wen Hong 2010,186）

====Advocacy for Foreignizing Translation====
The concept of foreignizing translation goes back to Schleiermacher, a German theologian and philosopher. He put forth two methods of translation in 1813, "The translator should either try not to disturb the author and keep the reader close to him, or he should try not to disturb the reader and keep the author close to the them."(Lefevere 1992, 74) The former refers to the foreignizing method, which advocates deliberately breaking the linguistic and cultural norms of the target language by preserving some exotic expressions in the original text so that the readers can learn and enjoy the foreign culture.

Moreover, foreignizing translation cannot be simply equated with paraphrase. While the latter involves only the linguistic operations of translation, foreignizing translation, as defined by Venuti, involves two links. The first is the selection of materials, which means what to translate, and the second is the language conversion strategy, which means how to translate. As long as one of the two links involves foreignization, the translation strategy can be defined as foreignizing translation. The debate between foreignization and domestication focuses on whether to close to the culture of the source language or to the culture of the target language. According to Venuti, the prerequisite of foreignizing translation is that there are cultural differences and communication is complicated by cultural differences between and within linguistic communities. Foreignizing translation acknowledges and tolerate differences and create cultural differences in the target language.（Ren Shukun 2004,57）

A translator who prefers foreignization may not only change the means of expression of the translated text, but also choose to translate foreign texts that challenge the foreign literary norms in the target language. Translation is a process of finding common ground between languages and cultures, especially in the search for similar information and similar forms or skills of expression. This search which is necessary for the translator is often confronted with differences. But translator can never, and should never, erase all differences. A translation should be a place where different cultures coexist and the reader can learn about them. Therefore, Venuti's translation strategy of Foreignization, to some extent, is a kind of cultural intervention, which challenges and questions the attempts to suppress foreign things, and highlights the linguistic and cultural differences by placing the readers in a foreign-mannered text.（Feng Yihan 2006,42）

Specifically, in the use of translation methods, it reflects a difficult and obscure translation style, and even uses ancient words of the target language to provide readers with a new reading experience. Ezra Pound's translation of Cathay and Nabokov's translation of Pushkin's poetic novel Eugene Onegin both use the foreignizing methods. In the history of English literature, the debate between Arnold and Newman is actually a debate about domestication and foreignization. Newman was dissatisfied with the translation style of Homer's works in Victorian England. He thought this kind of translations were too slender and elegant that were favored by the so-called elite, or "great tradition" culture of England. Instead, He chose the "small tradition," that is, the foreignizing method, translating Homer's works into popular lyrical songs, in which a mixture of ancient words, ballads and awkward sentences replaced the serious and straightforward expressions. (Liu Junping 2019, 416)

====Preference for Minority-oriented Translation====
According to Venuti，the use of any language can mark power relations, and at any historical moment it is the control of the dominant linguistic form over minute variables. (Venuti 2004, 75) These tiny variables are the so-called "residue", which is opposed to the dominant forms of language, including dialects, archaic languages, colloquialisms, technical terms, and so on. Residues are proposed and applied to prevent the rigidity of language use and kept it alive and fresh.

With the existence of residues, language use cannot be completely systematized and regularized. The concept of "residue" suggests that linguistic forms are closely related to specific social and historical environment. Residues have supplemented, corrected, and even subverted the mainstream language by transforming, delegitimizing and denaturalizing it, and thus have promoted its development. In order to release the residues, the translator has to innovate his concept so as to achieve the transformation of linguistic and cultural differences.(Guo Jianzhong 2000,51)

Venuti believed that a good translation is a minority-oriented one, which embraces heterogeneity and allows for the existence of unfamiliar, exotic, non-standard, and marginal languages and rules. "Minority translation" means releasing not only linguistic "residues" but also cultural "residues". The marginal texts and translations, as measured by mainstream values, are what Venuti prefers. He said, "I prefer to translate texts that are marginal and weak in my own culture, and that serve to marginalize the dominant linguistic and cultural forms of the English language.“ (Venuti 1998, 32) Today, with the further development of globalization, the economic and political dominance of the United States has marginalized the languages and cultures of other countries. To oppose the global hegemony of English and its culture is exactly what Venuti's advocacy aims at.(Ren Shukun 2004,57)

Minority translation never to acquire more, never to establish new standards and rules, but to promotes cultural innovation and understanding of cultural differences through the production of more linguistic variables. In resistant translation, "residual" means going beyond transparency in the use of language, even undermining it with varying degrees of violence. Such new ideas reflect the awareness of unequal relations in translation. In Venuti's view, translation cannot be a simple and egalitarian activity. It is racially superior in nature, either out of reverence for a foreign culture or out of pride in one's own culture. (Ren Shukun 2004, 57)

The positive significance of foreignization is that it can introduce and absorb foreign cultural nutrients, bring new elements to local culture and language, and thus promoting communication and penetration among different cultures and languages. At the same time, foreignization strategy makes translation alienate from the target language culture, frees the readers from the cultural spell that has confined their reading and writing, which in essence is a counteraction against the ethnocentrism in the target language culture.

===Application of Foreignization and Domestication===
When it comes to the choice of adopting foreignizing or domesticating translation strategy, we should first consider which one is more conducive to cross-cultural communication and mutual understanding between people with different linguistic and cultural backgrounds. Since translation is a process of intercultural communication in nature, the translator should take into consideration the inter-subjectivity and dialogue generation between texts rather than merely foreignizing or domesticating sentences accoring to grammar. They should bear in mind it's a process of cultural interaction.（Bai Xiaohong 2012,21)

The theory of inter-subjectivity focuses on the consideration of whether or why I, as a subject, can know another subject, and not just regards the cognitive activity of human beings only as a dualistic subject-object cognitive act. Therefore, translating is not a monologue. However, it is important to emphasize that due to the different levels of readers, the translator can not make every reader satisfied and understand the translation. For different readers, the translator may make necessary changes to the translation. It not follows the translator's subjective judgement to adopt foreignizing or domesticating translation strategy, but depends on the actual situation.（Bai Xiaohong 2012,21）

Since translation services the target readers, the translator should, no matter which translation strategy is adopted, try to think of them and build a bridge across the cultural gap between the original text and the target readers. So how to find a balance between these two strategies? On the technical level, we should stick to one principle when handling the issue of domestication and foreignization, namely a dialectical view of their relationship. With their respective advantages, the two strategies play different roles and satisfy different needs. They are not incompatible just because they have distinctive orientations.(Wang Yingping 2011, 216)

In fact, no translation is completely based on a single approach of domestication or foreignization. As Lu Xun once commented, “there is no such thing as a thoroughly domesticated translation in the world. Those who claim to be so are fuzzy things that, under close examination, should not be considered as translation in proper.” A good translation is always a mix of both domestication and foreignization. Besides, we should avoid any tendency towards extremes in this matter. Only by striking a balance between those two poles can we produce a work with both original flavor and good acceptance.(Wang Yingping 2011, 216)

===Conclusion===
Vernuti's deconstructionist view of translation shows the incoherence between the original text and the translation and that how the translator is involved in cultural production. He analyzes the power relations behind the text and gives us a new perspective on translation studies.

However, the resistant strategy that he put forward is marginalized in the translation community. The reasons are as follows. First, the word "resistant" implys the passive defensive status of this strategy and its weakness to counteract the mainstream. Second, in order to release the residues, the translator usually chooses a marginal text to resist the influence of the mainstream. Third, once the text is selected, the translation would depart from the mainstream and to create something new in terms of language, text, rhythm, narrative mode, etc. Such a translation that defies the translation tradition is hardly accepted by a large number of readers in the short term. Thus, the marginal position of Venuti's foreignizing translation strategy is inevitable.

Translation is never going in an unaffected way. Both foreignization and domestication are in fact the products of influenced translation activities. On theoretical level, it is difficult to say which is better, because translation practice shows that each of them plays an irreplaceable role in the target language and culture and fulfills its own mission.

From the perspective of development, cultural exchanges are becoming more and more frequent, and translation, as one of the forms of it, is actually a process of cultural integration. Culture itself is an open system with an inestimable capacity for tolerance, so It is easy for the target readers to accept new things from the source culture through foreignization. The translator should choose translation strategies with comprehensive considerations and find a balance between cultural equivalence and acceptability, and thus achieving the best effect of cultural exchange and literary appreciation.

There is no specific, prescriptive mode for deconstruction in Derrida’s and Venuti’s theories. The importance lies in their unrestricted thinking and revolutionary spirit, which reminds people to rethink traditions and to consider more complex factors that determine the relationship between languages. However, the deconstructionist view of translation is by no means perfect. Its deliberately pursuit of differences and disregard for unity will inevitably lead to confusion. Therefore, it is undoubtedly beneficial to translation research if we objectively see the advantages and disadvantages of the deconstructionist view of translation.

===Reference===
Fan Zhongying 范仲英. (1997).''实用翻译教程'' [A Practical Course Book on Translation].北京：外语教学与研究出版社.Beijing: Foreign Language Teaching and Research Press

Ren Shukun任淑坤. (2004).解构主义翻译观刍议——兼论韦努蒂的翻译思想和策略 [Humble Opinions on Deconstructive Translation and Venuti's Translation Thoughts and Strategies]. ''外语与外语教学'' Foreign Language and Their Teaching (188) 55-58.

Lin Qiuyun 林秋云. (1998).德里达的解构主义理论[Derrida’s Theories of Deconstruction].''外国文学评论''.Foreign Literature Review

Lawrence Venuti. (2004). ''The Translator’s Invisibility''.上海：上海外语教育出版社.Shanghai: Shanghai Foreign Language Education Press.

Lawrence Venuti. (1992). ''Rethinking Translation：discourse, subjectivity, ideology''. London; New York: Routledge.

Andre Lefevere. (1992). ''Translating Literature''. New York: Modern Language Association Of America.

Xie Tianzhen 谢天振. (2000).''翻译的理论构建与文化透视''[Theoretical Construction and Cultural Perspective of Translation].上海：上海外语教育出版社.Shanghai: Shanghai Foreign Language Education Press.

Eugene Nida. (2004). ''Toward A Science of Translating''.上海：上海外语教育出版社. Shanghai: Shanghai Foreign Language Education Press.

Liu Junping 刘军平. (2019).''西方翻译理论通史''[A General History of Western Translation Theory].湖北：武汉大学出版社. Huibei: Wuhan University Press.

Lawrence Venuti. (1998). ''The Scandals of Translation''. London; New York: Routledge.

When Hong 温弘. (2010).解构主义翻译理论及韦努蒂的翻译策略 [Deconstructive Translation Theory and Venuti's Translation Strategies]. ''甘肃科技'' Gansu Science and Technology 26(15):185-187.

Zhao Shang 赵尚. (2007).解构主义与韦努蒂的异化翻译策略 [Deconstruction and Venuti's Translation Strategy of Foreignization]. ''常州工学院学报(社科版)'' Journal of Changzhou Institute of Technology( Social Science Edition) 25(6):75-77

Bai Xiaohong 白晓红. (2012). 论解构主义翻译观的进步性与局限性[On the Progressiveness and Limitations of the Deconstructionist View of Translation]. ''长春教育学院学报''Journal of Changchun Education Institute 28(6):20-21.

Huang Zhending 黄振定. (2005). 解构主义的翻译创造性和主体性[The creativity and subjectivity of translation in deconstructionism]. ''中国翻译'' Chinese Translators Journal 26(1):19-22.

Feng Yihan 封一函. (2006). 论劳伦斯•韦努蒂的解构主义翻译策略[Venuti's Translation Strategies of Deconstruction]. ''文艺研究'' Studies in Literature and Art (3):39-44.

Guo Jianzhong 郭建中.(2000). 韦努蒂及其解构主义的翻译策略[Venuti and his Translation Strategies of Deconstruction]. ''中国翻译'' Chinese Translators Journal(1):49-52.

--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:58, 20 December 2020 (UTC)Xu Jia

=Translation Aesthetics=
==Aesthetic Representation of Two Versions of Wang Wei's "Niao Ming Jian" from the Perspective of Translation Aesthetics - 凌子瑾 Ling Zijin, 202020080618==
<center>凌子瑾 Ling Zijin </center>
===Abstract===
Wang Wei is a master of landscape poetry, and his poems have important aesthetic value. "Niao Ming Jian" is a representative work of his landscape poetry, which has a relatively high aesthetic significance. Aesthetic reproduction is an important factor to judge the success of a translation. Based on Liu Miqing's theory of translation aesthetics, this paper makes a comparative analysis of the two English translation versions of "Niao Ming Jian" to explore how these two translators make the aesthetic elements in the source text reproduced in the target text.

===Key words===
Translation Aesthetics; Aesthetic Representation; Poetry Translation; Comparative Study

===题目===
翻译美学视角下译本的审美再现——以王维《鸟鸣涧》两译本为例

===摘要===
王维是山水诗的集大成者，其诗歌具有重要的美学价值，《鸟鸣涧》是王维山水诗中的代表作品，具有较高的美学研究意义。审美再现是评判译文是否成功的重要因素。本文从刘宓庆的翻译美学理论出发，对《鸟鸣涧》的两个英文译本进行对比分析，探究不同的译者是如何使得原文中的美学要素在译文中得到再现的。

===关键词===
翻译美学；审美再现；诗歌翻译；对比赏析

===1. Introduction===
With the increasingly close communication between China and the international community, the translation of poetry has become an important part of telling Chinese stories. And translation is the basis for the international dissemination of literary works. Translation is one of the ways of information transmission, which is not only a technology, but also an art. Poetry itself is a literary and artistic form with aesthetic thoughts. Due to the close relationship between poetry translation and beauty, whether the translation can convey the beauty of the original poem has become the main criterion to judge whether the translation is good or not. On this point, Liu Miqing proposed translation aesthetics and systematically explained this subject in his ''An Introduction to Translation and Aesthetics''. He incorporated aesthetics into translation and proposed to reproduce the beauty of the original text in translation. (Li Yafeng 2016,4)

Wang Wei's landscape poetry represents the highest achievement of landscape poetry in the flourishing Tang Dynasty. In the history of the development and the aesthetic formation of Chinese classical poetry, it has an influence and status that cannot be underestimated. "Niao Ming Jian" is the representative work of Wang Wei's landscape poems, so its aesthetic value is self-evident. Written in the stable and unified Tang Dynasty, this poem focuses on the tranquil beauty of the spring mountain at night. In this poem, you can not only see the charming environment of the spring mountain dotted with bright moon, falling flowers and birds, but also feel the peaceful and stable social atmosphere of the Tang Dynasty. (Shi Yue 2002, 3)

Both Yang Xianyi and Xu Yuanchong have made a lot of contributions to translation studies. They are recognized for their translation skills(both of them were awarded Lifetime Achievement in Translation), but they have different views on literary translation, which can be seen from the comparative study in chapter 4. From the perspective of translation aesthetics, this paper takes "Niao Ming Jian" and its two English versions as research objects to explore how the two translators realize the aesthetic representation of the Chinese version in their English translation.(Yan Haifeng 2017)

===2. Translation Aesthetics===
In the history of Chinese literature, the earliest development of translation aesthetics can be traced back to the time of the Three Kingdoms. When someone proposed that "it is necessary to follow the essence without decorations".(Wang Wenjing 2020，7) Up to now, there have emerged such related aesthetic translation theories as "faithfulness, expressiveness and elegance", "spirit likeness" ,"delivering" and “principle of three beauties”. In A Dictionary of Translation Studies of Fang Mengzhi, translation aesthetics is defined as: revealing the aesthetic origins of translation studies, discussing the special significance of aesthetics to translation studies, interpreting the scientific and artistic nature of translation with the aesthetic point of view, putting forward standards of beauty in translating texts with different style, using the basic principle of aesthetics, analyzing and solving the aesthetic problem in dealing with interlingual transference.(Fang Mengzhi 2004:296)

Translation aesthetics is the marriage of translation and aesthetics. Almost all traditional translation theories in China are related to aesthetics, and translation aesthetics is one of the basic characteristics of Chinese translation studies. Based on Chinese traditional aesthetics, translation aesthetics, starting with the aesthetic subject and object of translation, not only emphasizes the aesthetic information on the level of sounds and words, analysis of the rhythm, rhyme and translation methods, but also explores the aesthetic factors of emotion, aspiration, meaning and image in the non-formal system, thus laying a practical theoretical foundation for translation aesthetics. From the perspective of translation aesthetics, the purpose of translation is to achieve aesthetic representation between languages.（Yang Yanni 2010,3）

The concept of translation aesthetics was put forward by Professor Liu Miqing in 1994. At first, it combined aesthetics and translation to examine the aesthetic feeling of ancient poetry translation. In ''An Introduction to Translation and Aesthetics'', Liu Miqing specifically explains the general process and specific strategies of translation aesthetics. According to Liu Miqing, "the theories and propositions of traditional Chinese translation theory are basically derived from Chinese classical philosophy and aesthetics, especially classical literature and art". In addition, he also stressed that "theoretical proposition and methodology of Chinese translation theory can be traced back in Chinese classical philosophy and aesthetics.” The aesthetics as the theoretical basis of translation, not only pay attention to the correspondence at the language level, but also the correspondence of the beauty represented in the target text and that in the original text, in order to show the beauty of the original text as possible.（Liu Miqing 1994）

Translation aesthetics holds that translation contains the aesthetic subject and aesthetic object. The aesthetic subject refers to the reader and translator of the text, while the aesthetic object refers to the target language text and the source language text. By subjectively transforming the source text, the aesthetic subject maximizes the aesthetic value of the source text into the target text in the process of transforming one language text to another, so as to ensure that the aesthetic elements in the source text can be reproduced in the target text.(Wang Wenjing 2020,7) In ''An Introduction to Translation and Aesthetics'', Liu Miqing divides aesthetic object into formal system and non-formal system, that is, aesthetic appreciation of the linguistic form of the original text and the emotion expressed in the text.(Liu Miqing 2005)

The beauty in the linguistic form (including pronunciation) of the original text is aesthetically called the beauty in the form of material existence, which is usually "intuitive and sensible" and generally appeals to people's vision and hearing. In the aesthetic composition of the original text, what opposed to the representational elements is the non-representational elements. The non-formal beauty of the original language has no direct relationship with the language form, and it is usually non-intuitive. Because it is not directly reflected in the structure and form of words, sentences and sentence groups, it is usually "uncounted", which is called "non-quantitative factor".(Liu Miqing 2005)

The aesthetic composition of linguistic forms can often be counted, such as the number of parallel sentences, rhymes and figures of speech in a paragraph. Generally speaking, it can be counted to obtain a number, the non-formal beauty of language cannot. It is impossible for us to get any quantitative results after analyzing the temperament of a text, such as artistic conception, beauty, momentum, modality, charm, style and so on. But these elements are crucial to the aesthetic value of a text. In short, from the perspective of aesthetics, these non-formal aesthetic compositions of a language are called non-quantitative obscure collection. In Chinese classical poetry, the concentrated expression of this collection is artistic conception.(Liu Miqing 1986)

The "representation" of aesthetic representation is to transform the source language into the target language, and the aesthetic representation is to transform the beauty of source language into the beauty of the target language. The essence of the representation in the art of translation is to transform the introspective understanding of the source language text into an explicit and intuitive form, that is, to find the best artistic expression form for the source language.（Li Qijiu 2009,4）

===3. Appreciation of "Niao Ming Jian"===
The original text of "Niao Ming Jian"

人闲桂花落，

夜静春山空。

月出惊山鸟，

时鸣春涧中。(''Collected Tang Poem'' 1705)

The main idea of this poem is: in this quiet place, sweet osmanthus flowers gently fall in the quiet night, making the spring forest emptier and quieter. As the moon rose, it made the birds who were perching among the trees to sing, with their crisp calls reverberating through the open mountain stream. This poem is supposed to be written between 713 and 741 ( The Flourishing Kaiyuan Reign Period of the Tang Dynasty), when the poet was in a trip to the regions near the Yangtze River. The poem describes the quiet and beautiful scenery in the mountain on a spring night, and focuses on the tranquility and calmness of the spring mountain at night. The whole poem is intended to highlight the tranquility, but Wang Wei treated it by moving scenes. This kind of technique of contrast shows the poet's meditative mind to a great extent.(Zhuang Chengyuan 2018)

"人闲桂花落，夜静春山空" is the poet’s depiction of scenery by sound, which skillfully uses the technique of synesthesia to combine the dynamic scene “花落” and "人闲" together. Both the blossom and fall of the flowers belong to the sound of nature. Only people who let their hearts really free down, put down the sincere infatuations to worldly thoughts can promote their spirits to a state of “空”. It was late at night, obviously the viewer could not see the falling scene of osmanthus, but because of the "夜静" and the calmness of heart of the viewer, he can still feel the blooming osmanthus falling off the branches, floating down and landing. And readers also seem to have entered a "fragrant forest and flower rain" scenery. The "春山" here also leaves room for us to imagine, because it is "春山", we can imagine the noisy picture of the day: singing birds, green trees, lovely flowers, children’s laughter and so on.(Xue Tao 2020)

When night falls, the environment becomes quiet, the tourists leave, the daytime noise disappeared, the mountains are empty. In fact, "空" not only refers to the empty of the mountain, but also the heart of the poet because only people who have free and easy mood can capture the scene that others cannot feel. The last two lines “月出惊山鸟，时鸣春涧中” describe a dynamic scene to highlight the quietness of the mountain stream. “惊” and “鸣” seem to break the tranquility of the night, but in fact serve as a foil to describe the empty and leisure in the mountain by sounds. (He Chunhua 2018)

The moon emerges behind the clouds, quiet moonlight streams down, a few birds awake from their sleep and twitter from time to time. These beautiful things, with the spring streams running in the hill, put a colorful picture in front of the reader. The birds, of course, accustomed to the silence of the mountain, seemed to have a kind of freshness and excitement when the moon rises. But the brightness of the moon changes the landscape immediately before and after its rise.

Wang Wei was in the heyday of Tang Dynasty. The background of Wang Wei's "月出惊山鸟" is a stable and unified society in the prosperous Tang Dynasty. Although the birds suffer from shock, it is by no means a kind of shock . They will not fly out of the spring stream, or even take off at all, but occasionally chirp among the trees. "时鸣春涧中", they are not so much "startled" but feel fresh to the moon. In this poem, you can not only see the charming environment of the spring mountain dotted with the bright moon, falling flowers and birds, but also feel the peaceful and stable social atmosphere of the Tang Dynasty.

===4. Appreciation of Two English Versions of "Niao Ming Jian"===
(1) The Gully of Twittering Birds

translated by Yang Xianyi

Idly I watch the cassia petals fall;

Silent the night and empty the spring hills;

The rising moon startles the mountain bird

Which twitter fitfully in the spring gully.(Wang Dan 2014)

(2) The Dale of Singing Birds

translated by Xu Yuanchong

I hear osmanthus blooms fall unenjoyed;

When night comes, hills dissolve into the void.

The rising moon arouses birds to sing;

Their fitful twitter fills the dale with spring.(Huang Jing 2010)

====4.1 Formal System====
The formal system of poetry mainly consists of rhyme and form, an audible one and a visual one, both of which are objective and perceptive. The existence of the formal system is the basis for poetry, that is, the reason why poetry is poetry rather than any other literary genre is that it has its own unique formal system. Therefore, the 2 translators，Yang Xianyi（Xin Hongjuan 2012,3） and Xu Yuanchong, translate poetry by poetry in order to represent the beauty of the poetic form. Below, the author will appreciate the two English versions by Yang Xianyi and Xu Yuanchong from the two aspects of rhyme and form.(Sun Banggen 2007）

=====4.1.1 Beauty of Rhyme=====
Zhu Guangqian thinks that "poetry is a pure literary form with melody". In literary works, especially in poetry, sound is the most basic unit of delivering aesthetic value. Although the translator cannot find the phonetic rules corresponding to Chinese poetry in English language, he can reproduce the "phonetic beauty" of the original poem by using English language rules. The beauty of rhyme in poetry mainly includes the beauty of rhythm and rhyme. First of all, in terms of rhythm, the original poem basically conforms to the basic meter of rhythmic poetry. In Yang Xianyi's translation (hereinafter referred to as translation 1), the rhythm of the poem is roughly as follows: (Zhu Guangqian 1998)

/--/--/-/-/（11） /--/--/--/-（11）

-/-//--/-/（10） -/-/--/-//-（11）

In dealing with each line, translator basically take the trochaic form. Although its antithesis is not neat but it is easy to read, largely represents the musical aesthetic feeling of the original poetry. Besides, the trochaic rhythm can give readers a kind of feeling that firstly there is a sound, and then fell silent, which is in accordance with the tranquil atmosphere in Niao Ming Jian. The rhythm of Xu Yuanchong's translation (hereinafter referred to as translation 2) is roughly as follows:

-/-/-/-/-/（10） -/-/-/-/-/（10）

-/-/-/-/-（9） -/-/-/-/-/（10）
The translator adopts iambic pentameter to translate the poem, which has a strong sense of rhythm and can be called as a standard English metrical poem. In terms of the representation of rhythm, both translation 1 and translation 2 are well done, while the rhythm of translation 2 is more in line with the characteristics of the original poem, so translation 2 is better.

The rhyme in poetry is an important factor at the level of rhythmic beauty. Rhyme can make the rhythm of a poem produce harmonious auditory aesthetic satisfaction. In terms of rhythm, the original poem strictly adheres to the rhyming rules of “Lü Shi”. The rhyme at the end of the second and fourth lines is used to create an echoing effect of distant bells in the mountains, making the mountain seem emptier and lonelier.(Yang Yanni 2010,3) In translation 1, the translator uses many assonance in his lines, such as "silent", "night" in the second line; "Fitfully" and "gully" in the fourth line.

The translator also used alliteration, such as "idly", "I" in the first line; "moon", "mountain" in the third line. However, translation 1 does not rhyme at the end of the line. It has the advantage of being free from the restrictions of meter and the language is accurate and fluent. But it also has disadvantage that it loses the beauty of rhyme to some extent.(Tao Yingnian 2017)

As for the translation 2, we can find the end rhyme of the translation 2: /d/ in the first and second line; /ing/ in the third and fourth line. And the rhyme scheme of this translation is aabb. This scheme type can convey the rhythmic beauty of Chinese traditional poetry for its end rhyme is complete. In addition, the first two lines of poetry end with a phone /d/, giving us a feeling of an abrupt stop. The last two lines end with/ing/, leaving a sense of melody for the reader, which is in line with the /ong/ rhyme in the original poem. It can be said that in terms of conveying the rhythmic beauty of the original poem, translation 2 not only represents the original poem, but also makes the target text sounds better than the original one. Therefore, compared with translation 2, translation 1 is slightly inferior in representing the rhythmic beauty of original poem.(Huang Jing 2010)

=====4.1.2 Beauty of form=====
Liu Miqing (2005) believes that the beauty of symmetry and antithesis in Chinese classical literature can be called "The elegance of Beauty", which is unique to Chinese.(Liu Miqing 2005) Externally, the four lines of the original poem, with five words in each line, form regular rectangles. From the inside, we can see that the first line and the second line form a parallel structure: “人闲” and “夜静”; “桂花” to “春山”; “落” to “空”. (Tao Yingnian 2017,8) Antithesis constitutes the important factor of the beauty at the level of the form.(Liu Miqing 2005)

The beauty of the translated poem at the level of form is that its words and sentences are in accord with the length and symmetry of the original poem in antithesis and meter.In the translation 1, the number of words in each line is 7, 8, 7,and 7. In translation 2, the number of words in each line is 6, 8, 7 and 8. Both versions conform to the formal characteristics of the poem. From the appearance of the two translations, both of them have achieved the demand to translate poetry by poetry ,representing the formal characteristics of the original poem.

In terms of syllables, the number of syllables in each line of translation 1 is 11, 11, 10 and 11. The number of syllables in each line of translation 2 is 10, 10, 9 and 10. Both of the form of the two translations are in compact structure, thus achieving the representation of beauty of the original poem. In addition, the third and fourth lines of translation 2 adopt parallel structure, which to some extent represents the antithesis beauty of the original poem.(Huang Jing 2010)

====4.2 Non-formal System====
The non-formal system of poetry is mainly embodied in the artistic conception of poetry. Artistic conception is an important category in Chinese poetics. Artistic conception consists of two aspects: meaning and context. Meaning refers to subjective thoughts and feelings, while context refers to objective life and scenery. In artistic works, meaning and context blend together to form artistic conception. The conveying of artistic conception is directly related to the intuitive and sensible overall linguistic image, but the essence of its beauty is not intuitive and sensible. It usually comes from the feeling, ambition, intention of the artist and the overall artistic beauty of the work, which can easily remind us of the so-called "不著一字，尽得风流".（Li Qijiu 2009）

In poetry, the meaning that a poet wants to express is often conveyed through the images in ancient poems, which are either embodied in scenery or embodied in things. Therefore, when translating Chinese ancient poems, finding the right images is the key point to catch the artistic conception of the whole poem. In order to achieve the aesthetic representation of artistic conception in the translated poem, the translator's poetic sentiment, knowledge of literature and language skills are indispensable. Sometimes the inaccurate translation of one word will change the whole artistic conception and cause the translation to deviate from the original text. In the process of translating poetry, the representation of rhyme and form is the basic step, and that of artistic conception is the completion of the task of translating poetry.（Wu Tong 2018,16）

=====4.2.1 Beauty of artistic conception=====
Yang Xianyi and Xu Yuanchong, the translators of the two translations selected in this paper, have different views on the transfer of the beauty of artistic conception. When talking about the principle of literary translation, Yang Xianyi points out that the general principle is that the content of the original text should not be increased or decreased. He has emphasized the principle of faithfulness for many times and he doesn't think the translator should explain too much when translating. The translator should try to be faithful to the image of the source text. If there is no equivalent in translation, some of the meaning of the original must be sacrificed. Xu Yuanchong, on the other hand, believed that among the beauty of sound, form and meaning, meaning was the most important, followed by sound and form.(Xu Yuanchong 2006)

Translators play two roles in the process of translation: text reader and text producer. Translators must give full play to their subjectivity on the basis of a deep understanding of the content and aesthetic value of the original text, and creatively reproduce the verve and artistic conception of the original text, so that the readers of the translated text can truly experience the beauty in reading. In the following, the author will start from the title and analyze the two translators' representation of the artistic conception of the original poem.

The title of the original poem is "鸟鸣涧", which is a modifier-head structure. In this structure, "鸟鸣" modifies "涧". This structure emphasizes the static state of the noun "涧". Translation 1 and 2 respectively translate the title as two noun phrases "The Gully of Twittering Birds" and "The Dale of Singing Birds" , which are similar to the modifier-head structure of the original poem. The head nouns "The Gully" and "The Dale" are modified by "of Twittering Birds" and "of Singing Birds", highlighting the quiet state of the mountain, which conforms to the artistic conception of the original poem. Two title is identical structurally, but differ in the words used.(Tao Yingnian 2017)

The translation 1 translates "涧" as "gully", which the Oxford Advanced Learner's English-Chinese Dictionary (hereinafter referred to as "the dictionary") interprets as: "a small, narrow channel, usually formed by a stream or by a rain". "涧" in the Xinhua Dictionary is defines as a gutterway in the mountain, so the translation 1 corresponds to the original poem; Translation 2 translates "涧" into "dale", which is defined as "Valley, ESP, in Northern England" in the dictionary. But "涧" in original poem just refers to an ordinary mountain stream, which is still far from a dale.

Then is the translation of "鸟鸣", defined in the dictionary as "when birds twitter, they make a series of short high sounds"; Translation 2 translates "鸟鸣" as "singing". Translation 1 uses onomatopoeia to translate it, which is more vivid in sensory image; While translation 2 uses personification to highlight the melody of bird songs, which brings people a more graceful feeling and a more harmonious artistic conception.

It can be said that translation 1 adopts literal translation while translation 2 adopts free translation. Although both of them can reflect the activity of bird, translation 2 compares it to singing, on the basis of being faithful to the original text, adds a more poetic aesthetic feeling from the aesthetic point of view, and the images described are more easily accepted by readers.

Next comes the translation of the poem's first line. First of all, in terms of the treatment of "人", both translation 1 and translation 2 add the subject "I" to translate "人" into the poet himself, because Chinese sentences do not necessarily have the subject while English must indicate the subject. Although it is difficult to achieve complete equivalence, it is also a relatively reasonable translation method. On the translation of "闲", translation 1 cut to the chase, using the word "idly" indicates that the state of the viewer, it is in line with the original text in the idle state of mind; Translation 2, which puts "unenjoyed" at the end of the line, meets the need of rhyme but adds translator's creative content. But there is not unenjoyed feeling in the original poem, so translation 1 is better here.

Next, on the translation of "桂花", two translation appear difference. In translation 1, "桂花" is translated into "cassia petals". The author looked it up in the dictionary and discovered that its meaning is the petal of cinnamon tree; in translation 2 it is translated into "osmanthus blooms" , which is almost synonymous to the translation 1. Both translation 1 and translation 2 take the same way to translate it, that is, using the proper noun.

As for the "桂花" in this poem, scholars have different explanations. One explanation is that there are different kinds of "桂花", such as spring flowers, autumn flowers and perpetual flowers. What is written here is a kind of spring flowers. Another view is that literary and artistic creation does not necessarily follow life. It is said that the painting by Wang Wei called Yuan ''An Lying in the Snow'' has green plantains in the snow. Things that cannot appear together in real life are allowed in literary and artistic creation. However, this poem is one of five poems that written for his friend's house. Each of these five poems is written in a realistic way, which is similar to the landscape painting. Therefore, it is reasonable to translate "桂花" to the osmanthus that blossoms in spring. However, in English, there is not so fine classification of osmanthus, so it is difficult to find a counterpart. The two translators have tried their best to translate it, and their translations of "桂花" are understandable. In addition, it should be noted that the ways the two translators deal with the connection between the viewer and osmanthus are different. Translation 1 uses "watch" to see the flowers falling down, while in translation 2, the word "hear" is used, which is different from the usual setting of appreciating flowers and is the result of the translator's thoughtful and creative translation. Hearing the sound of falling petals can better reflect the empty of the poet's heart than seeing, thus better representing the tranquility of the mountain stream.（Yan Guoying 2010）

Translation 1 Adopts the parallel structure when translating the second line, using the literal translation method to combine the silent night with the empty mountain stream. It is a static description without the description of the sequence of the events, reproducing a kind of vague beauty; in translation 2, "夜静" and "山空" are in time sequence, belongs to the dynamic description, showing the night's coming and the mountain becomes silent. The stationary state in the original poem becomes a process from a dynamic situation station to static one, successfully represent the hidden grammatical relations in the original poem. Therefore, for the translation of the second line, both the two translators have strong point.

In the translation of the third line, the translation of "惊" is of great importance for it serves as a key to show the skills of polishing words of Wang Wei. In translation 1, it is literally translated into "startles", which means"cause a person or animal to feel sudden shock or alarm" in the dictionary. But are birds really startled? According to the appreciation of the original poem in the last chapter, the birds are not startled but only disturbed by the moonrise. "Startles" here is somewhat abrupt and the beauty of the original poem is not represented, so it is not an appropriate translation; Xu Yuanchong translates it into "arouses", which is defined as "evoke or awaken a feeling, emotion, or response”in the dictionary. Compared to the translation 1, translation 2 is not only more natural but also gives the reader a sense of harmony between human and nature.(Yang Yanni 2010)

The last is the translation of the fourth line. The two translations are basically the same in terms of words and translation methods, except the difference in sentence pattern. The translation 1 uses a non-restrictive attributive clause to combine the third line and the fourth line together, which means that the translator deal with the "月出" and "鸟鸣" as two simultaneous events, that is to say, there is no sequence between the moonrise and bird's singing, which is inconsistent with the original poem. The translation 2 deals these two lines with two sentences, perfectly embodying the relationship between the rise of the moon and the song of birds, which fits well with Wang Wei's state of "painting in poetry".(Zhao Dongli 2009)

===5. Conclusion===
By analyzing the two translations above, the author finds that in poetry translation Yang Xianyi attaches importance to form and Xu Yuanchong to meaning. Yang Xianyi prefers literal translation while Xu Yuanchong prefers free translation. In terms of formal system translation, Yang Xianyi's grasp of the beauty of rhyme is a little bit inferior to that of Xu Yuanchong, but in terms of the grasp of antithesis in poetry, both translators have demonstrated exquisite translation skills, each with its own advantages. Therefore, it can be seen that the mastery of source language and target language is very important in translation. In terms of the translation of non-formal systems, namely artistic conception, both translators represent the image beauty of the original poem to a large extent, but Xu Yuanchong's translation is better because Yang Xianyi uses more literal translation, which is slightly rigid. Xu's translation is more cohesive and readable, giving people a dynamic and harmonious aesthetic feeling.

Although there are differences between Chinese and Western cultures, a good translation can still represent the appearance, scenery and feelings of the original poem. From the perspective of translation aesthetics, the combination of literal translation and free translation is necessary in order to realize the aesthetic representation of poetry in translation. In terms of translation, both formal system and non-formal system should be taken into account to represent the beauty of poetry in sound, form and meaning. This also gives the corresponding aesthetic requirements for the translator, the translator must constantly improve their language skills and appreciation ability, in order to achieve continuous breakthroughs in aesthetic representation.（Wang Jie 2009,4）

===References===
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*Fang Mengzhi. 方梦之. (2004). ''译学词典''. [A Dictionary of Translation Studies]. 上海外语教育出版社[Shanghai Foreign Language Education Press] 296.

*Huang Jing, Li Shijun. 黄婧，李仕俊. (2010). 从翻译美学角度对比《鸟鸣涧》四种译文. [Comparison of Four Translations of "Niao Ming Jian" from the Perspective of Translation Aesthetics]. ''外语'' [Foreign Language] 130.

*Lao Qinyao, Luo Zhenting. 劳琴姚，罗正婷. (2017). 翻译美学视角下审美效果的再现——以《醉翁亭记》两译本为例. [ Aesthetic Representation of Two English Versions of "Zui Wen Ting Ji" from the Perspective of Translation Aesthetics] ''安徽文学'' [Anhui Literature] 49-51.

*Liu Miqing. 刘宓庆. (2005). ''翻译美学导论''. [An Introduction to Translation and Aesthetics]. 北京：中国对外翻译出版公司[Beijing: China Translation and Publishing Corporation].

*Tao Yingnian. 陶迎年. (2017). 从音、形、意三美对比《鸟鸣涧》五种英译本.[Comparison of Five English Translations of “Niao Ming Jian” from Beauty in Sense, Sound and Style]. ''语言应用研究'' [Language Application Research] 143-145.

*Wang Li. 王力. (2000). ''诗词格律''. [The Rhythm of Poetry]. 北京：中华书局[Beijing: Zhonghua Press] 133.

*Wu Tong, Li Shuhua. 吴桐，李淑华. (2018). 从翻译美学角度看中国古诗翻译. [Study of the Translation of Ancient Chinese Poems from the Perspective of Translation Aesthetics]. ''海外英语'' [Overseas English] 151.

*Wang Jie. 王洁. (2020). 杨宪益文学翻译思想探析.[The Study of Yang Xianyi's Thought on Literary Translation]. ''西安文理学院学报'' [Journal of Xi'an College of Literature and Science] 111.

*Xie Wenli. 谢文利. (1989). ''诗歌美学''. [Aesthetics of Poetry]. 北京: 中国青年出版社[Beijing: China Youth Press].

*Yu Shucheng. 余恕诚. (1983).''唐诗鉴赏辞典''. [A dictionary for Appreciating Tang Poetry]. 上海辞书出版社[Shanghai Lexicographical Publishing House] 183-185.

*Zhu Guangqian. 朱光潜. (1998).''诗论''. [Poetry Theory].北京：生活读书新知三联书店[Beijing: SDX Joint Publishing Company].

==An Chinese Aesthetic Study on Ezra Pound's Four Poems of Departure in ''Cathay'' - From the Perspective of Xu Yuanchong's "Beauty in Sense" Principle 石迪文 Shi Diwen, 202020080638==

===Abstract===

At the dawn of the 21st century, Ezra Pound, intrigued by Chinese classical poetry, gave fresh impetus to the American New Poetry Movement. One of his works in this period, ''Cathay'', involves nineteen Chinese poems selected and translated from Ernest Fenollosa’s notes, with contents spanning a thousand years from the Spring and Autumn P eriod (770B.C.-476B.C.) to the Tang Dynasty (618-907), in which Chinese classic poetry reached its acme and Confucian aesthetic philosophy of poetry and Taoist aesthetics dominated.

The study is focused on its four Poems of Departure, all originally written by Li Bai (李白), including "Separation on the River Kiang", "Taking Leave of a Friend", "Leave-taking near Shoku" and "The City of Choan". Its main contents involve interpretation and further exploration of the Chinese classic aesthetic values in Pound's version from the perspective of Xu Yuanchong's "Beauty in Sense" principle, by which it will prove that Pound's creative translation of Chinese classical poetry still possesses some Chinese classical aesthetic concepts.

===Key Words===

Ezra Pound, ''Cathay'', Chinese classical aestheticism, Beauty in Sense Principle

===题目===

从许渊冲意美原则来看庞德《华夏集》中离别诗四首的中国美学研究

===摘要===

二十一世纪初，伊兹拉·庞德所领导的新诗运动从中国古典诗歌中寻找推动力，他在此期间所创译的《华夏集》从费诺罗萨笔记中选取了19首中国古典诗，横跨历史千年，从孔子编纂《诗经》的春秋时期(公元前770-公元前476年)到李白诗歌十二首的盛世唐朝(618年-907年)，这段时期中国古典诗达到艺术巅峰, 孔子所提出的诗歌美学观念成为古代诗歌理念主流之一，与道家美学双河并流。本篇论文将聚焦于四首诗人挑选成章的离别诗，均来自李白诗歌，分别是《黄鹤楼送孟浩然之广陵》、《送友人》、《送友人入蜀》以及《登金陵凤凰台》。论文主要内容是从许渊冲的意美原则阐释和进一步发现庞德译作中保留的中国古典美学价值。通过这种方式，本文试图证明庞德对中国古诗的创造性翻译中仍具有中国古典美学观念。

===关键词===

伊兹拉 · 庞德，《华夏集》，中国古典美学，意美原则

===Introduction===

Ezra Pound (1885-1972), one of the most influential and controversial figures in American literature, has received floods of praises and condemnation about his Cathay, a creative translation of nineteen Chinese poems, which introduces Confucian principles of poetry to American Imagist Movement. It not only rose against the exaggerative and mannered expression of Victorian style to boost the development of Western poetry but also set one of the important achievements in the history of Sino-Western cultural exchanges. The work involves nineteen Chinese poems selected and translated from Ernest Fenollosa’s notes, with its contents spanning a thousand years from the Spring and Autumn period (770B.C.-476B.C.) to the Tang Dynasty (618-907), in which Chinese classic poetry reaches its acme and Confucian aesthetic philosophy of poetry and Taoist aesthetics dominated.

The study concentrates on Four Poems of Departure in Cathay, including "Separation on the River Kiang" (《黄鹤楼送孟浩然之广陵》), "Taking Leave of a Friend" (《送友人》), "Leave-taking near Shoku" (《送友人入蜀》) and "The City of Choan" (《登金陵凤凰台》), all of them originally written by the poet Li Bai, who was born in the most glorious age of Tang Dynasty. Its main content involves the reinterpretation of Pound's version from the perspective of Xu Yuanchong's "Beauty in Sense" Principle, by which to prove that Pound's creative translation of Chinese classical poetry still possesses Chinese classical aesthetic concepts. Besides, the article will testify the reasonability of the application of the principle to the appreciation of Pound’s translation, and deepen the learning of Chinese classical aesthetics.

===The Introduction of Xu Yuanchong’s “Beauty in Sense” Principle===

Beauty in sense in the translation of classical poetry comes first in the Xu Yuanchong’ Three Beauties. Generally speaking, Beauty in sense originates from the similarity in sense when doing the translation work; however, similarity in sense is just the superficial structure and beauty in sense belongs the deep one. (Xu Yuanchong, 1984: 64) Firstly, it puts forward Confucian aesthetic thoughts and Taoist aesthetics: one stresses the neutralization beauty of “gentleness” and “sincerity” (温柔敦厚); the other concerns about the imagery beauty of Chinese classical images and its artistic conception.

More precisely, Confucius advocates that the personal emotions expressed in poems should not be observed directly or thoroughly but be clouded, or to say, recorded emotional experiences of the real or imagined world should be presented in a roundabout and implicit way and brim with a beauty of moderation in content, i.e. “joyous but not indecent, mournful but not distressing, without resentment and slander ("乐而不淫, 哀而不伤, 怨而不谤"-《论语·八佾》).”

In Taoist thoughts, the Way (“道”) originates from the Nature and the Nature breeds a ultimate beauty as Chuang Tzu said, “Heaven and earth have their great beauties but do not speak of them; the four seasons have their clear-marked regularity but do not discuss it; the ten thousand things have their principles of growth but do not expound them ("天地有大美而不言，四时有明法而不议，万物有成理而不说。圣人者，原天地之美而达万物之理"-《庄子·外篇·知北游》).”

Taoism attached importance to the employment of natural images that not only echoes the neutralization beauty in poetic content but also creates an aura of a certain artistic conception(意境), concerned with the Taoist doctrines “object observed by object (以物观物)” , “both subject and object dissolve (物我两忘)” and “Heaven and earth were born at the same time I was, and the ten thousand things are one with me("天地与我并生，而万物与我为一"-《庄子.齐物论》),” as Wai-lim Yip says, “Taoist aestheticism is inspired by the unique technique of expression of observation and experience in Lao Tse (《老子》) and Chuang Tzu (《庄子》)”. (叶维廉，2004: 1)

Taoism puts forward that simplicity and plainness come to revive when the subject in poetry actively retreats from the governing place to leave more space for object and in return all objectives create a harmony with the subjective feelings. Thus, the reproduction of images is critically fundamental in the translation of Chinese classical poems and the love for images even contributes to a series of juxtaposition of imagery.

===The Sense Beauty in Four Poems of Departure===

Four Poems of Departure, all originally written by Li Bai and concerned with the theme of parting from Pound’s views of point, are " Separation on the River Kiang "(《黄鹤楼送孟浩然之广陵》) , " Taking Leave of a Friend " (《送友人》), " Leave-taking near Shoku " (《送友人入蜀》) and " The City of Choan " (《登金陵凤凰台》) respectively. Li Bai, a famous poet in the Tang Dynasty at its most prosperous time, always had the ambition for political achievement under the influence of Confucianism but with most of his talent in poetry he failed and exiled to the south-west.

In his life, he never settled down, and the restless energy of his life found its counterpart both in the speed with which he set down his compositions and in their propulsive sweep while the vigour and flamboyance of much of Li Bai’s poetry hides a deep core of loneliness. (Vikram Seth, 1992: 19) Impacted by Taoism, His emotion always seems to be related with the Nature and even the speaker in poem seemingly becomes superseded by the natural things while the emotion exists, flowing in a harmonious natural space of poetry. What’s more, the four poems following the tradition of Confucian philosophy in poetry turn an emotional surge into trickles of feelings.

====The Sense Beauty in "Separation on the River Kiang"====

"Separation on the River Kiang"(《黄鹤楼送孟浩然之广陵》) is the first poem in Four poems of Departure, telling a story of parting with an intimate friend along the River Kiang. The original poem and Pound’s version are:

黄鹤楼送孟浩然之广陵

(唐）李白

故人西辞黄鹤楼，烟花三月下扬州。

孤帆远影碧空尽，唯见长江天际流。

Separation on the River Kiang

By Ezra Pound

KO-JIN goes west from Ko-kaku-ro,

The smoke-flowers are blurred over the river.

His lone sail blots the far sky.

And now I see only the river,

The long Kiang, reaching heaven.

In the content of the first two lines, the translator mistranslates “故人”, “黄鹤楼” and to be more exactly he simply transliterates the Japanese version ("こじん" and “こうかくろう”) of the two nouns into their English version（KO-JIN and Ko-kaku-ro). The three words KO-JIN, Ko-kaku-ro, Kiang transliterate the related Japanese Kanji(日语汉字), whose accents originate from ancient Chinese pronouncation. Although the imitation is against its original meaning, it adds a hint of exoticism to the translation.

However, Pound maybe not a good Japanese learner because "こじん"(KO-JIN) refers to a dead person but not "故人" (an old friend). Furthermore, “烟花” means fireworks while Pound splits the word into “烟” (smoke) and “花” (flower) and invents a new compound word “smoke-flowers”. As for the last lines, he adopted a strategy of creative translation rather than word-for-word translation.

From the view of Xu’s Beauty in sense, Pound, though careless about the counterparts of culture-loaded words, successively transfers the sense beauty to his readers. Firstly, the translation follows the tradition of the original’s style for there is no intention of directly telling others the unwillingness of departure but the word “lone” betrays all sentiments, not only the solitude of the friend but also that of the poet himself. Besides, the version echoes the Taoist philosophy “object observed by object ” , “both subject and object dissolve ”.

The verse like an ink wash painting in which the white river-mist (“smoke-flowers”) unified with sky and river turns into being a Chinese art paper with the lone sail “blotting” while even though the sight of boat is blurred, the poet stands still and gazes at his friend’s receding figure, disappearing into nothing. At this time, all feelings are silent in the rimless mist only with a word “lone” left behind to be pondered on, rising up to a state of relieve and broad mind. In the last two lines, all things except the river vanish from the sight, leaving the world to the speaker and his gentle melancholy.

Thus, Pound represented the “gentleness” and “sincerity” in emotional expressions. Moreover, he preserved the imagery beauty of “lone sail”(孤帆) and “far sky”(碧空). A lone sail sets for someplace under the far sky, which seems a metaphor that compares the friend with the boat and the uncertainties with the sky. That shows the speaker is afraid of what the future will be with his friend. From the pespective of spatial structure, the “sail” as a point, the “river” as a line, the “sky” as a plane, all of these get combined and condensed into one sentence, easily transporting readers to the poetic space. While the infinite extension of “river” in the last sentence strengthen the comparison between the vastness of space and the tininess of human, reproducing the Taoist idea in the original that Man is an internal part of the Nature.

Furthermore, it is worthwhile noting that the word “reaching” in the last line to some degree depicts the river flow for the inflectional morpheme “-ing” imitates the movement, unfolding the picture in which river melt into the sky in the mind. All in all, the poem is spiritual alike with the original not only in the style of emotional expression but also in the imagery beauty, both of which are underpinned by the deep understanding of Confucian and Taoist aesthetics in the original.

====The Sense Beauty in “Taking Leave of a Friend”====

"Taking Leave of a Friend"(《送友人》) is the most sentimental in the four poems. The original poem and Pound’s version are:

送友人

(唐）李白

青山横北郭，白水绕东城。

此地一为别，孤蓬万里征。

浮云游子意，落日故人情。

挥手自兹去，萧萧班马鸣。

Taking Leave of a Friend

By Ezra Pound

Blue mountains to the north of the walls,

White river winding about them;

Here we must make separation

And go out through a thousand miles of dead grass.

Mind like a floating wide cloud.

Sunset like the parting of old acquaintances

Who bow over their clasped hands at a distance.

Our horses neigh to each other

as we are departing.

The first word “blue” is fabulous for its pun on the sad tone of the whole poem. Likewise, “a thousand miles of dead grass” in the fourth line also reflects the speaker’s mind state by keeping the original exaggeration. However, the translation of “孤蓬” into “dead grass” should be more elaborated for “蓬” is a typical drifting plant, called fleabane. Thus, the original describes it “孤”(lonely) while “dead” in Pound’s version goes too far, though it echoes the sad parting. Pound does not directly describe the speaker but the object, successfully weakening the expression of strong feelings and allowing readers to take a glance at his sorrow. In the fifth line, the parallel of wandering clouds and the setting sun emerge readers in empathy for the parting to come but the expected high-tide is absent, superseded by a shift of perspective:

Our horses neigh to each other
as we are departing.

The poet and his friend wave hands to each other without any words or close contact and leave. In tranquility, the rising sadness of the former part is blocked out by use of personification, providing the time for regaining elegance when the horses’ neighs as tribute to each other. On the whole, the poem realizes the sense beauty for its control of the speaker’s emotional expression. As for imagery beauty, all the images like mountain, river, cloud are well kept. Besides, “ Mind like a floating wide cloud ” misinterprets the original line “浮云游子意”, which means that young men like clouds never be settled instead of on the way for realizing their aspirations.

Furthermore, it is a pity that the translating of the line “挥手自兹去” is omitted because the casual and silent action of waving hands by comparison with their horses’ whicker suggests their relationship as Confucius said “The friendship between gentlemen appears indifferent but is pure like water ("君子之交淡如水"-《庄子·山木》)”. Although there are omissions, the imagery beauty is well-interpreted, especially in the last line. The description of horses’ behavior is so realistic that the poem touching a chord with readers at once prints a lifelike painting on their minds and presents their reluctance to part in a roundabout way.

Moreover, Pound conforms to the concise principle of the original and put a series of prepositions into use such as “to” in “mountains to the north” and “ neigh to each other”, in order to amplify the types of sentences and simplify the expression. To be more precise, a long sentence with verbs obviously contrasts with short sentences, which contributes to the formation of natural musical qualities. For example, the first and second line set a context for the parting with specific words to describe like “blue”, “white” and “winding”.

However, detailed writing immediately become replaced by the intermission separating a long sentence into a short one ( “Here we must make separation”) and a long one. The former gives readers a chance to slow down the music rhythm, which can also be considered as a suspension of the high tide. Because the latter, the longest sentence in the poem, with exaggerative words like “thousand” and “dead” crystalizes the strongest emotional expression. Like Chopin’s Etudes, op.10 No.3 (Tristesse), the contrast of low and high notes rises up a kind of musical beauty, unique to English language.

What is following is a pair of metaphors, alleviating the tension but the second longest sentence does not leading the poetic music to its second high-tide. All of these turbulent feelings are ended by two separate short lines “Our horses neigh to each other” “as we are departing”, echoing the thirds line “Here we must make separation”. On the whole, Pound’s version creatively endowed the poem with the musical qualities of English language and at the same time the compactness and simplicity of Chinese poetic sentence structure still dominate. Overall, its irregularity corresponds to the ups and down of the speaker’s uneasiness.

Furthermore, he broke out the grammatical rules to compact the diction of images, particularly in the first two lines “Blue mountains to the north of the walls, White river winding about them”, which makes use of preposition to replace the two verbs “横” “绕”. Similarly, in the line “浮云游子意，落日故人情”, Li Bai directly juxtaposes the images “浮云” (wandering clouds) “落日” (the setting sun) and personal emotions “游子意”(wanderer’s feeling) “故人情” (nostalgia for old friends) while Pound employs the preposition “like” to connet the nouns and its figurative meaning. Actually, Pound does not really understand Li Bai’s intention that instead of metaphor he just aims to reach a Taoist balance by a simple juxtaposition of natural images and emotion, leaving more uncertainty for readers to imagine.

====The Sense Beauty in “Leave-taking near Shoku”====

"Leave-taking near Shoku"(《送友人入蜀》) is written to a friend who has been relegated to a barren territory, called Shu (蜀) and the parting is near:

送友人入蜀

(唐）李白

见说蚕丛路，崎岖不易行。

山从人面起，云傍马头生。

芳树笼秦栈，春流绕蜀城。

升沉应已定，不必问君平。

Leaving-taking near Shoku

By Ezra Pound

THEY say the roads of Sanso are steep,

Sheer as the mountains.

The walls rise in a man’s face,

Clouds grow out of the hill

at his horse’s bridle.

Sweet trees are on the paved way of the Shin,

Their trunks burst through the paving,

And freshets are bursting their ice

in the midst of Shoku, a proud city.

Men’s fates are already set,

There is no need of asking diviners.

In the original poem, metaphor and exaggeration are used to describe the hostility of the journey in the first five lines, both of which are well-preserved in the translation. Even though the areas of Shu is mountainous with treacherous roads and thousands miles away from the capital city, the speaker positively find scenery beauty: “芳树” “春流”, translated to“sweet trees” and “freshets” respectively by Pound. It is obvious that “春流” is mistranslated for he wrongly equals it with the image of rising river with ice melting.

Actually, Shu (蜀) or to say Sichuan Province, has four seasons warm like spring, thus it is impossible for the scene “freshets are bursting their ice” to happen. Briefly speaking, Pound over-translates the line. By and large, the first stanza fundamentally reproduces both the arduous trip to Shu and its enchanting landscapes.

However in the last part, the friend is afraid of uncertainties in making fortune as well as the dangers in the journey, thus always turning to a fortune-teller for suggestions. The last two lines, or to say, an epigram, “升沉应已定，不必问君平” is paraphrased as “Men’s fates are already set, There is no need of asking diviners” . Although “君平”, a Chinese literary allusion to a physiognomist, is unavoidably omitted, the entire translation resonates Confucius’ words “Junzi keeps his elegance and tranquility in distress but the petty will completely lose the morality of human ("君子固穷, 小人穷斯滥矣"-孔子《论语·卫灵公》)” .

In purpose to summon up his friend’s courage to face the challenge instead of being a coward who loses gentleman’s elegance, being threatened by the unknown and begging for unrealistic assistance. In a broad sense, this poem encourages people in troubles to conquer fears with optimism and keep the brave spirit in heart no matter what is confronted with, not only brave to be self-reliant in life but also be self-dependent in spirit. All in all, Pound’s version except for some errors is a perfect match for the original in content: (1) the reproduction of images in English language essentially preserves the imagery beauty; (2) the smart and brief interpretation of the last epigram keeps Chinese philosophical beauty.

By analyzing the entire poem, we can find that sentences with link-verb predicative are comparatively increased like “Sweet trees are on the paved way of the Shin/Their trunks burst through the paving” and “And freshets are bursting their ice” . By using the be form, the verb “burst” directly presents the dominance of trees’ shadowing the track, spiritually alike to the Chinese verb “笼” while its progressive form becomes more dynamic and vivid, which elaborately conveys the vitality of river, though it deviates from the meaning of “绕” (wind). What’s more, other be forms also can be seen in the last line. When people read it, the speaker’s affirmation can make them convinced of his thought, miraculously retelling Li Bai’s encouragement to his friend.

====The Sense Beauty in “The City of Choan”====

The last poem “The City of Choan”(《登金陵凤凰台》) distinct from the previous three poems of departure seems to be more about a contemplation of history in a historical site (called Phoenix Terrace, 凤凰台) than a parting. The reason for why Pound classifies it into Four poems of Departure may be that parting in a broad sense is a farewell to anything such as the speaker’s leave from Choan, which actually misinterprets the original.

登金陵凤凰台

(唐)李白

凤凰台上凤凰游，凤去台空江自流。

吴宫花草埋幽径，晋代衣冠成古丘。

三山半落青天外，二水中分白鹭洲。

总为浮云能蔽日，长安不见使人愁。

The City of Choan

THE phoenix are at play on their terrace.

The phoenix are gone, the river flows on alone.

Flowers and grass

Cover over the dark path

Where lay the dynastic house of the Go.

The bright cloths and bright caps of Shin

Are now the base of old hills.

The Three Mountains fall through the far heaven,

The isle of White Heron

splits the two streams apart.

Now the high clouds cover the sun

And I can not see Choan afar

And I am sad.

In the first two line of the original, by comparing the prosperity of a dynasty to the phoenix, an auspicious sign in the ancient China, the speaker clarifies the truth that a dynasty no matter how powerful it is will not escape from changes in the passage of time (a parallel to the coming and leaving of phoenix) while nature keeps its law functioning, with all that used to be prosperous now reduced to a wilderness. In Pound’s version, the basic meaning and the main image phoenix are well preserved but there is a call for improvement.

Explicitly, the culture-loaded words are literally translated, possibly leading to some misunderstandings. For example, “晋代衣冠”(official uniform in Jin Dynasty) is a metonymy for the ruling class in Jin instead of clothing itself. After pondering on the fall of Jin (“Shin”) and the rise of Wu ( “the Go” ) , the speaker casts his sight on the real scene before him: “三山半落青天外，二水中分白鹭洲”, translated as “The Three Mountains fall through the far heaven/ The isle of White Heron splits the two streams apart”, which completely reproduces the geographic space in the original for the translator by describing the vertical space through the use of the verb phrase “fall through” and the planar space “splits...apart”.

In the last line of the original, the image of sun is employed to symbolize the central power of the country while the “high clouds” (a metaphor for treacherous officials ) obscure it, suggesting that corrupted and crafty officials blind the monarch to justice. Thus, as a loyal subject with integrity, he suffers a false charge and “can not see Choan (长安), a capital city here as a metaphor for the ruler) afar”, which implies that his political fantasy goes down. The depression for the monarch’s ignorance is mixed with his growing feeling of disillusionment.

Its translation, on the basis of keeping the metaphor, also represents the the neutralization beauty of “gentleness” and “sincerity” for his “I am sad” reproduces the meaning of “愁”. The simplest words are the most touching words. All worries for the country and grudges against the tribulations are condensed into the three words. All in all, the original’s sense beauty in both metaphor and emotional expression is perfectly reproduced in Pound’s translation.

When reading the poem, people can find that the poem is incredibly full of alliteration and repetition, which seems not to be Pound’s free style. In the first part, repetition of Phoenix appears in the beginning of the first two lines, representing the repetitive sound of “凤 (fèng)”. Besides, in the line “The bright cloths and bright caps of Shin/ Are now the base of old hills”, the repetitions of “bright” and the phone [s] in “cloths”, “caps” and “base”give the version some qualities of classical music, which sound suitable for the historical theme. Overall, the translation divides the original into two stanzas: one concerning the contemplation of historical changes; the other about the view of the historical views (The Phoenix Terrace) before his eye and his deep sorrow for his suffering, which explicitly separate the poem into the past and the present.

In the poem, time integrates with space and at the same time nature integrates with the speaker’s aspiration, revealing the contradiction between Confucius’ Rushi (入世) and Taoist Chushu (出世). The former refers to the aspiration “To establish intention for the world; to shoulder mission for the people; to inherit discontinued learning for the late saint; and to initiate peace for all ages ("为天地立心，为生民立命，为往圣继绝学，为万世开太平"-张载《横渠语录》)” accepted by Chinese literati throughout generations under the influence of Confucius, which is also presented by the speaker; the latter showed in the historical and natural changes in the poem means transcendence from worldliness and the government should be in harmony with the Nature as Lao Tzu said :

Heaven and Earth are not kind.

They regard all things as offerings.

The sage is not kind.

He regards people as offerings.

Is not the space between Heaven and Earth like a bellows?

It is empty, but lacks nothing.

The more it moves, the more comes out of it.

A multitude of words is tiresome,

Unlike remaining centered.

===Conclusion===

All the four poems are in a melancholy tone but they are distinct from each other in Beauty in Sense. The first poem “Separation on the River Kiang” in the most gentle but most overwhelming way expresses negative emotions with only one word (“lone”) betraying the speaker’s sorrow while at the same time integrated with the boundlessness of the River Kiang, which keeps and reproduces the original imagery beauty tactfully; In “Taking Leave of a Friend”, Pound adopts a series of figures of speech such as hyperbole and metaphor, essentially representing the artistic conception of the original, though there are some mistakes in comprehension.

“Leave-taking near Shoku” perfectly retells the original, or to say, it is the most loyal one to the original text, particularly in the last but the most important lines, which really give the best interpretation of the speaker’s intention; The last poem “The City of Choan” is improperly involved in Pound’s selection of four poems of departure due to the tiny misunderstanding of the last line in the original but the translation excellently reproduces the historical vicissitudes and the beauty of spatial construction in the original.

In China most of the researches on Cathay have been concerned with the translation comparison of selected texts, all of which have attached importance on the aesthetic presentation of the Pound’s version. But actually, Chinese traditional aesthetic philosophy has not been ever further studied by our English learners such as the Confucian and Taoist artistic philosophy. Thus, it is worth noting the problem that the related researches are fixed in form and monotonous in content. To solve it, studies about Cathay in the future should be underpinned by the Chinese cultural learning and new findings will take root in the untrodden soil of Chinese classical culture.

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Wai-lim Yip. ''Ezra Pound’s Cathay''[M]. Princeton: Princeton University Press.1969:24-30

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Jiao Yawei & Wang Guibao 焦亚葳,王贵宝.(2010).温柔敦厚: “中和”美学观的典型性表述.[Gentleness and Sincerity: Typical Statements of Moderation and Hamony].[J]. 河北学刊 Hebei Academic Journal 30(04): 230-232.

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Wai-lim Yip 叶维廉.(2004).道家美学、中国诗与美国现代诗.[Taoist Aesthetics, Chinese Poetry and Modern American Poetry].[J].中国诗歌研究 Studies of Chinese Poetry(00):1-46+365.

Zhao Limei 赵丽梅.(2011).李白的诗与道家思想.[Li Bai’s Poems and Taoism].[J].学术探索 Academic Exploration(06):106-109.

Zhang Linlin 张林林.(2013).许渊冲“三美”原则视角下的李白诗歌英译美学研究.[An Aesthetic Study on the English Translation of Li Bai’s Poetry - From the Perspective of Xu Yuanchong’s “Three Beauties” Principle].[D].苏州大学 Soochow University:23-38.

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==A Study on the Four Levels of Translation Based on Newmark’s Theory 张玲 Zhang Ling, 202070080623==

Zhang Ling, Student no. 202070080623

===Abstract===

Faithfulness, which is regarded as the basic standard of translation, has always been put in the first place in traditional translation standards. To appreciate the quality of a translation, we mainly see whether the translation can accurately express the meaning of the original text and be faithful to the original. On the level of translation, many translators have put forward their own views. Peter Newmark, British translation theorist, once put forward the view of "textual level, referential level, cohesive level and level of naturalness". According to Newmark's point of view, in the process of expression, the translator must be responsible for the original text and the translation at these four levels, so as to faithfully express the meaning of the original text. From the perspective of level, this paper analyzes the four levels and how the translation should be faithful to the translation.

===Key Words===

textual level; referential level; cohesive level; level of naturalness

===题目===

从纽马克的翻译理论看翻译的四个层次

===摘要===

传统的翻译标准一直将“信”摆在首位，即“忠实”，并将其作为翻译的基本标准。鉴赏一篇译文的质量，我们主要会看译文是否能准确表达原文的意思，忠实原文。关于翻译的层次，许多翻译学家都提出了自己的见解，英国翻译理论学家纽马克的曾提出“文本层次、所指层次、粘着层次和自然层次”的说法。按照纽马克的观点，在表达的过程中，译者必须在这四个层次上对原文和译文负责，才能做到忠实地表达原文的意思。本文将具体分析这四个层次，从层次的角度来分析翻译的忠实性。

===关键词===

文本层次所指层次粘着层次自然层次

===Textual Level===

Textual level refers to the literal meaning of the original text. It focuses on determining the specific meaning of a word. In the process of translation, it is the first level that translators should pay attention to, because any translation comes from the original. It is not only the beginning but also the end of translation activities. (Xu Ling, 2005)

To a great extent, to be responsible for and faithful to the original text is that we must be faithful to the literal meaning of the original. The phenomenon of polysemy exists in both English and Chinese. In the process of understanding the literal meaning of the original text, we often encounter the difficult point of how to deal with polysemy. A polyseme refers to a word which has multiple meanings, usually related by contiguity of meaning within a semantic field. Therefore, the same word may have completely different meaning, which will interfere with the understanding of the literal meaning of the original text. Here are some examples. (Luo Jinde, 1998)

E.g.1

SL text: It is quite another story now.

TL text：现在情况完全不同了。

E.g.2

SL text: The white-haired girl's story is one of the saddest.

TL text: 白毛女的遭遇可算是最悲惨的。

E.g.3

SL text: A young man came to police station with a story.

TL text: 一个年轻人来到警察局报案。

Although these three examples are very simple, they are very instructive. This three sentences all contain the word “story”, but its meaning is different like black and white when it is translated. In the first sentence, “story” means “situation” or “case”, and the sentence means that things are different now. In the second sentence, “story” means “experience”, and the sentence means that the experience of the white-haired girl is one of the saddest. In the third sentences, “story” means “law case”, and the sentence means that a young man came to police station with a case. (Zhang Peiji, 2009)

Another problem involved in the textual level is that the translated text must accord with the convention of the target language. There are great differences between English and Chinese in pronunciation, grammar and vocabulary, because English belongs to Indo-European language while Chinese belongs to Sino-Tibetan language, and they are deeply influenced by the culture of their respective countries. If we stick to the original text and translate it word for word according to the literal meaning of the original text, we may produce some sentences that are not in accordance with the convention of the target language or even wrong. (Zhang Peiji, 2009)

E.g.4

SL text:Tom was upsetting the other children, so I show him the door.

TL text 1: 汤姆一直在扰乱别的孩子，我就把他带到门那去。

TL text 2: 汤姆一直在扰乱别的孩子，我就把他撵出去了。

E.g.5

SL text: His irritation could not withstand the silent beauty of the night.

TL text 1: 他的烦恼不能承受夜晚宁静的美丽。

TL text 2: 面对着宁静的良宵美景，他的烦恼烟消云散了。

It is not difficult to see from the two translation versions that the second translation is better than the first one, because the former is more in line with the language convention of Chinese. Therefore, it can be seen that literal meaning in the textual level is not simple literal correspondence. Instead, it should be adjusted according to the convention of target language. (Zhang Peiji, 2009)

===Referential Level===

The referential level refers that translators should grasp the referential meaning of the original text. It is the minimum requirement for translation to figure out the referential meaning of the original. Newmark once claimed, “You should not read a sentence without seeing it on the referential level.” The obscure and implied implication of the original text requires the translator to see the true connotation through the text. This is the minimum requirement for translation. However, sometimes the literal meaning of the original text is not very clear. The translator must figure out the real meaning through the literal meaning and describe them accurately in the target language. At this time, due to the differences between the two languages, there may be a certain distance between the translation and the original. (Newmark, 2001)

In order to deliver the exact referential meaning, translators should give more attention to the translation of pronouns because pronouns are more frequently used in English than in Chinese. There are personal pronoun, impersonal pronoun, relative pronoun and so on, which can be used repeatedly in the same sentence and appear alternately. Therefore, in the process of translation, we may often encounter the problem of ambiguous reference of pronouns. In this time, we need to make a specific analysis of specific words or sentences, and sometimes even to analyze the definite meaning of a certain context. In the process of translation, we often see that one or several English sentences contain multiple personal pronouns. At this time, the direct application of personal pronouns in the original English text not only affects the readability of the translation, but also causes problems in the collocation of words and the cohesion of sentence patterns, so it is difficult to accurately reflect the meaning of the original text. Here are two examples.(Newmark, 2001)

E.g. 6

SL text: Knowledge is a comfortable and necessary retreat and shelter for us in an advanced age; and if we don’t plant it while young, it will give us no shade when we grow old.

TL text 1：知识是我们老年时舒适而又必需的精神归宿。如果我们年轻时不种它，它就不会在我们年老时给我们提供树荫。

TL text 2：知识是人生老年期舒适而又必需的精神归宿。如果年轻时不种下知识之树，老年时就得不到树荫的遮蔽。

From the two translations, it is not difficult to see that the second translation is better than the first translation. The reason is that there is no need to translate two general pronouns "us" and "we" in the original text, and the meaning of the original text will be clear and accurate only when they are removed. In addition, it is inappropriate to translate "it" into "它". In the original, the metaphor “it” refers to “knowledge”, and the first translation omits this metaphor, which makes readers don’t what it is talking about. (Qian Gechuan, 2011)

E.g. 7

SL text: Mr. and Mrs. Brown were talking about their neighbors, Mr. and Mrs. Smith, and their new house.

“He must be making a good income to be able to live in a house like that,” said he, “to say nothing of the car they have. It’s a Rolls.”

“Oh,I don’t think he makes much money,” she replied, “but I fancy she has a private income.”

“I wonder whether they paid for it themselves or whether her parents gave it to her,” he said．

She answered, “Yes, they bought it after a lucky week with the football pools. But as for the car, I can’t speak definitely about that, though I think it is hers rather than his.”

“I know which of the two I would sooner have,” was his comment．

TL text：布朗先生和布朗夫人在谈论他们的新邻居———史密斯先生和史密斯夫人，以及他们的新房子。

“他能够住那么好的房子一定收入颇丰，”布朗先生说，“更不必说他们开的车了，是辆劳斯莱斯。”

“哦，我不认为他能赚很多钱，”布朗太太答道， “但我猜史密斯夫人有私人收入。”

“我怀疑这房子是他们自己买的还是史密斯夫人的父母给她的。”布朗先生说。

布朗夫人回答说: “是啊，他们在赢了一次足球六合彩之后买了这房子。但是至于那辆车，我就不太确定了，尽管我认为那是史密斯夫人的而不是史密斯先生的。”

“我知道我宁可拥有这二者中哪一个。”布朗先生评论说。

In the original text, Mr. and Mrs. Brown and Mr. and Mrs. Smith are all referred to by personal pronouns he, she, her and his. In order to avoid ambiguous reference of pronouns, many English pronouns, such as he, she, her and his are translated into “布朗先生” and “布朗夫人”, and “史密斯先生” and “史密斯夫人” in this translation version, rather than “他” or “她”. If the sentence “But as for the car, I can’t speak definitely about that, though I think it is hers rather than his.” is translated into “但是至于那辆车，我就不太确定了，尽管我认为那是她的而不是他的”，it will cause great misunderstanding for readers and they may feel difficult to understand. This kind of reference can make the characters in the original text correspond to the characters in the translation. At the same time, it also shows that the determination of the referential meaning will affect the accuracy of the whole translation. (Zhang Peiji, 2009)

===Cohesive Level===

Cohesive level refers to the connection between sentences in text. Each language has its own unique way of connection which reflects its unique thinking pattern. Therefore, translators can not completely copy the way of connection of the original text in translation, but should organize the translation with the authentic cohesive way of the target language on the basis of a full understanding of the original text. Just as Newmark claimed, “At this level, you reconsider the lengths of paragraphs and sentences, the formulation of the title; the tone of the conclusion”, the cohesive level mainly refers to the faithfulness to the original text at the paragraph and discourse level.(Newmark, 2001)

There are great differences between English and Chinese in grammar, especially in word order. If the word order of the original text is closely followed in translation, the whole text may be distorted. In addition, English sentences are sometimes very long and there are many clauses. When translated into Chinese, sentences should be broken at appropriate places and necessary adjustments should be made. (Qian Gechuan, 2011)

Some SL texts seem to be correct in every sentence, but they are actually unreadable when they are put together. It is like a portrait painting. The eyes, nose, mouth and ears are all well drawn, but when they are put together, they are not like a person's face. Here, in addition to factors such as improper proportion and inconsistent style, there is also an important reason, that is, the "connection" between the five senses is not coordinated. The same problem exists in translation. There are great differences in grammar, especially word order between English and Chinese. (Zhang Peiji, 2009)

In addition, the length and punctuation rules of English and Chinese sentences are quite different. Sometimes English sentences may be very long and there are many clauses. When translated into Chinese, it is necessary to break sentences in proper places and make necessary adjustments. Chinese sentences are usually short and sometimes need to be combined when translated into English. In short, in order to make the translation expressive, we must take full account of the differences between the two languages and carefully "connect" each sentence to make it a whole. It is like using an invisible silk thread to string pearls together into a beautiful necklace. (Zhang Peiji, 2009)

E.g. 8

ST text: At the opening banquet, Nixon seemed to have paraphrases his host’s position by saying, “there are of course some who believe that the mere act of saying a statement of principles or a diplomatic conference will bring lasted peace. This is naïve.”

TL text: 尼克松在欢迎宴会上说：“当然，有些人认为只要发表一项声明或举行一次外交会议就能带来持久和平。这是天真的想法。” 他这番话似乎是在阐述东道国的立场。

Here in this sentence, the structure of the source language text has been rearranged and the word order has been changed in order to ensure the fluency of target language, In Chinese, the subject usually comes first and summative words are usually put at the end. Therefore, in the TL text “Nixon” is put at the first and the position of “seemed to have paraphrases his host’s position” is put at the end. (Zhuang Yichuan, 2002)

E.g. 9

ST text: Well, you can imagine how it was with a young fellow who had never been taken notice of before, and now all of a sudden couldn’t say a thing that wasn’t taken up and repeated everywhere; couldn’t sit abroad without constantly overhearing the remark flying from lip to lip, “ There he goes; that’s him!” couldn’t take his breakfast without a crowd to look on; couldn’t appear in an opera-box without concentrating there the fire of a thousand lorgnettes. Why, I just swam in glory all day long -- that is the amount of it.

TL text: 你可以想象得到那是什么滋味：一个年轻小伙子，从来没有被人注意过，现在忽然之间，随便说句什么话，马上就会有人把它记住，到处传播出去；随便到哪走动一下，总不免听见人家一个个辗转相告：“那儿走着的就是他，就是他！”吃早餐的时候，也老是有一大堆人围着看；一到歌剧院的包厢。就会使得无数观众的望远镜的火力都集中到自己身上。哎，我简直就是一天到晚在荣耀中过日子——十足是那个味道。

The source language text is a long sentence, so it is necessary to take sentence segmentation into consideration. Otherwise, it will make the translation cumbersome and unintelligible. It’s widely believed that the most important difference between English and Chinese is hypotaxis and parataxis. English belongs to hypotaxis language. (Zhang Peiji, 2009)

English sentences take subject and predicate as the core, and then add various modifiers on this basis to form a complex structure with numerous branches. Chinese pays more attention to parataxis, and sentences are stated one by one in chronological order. Chinese uses more than one verb to form multiple short sentences. In this way, the TL text makes “you can imagine how it was” a sentence alone, and “now all of a sudden couldn’t say a thing that wasn’t taken up and repeated everywhere” is rearranged as four short sentences as “现在忽然之间，随便说句什么话，马上就会有人把它记住，到处传播出去”. (Zhang Peiji, 2009)

==='''Level of Naturalness'''===

The level of naturalness is a summary of the above three levels. It is mainly to grasp the natural fluency of the translation as a whole. To some extent, it can be said that the natural level is a process of checking, perfecting and making the translation more perfect. “In all ‘communicative translation’, whether you are translating an informative text, a notice or an advert, ‘naturalness’ is essential” (Newmark, 2001).

In order to fulfill the level of naturalness, the translator needs to ensure “(a) that your translation makes sense; (b) that it reads naturally, that it is written in ordinary language, the common grammar, idioms and words that meet that kind of situation.” (Newmark, 2001)

It may be helpful to check the naturalness of the target text by temporarily separating oneself from the source language text. In addition to some technical terms, there is almost no complete equivalence in the target language, and in literal translation, their meanings often overlap or are included in the vocabulary of the source language. Thus, “the enforced shift from generic to specific units or vice versa, sometimes due to overlapping or included meaning, sometimes to notorious lexical gaps in one of the language” is one of the main problems during the translation process.(Newmark, 2001)

There are many cases in which the translation is not natural and does not conform to the habits of the target language. In order to eliminate this phenomenon, we must try our best to eliminate the interference of the original text on the basis of understanding the original text, and express the meaning of the original text with idiomatic target language, so as to be faithful to the original text as well as fluent and natural. In translation practice, the translator may as well leave the first draft aside after completing it. After a period of time, from the perspective of the target readers to recheck the translation and to see whether there is any unnaturalness. In this way, many problems can be found. (Qian Gechuan, 2011)

E.g. 10

SL text: Then Lieutenant Grub launched into the old recruiting routine, “See, save and serve! Hannigan, free tour to all the ports in the world. A fine ship for a home. Three meals a day without charge... You mustn’t let such a golden opportunity slip by.”

TL text: 于是，格拉布上尉开始说起招兵的老一套了：“见见世面，攒点钱，为国家出点力！汉尼根，免费周游世界上所有的港口。一艘上好的船为家，一天三餐不要钱。......你千万不要错过这样大好的机会呀！”

English verbs are divided into transitive verbs and intransitive verbs. The object of intransitive verbs is actually hidden behind this verb, which is often needed to express when translated into Chinese. Here in the ST text, the sentence “See, save and serve!” only contains three verbs, while in TL text these three verbs are translated into “见见世面，攒点钱，为国家出点力!”. Chinese words and phrases tend to be specific and detailed in meaning, thus the verbs “see”, “save”, and “ serve” that refers to “see the world”, “save some money” and “do something for the country” are translated into “见见世面，攒点钱，为国家出点力!” (Zhang Peiji, 2009)

E.g. 11

SL text: The English arrived in North America with hopes of duplicating the exploits of the Spanish in South America, where explores had discovered immense fortunes in gold and silver. Although Spain and England shared a pronounced lust for wealth, differences between the two countries were profound.

TL text 1: 英国人抱着和西班牙人开拓南美洲一样的动机来到北美洲，西班牙的探险者在南美洲发现了大批金银财宝。虽然西班牙和英国都同样明显地贪图财富，但是两国的文化却存在着很大的差异。

TL text 2: 当年西班牙探险者在南美洲发现了大批金银财宝。英国人来到北美洲的动机也如出一辙。尽管两国对财富的贪欲同样强烈，但是两国在文化上却存在着巨大的差异。

Here in this sentence, the original text contains an attributive clause. The TL text 1 puts it after the main sentence, resulting in a very awkward cohesion between the two sentences, and the whole paragraph is fragmented. According to the convention of the target language, the TL text 2 organizes the original according to the time and space order, and puts the attributive clause in the original text before the main sentence, so that the whole sentence is more coherent. (Zhang Peiji, 2009)

E.g. 12

SL text: Her ascent of the crooked staircase was a slower process, and her face, as it rose into the light above the last stair, encountered the gaze of all the party assembled in the bedroom．

TL text: 她脚步缓慢地攀登着弯弯曲曲的楼梯，当她登上最后一级楼梯、脸膛从暗处进入亮处的时候，意外地发现聚集在室内的人们把目光全都转向了她。

In Chinese sentences, verbs are used more widely and frequently, and a sentence can contain several verbs. Here in this TL text, the sentence structure of the original text "A is B" has been changed and the verbs "上", "走", "攀登" and "放慢" have been added to describe Mrs. Debbie's upstairs movements more clearly and vividly, which does not violate the original meaning but also conforms to the convention of target language. Because English and Chinese belong to two different language families, there are great differences in pronunciation, grammar and vocabulary. Therefore, if we want to achieve real discourse fluency on the level of naturalness, the main way is to focus on the above three levels, so that the translation can be faithful to the connotation of the original text. (Zhang Peiji, 2009)

==='''Conclusion'''===

Peter Newmark's four levels of translation is used to divide the translation process into four parts. "Four level translation" breaks the limitation of language units and deals with translation from a macro perspective, thus maintaining the integrity of the text. (Xu Ling, 2005)

In therms of textual level, special attention should be paid to the literal meaning of the original text, expression and word selection in the process of translation. In other words, the words in SL text should not be replaced by synonyms, and the grammatical structure should remain unchanged, unless they are meaningless in the target language. (Xu Ling, 2005)

In the case of referential level, the translator needs to understand the referential meaning clearly. One of the basic principles of translation is to follow the meaning of the source text and the author's intention, especially for highly authoritative expressive texts. However, the meaning of the SL text is not always clear. Therefore, the translator'sresponsibility is to see through the surface vocabulary of the original text, grasp the implied meaning of the original text, and then translate it accurately. (Qian Gechuan, 2011)

As far as the cohesive level goes, the connection in the source text can not be transferred to the target language version optionally, because each language has its own way of connection, which reflects the unique way of thinking of native language users. The translator needs to reconstruct the translation on the basis of full understanding to make the translation as coherent as the original. At this level, the the length of paragraphs and sentences, as well as the structure should be taken into consideration again. (Zhang Peiji, 2009)

The level of naturalness is the basic standard for the target language text. The translation must be fluent and conform to the habits of the target language. Naturalness is essential for various texts such as informative text, notices and advertisements. The translator needs to make sure that his translation is meaningful and readable by using common language, grammar, idioms and appropriate words. (Newmark, 2001)

However, these four levels are not isolated and often overlap in the process of translation. As a result, some examples may be less representative because they are handled at multiple levels. From the perspective of the whole translation process, it is important for translators to understand translation theories. It not only provides translation skills to solve problems, but also helps translators to make self-criticism. Translation under the guidance of theory is much more mature than blind translation. (Xu Ling, 2005)

Therefore, in addition to cultivating translation skills, translators also need to have a deeper understanding of translation theory. Due to the limited understanding of translation theory and the lack of understanding of translation theory, there may be a lack of systematic and theoretical analysis and comments. However, translation is only a reflection of the translator's translation ability at this stage. In bilingual translation, it is the translator's lifelong pursuit to improve his translation theory and skills. (Zhang Peiji, 2009)

==='''References'''===

[1]. Newmark, Peter. Approaches to Translation [M]. Shanghai Foreign Language Education Press, 2001.

[2]. Newmark, Peter. A Textbook of Translation [M]. Shanghai Foreign Language Education Press, 2001.

[3]. Luo Jinde, Chen Anding 罗进德，陈定安. (1998). 英汉比较与翻译 [Comparison and Translation Between English and Chinese]. 中国对外翻译出版公司[China Translation & Publishing Corporation].

[4]. Qian Gechuan 钱歌川. (2011). 翻译的技巧[The Technique of Translation].世界图书出版社[World Book Press].

[5] Xu Ling, Lin Jian, Zhang Ying 许玲, 林健, 张莹. (2005). 浅析翻译的层次[Simple Analysis on Translation Levels]. 天津：天津职业大学[Tianjin: Tianjin Professional College].

[6]. Zhang Peiji 张培基. (2009). 英汉翻译教程[A Course in English-Chinese Translation]. 上海：上海外国语教育出版社[Shanghai: Shanghai Foreign Language Education Press].

[7]. Zhuang Yichuan 庄绎传. (2002). 英汉翻译简明教程[M]. 北京：外语教学与研究出版社[Beijing: Foreign Language Teaching and Research Press].

==A Study on Translatability and Untranslatability of English and Chinese Puns and Corresponding Strategies of Translation 曾心媛 Zeng Xinyuan 202070080579 英语笔译==

===Abstract===
Pun is a widely used rhetorical device. It is greatly favored by people because of its humor and rich connotation. But pun translation is very difficult due to its particularity and complexity. This paper analyzes the translatability and untranslatability of pun respectively, and explores the relevant translation strategies.

===摘要===

双关语是一种使用广泛的修辞手法。因其幽默诙谐，内涵丰富的语言效果深受人们喜爱，但中英互译时，由于双关语的特殊性和复杂性，双关语翻译显得十分困难。本文分别对双关语翻译中的可译性与不可译性进行了探析，并对其相关翻译策略进行有关探索。

===Key Words===
Key words: puns, translatability, untranslatability, corresponding translation strategies

===关键词===

关键词：双关语可译性不可译性相应翻译策略

=== Introduction ===

Rhetoric is an important part of language and a significant means to improve the effect of language expression, and it is a language form with rich connotation. As one of the rhetorical devices, pun can increase the sense of humor and irony, so it is widely used in poetry, novels, advertisements and riddles. However, due to the particularity of pun, pun translation is often a difficulty. Translation researchers have been arguing about whether puns are translatable for a long time.

This paper firstly introduces the definition of pun—pun is a rhetorical way to make certain words or sentences convey double meanings that is, one meaning on the surface, but another meaning in fact. Secondly, it introduces the three main categories of puns - phonetic, semantic and grammatical puns, and analyzes the three classifications and the three main translation strategies—literal translation, free translation and annotation through examples. Through the analysis of examples, it analyzes the advantages and disadvantages of the three kinds of pun translation strategies, and points out that the translator should not only accurately convey semantic information, but also recreate rhetoric in the translation, providing the same feeling to readers that they have in reading the original text and translation.

=== Definition of pun ===

The word “pun” was originated from a Latin word “paranomasia”, which refers to “similar in look and semantic meaning”. According to Cihai, “pun” is a rhetorical device that intentionally uses homophone or phonogram and polysemy words which can generate equivocality in order to punningly express what the speaker is really trying to say. （Cong Laiting，Xu Luya，2007）So the pun word makes the sentence contain double meaning: the superficial meaning, and deep meaning, because of which pun also can make the language humorous, concise, powerful and meaningful, leaving a deep impression to the audience. It is used widely in our life, such as films and television, advertisements, news, literary works and daily dialogues.

American scholar Archibald A. Hill once said that there are three prerequisites in puns: double context, hinge( which refers to polysemy and homophone), and trigger (motive and background of using puns).（Fan Jiacai，1992:182）For example: “You are not eating your fish, anything wrong with it?” the waitress said to him. “Long time no sea,” the customer replied.(Tong Kaiwen, 2017, 21), In this dialogue, “sea” has the same pronunciation as “see”, providing the hinge. As for the double context, which on the one hand, means that the customer is greeting to the waitress, but on the other hand, what the customer actually want to express is that the fish is not fresh enough as it has left sea for a long time. And the trigger is that the customer want waitress know the fish is not fresh. And there is a famous pun—“ Seven days without water make one weak.” The hinge in the sentence is the word “weak”, a homophone of “ week”. So it can mean “Without water, seven days still equal to a week”, or “Without water for seven days make one weak.” And the trigger is the common sense that we know both of the sentences make sense.

=== Three Main Types of Puns ===

“Pun has many types, including homophonic pun同音双关, paranomasia 近音双关, antalaclasis同词异义双关语,sylleptic pun一词多义双关,asteismus歧解双关语, irony反语,innuendo暗讽,satire讥讽, rhetorical question 修辞问句and allegory讽喻.”（Cong Laiting, Xu Luya, 2007）But we can mainly divided them into three types: phonetic puns, semantic puns, and grammatical puns.

The first type is phonetic puns, which include homophonic pun, paranomasia, and antalaclasis. This kind of pun is created by using words with similar spelling, pronunciation, and even with same pronunciation. It is widely used in humorous stories, and riddles, by using which can make the language more interesting, amusing, and attractive. (Zhao Yuqing, 2019:196)

Take the following dialogues as examples:

Homophonic pun

Eg. 1. -What is the most contradictory sign in a library?
-To speak aloud is not allowed. (Tong Kaiwen, 2017: 51)
In this dialogue, “aloud” has the same pronunciation with “allowed”, which may sounds like“ To speak aloud is not aloud”, making the dialogue more contradictory, so as to answer the question.

Eg. 2. -King: My cousin Hamlet, and my son—how is it that the clouds still hang on you?
-Hamlet: Not so, my lord. I am too much in the sun.(Zhao Yuqing, 2019: 196)
In the dialogue, “son” pronounces the same as “sun”, and Hamlet’s reply seemingly is to directly answer the King, but the true meaning of his words is that “I don’t want to be your son anymore”, expressing his aversion to the king.

Paranomasia

Eg. 3. Drunk drivers put a quart before the hearse.(Yao Jinhong,2001: 161)
At first sight, people may misunderstand it as “Drunk drivers put the cart before the horse” which means that the drunk driver did something before another thing that he should have done first. But the original meaning is to ask drivers not to drink alcohol before driving. The misunderstanding results from similar pronunciation of “quart” and “cart”, as well as “hearse” and “horse”.

Antalaclasis

Eg.4. -Teacher: George, can you give Lincoln’s Gettysburg Address?
-George: No, but I can give you his original address—the White House in Washington D.C.
What makes the conversation so funny is that the student misunderstood “address”, which teacher meant to give a speech, but the student thought it stands for the home address. Another possibility is that the student interpreted deliberately the “address” to the wrong meaning, so that he could avoid reciting the speech.

Eg.5. We must all hang together, or we shall all hang separately.(Zhao Yuqing, 2019: 196)
This is a famous remark of Benjamin Franklin, and the word “hang” has different meanings, the previous one means to stay with and support each other, while the latter one means a punishment. Antalaclasis used here not only emphasizes the author’s language, but also leaves strong impact on the audiences, making it easier to remember and spread.

The second type is semantic puns, which refer to sylleptic pun. When using this pun, what the author really want to express is the deeper meaning behind the superficial meaning. Semantic puns can make language entertaining, and are also often used to point at someone but actually abuse another, making the language more sarcastic. We can get a better understanding of this kind of puns in following examples. (Xu Min, 2007:194)

Eg.6. Money doesn’t grow at trees. But it blossoms at our branches.(Xu Min, 2007: 193)
This is an outdoor road sign advertisement of Lloyd's bank, it uses sylleptic pun that the word branch not only means branch of trees, but also represents the bank itself. The true meaning of the advisement is that if people want their money grown, it would be better to save money in Lloyd's bank. The use of pun in the advertisement makes it more interesting, creative, and attractive.

Eg.7. -What’s the longest sentence in the world?
-Prison for life.
The word “sentence” in the question is a linguistic concept, and it can also mean a punishment given by a court, which add interest.

Eg.8. Women have a wonderful sense of right and wrong, but have little sense of right and left. The “rights” have two meanings in the sentence, the first of which refers to “correct”, being the opposite of wrong, and the second one means a direction. Adding puns here makes language be heavy with sarcasm.

The third type is grammatical puns, in which the structure of the sentence is changed so that the meaning of the sentence is also changed. Here’s an example.( Zhao Yuqing, 2019: 196)

Eg. 9. Time flies like an arrow, fruit flies like an apple. (Zhao Yuqing, 2019: 196）
The word “flies” functions as a predicate, which means circle in the air, while the second “flies” is the subject of the latter sentence, which means a kind of insect. With the change of grammatical puns, the meaning has also been changed.

=== Translatability of Puns ===

Translation of puns has been a challenge throughout the history. Puns are widely accepted and used in many fields because that it convey different meanings in short words, making the language more interesting, thought-provoking, giving people a stronger impression. Considering complexity and specialty of puns, some scholars even think that it is impossible to translate puns because that translator may fail to translate both meanings while keeping the formal equivalence. The British translation theorist Catford argued that some specific cultural things can be recognized and expressed. So in essence they can be translated, but the corresponding ways of expression are missing temporarily, untranslatability resulted from which are temporary, but untranslatability caused by cultural differences was real, which was called relative untranslatability.(Catford, 1965: 93 )

The first reason that puns are translatable is that even though every country has its unique history, culture, and language, but human beings share the same emotions, and have similar daily life. Language is a reflection on the reality, so even though the literal symbols that represent one thing vary a lot, the essence, which is the thing itself, does not change. (Li Hanji, 2013: 135)

Besides, with the development and advance of Internet and technology, connections between different countries have become closer and closer, enhancing cultural communication and transmission. And the emergence of new things have accompanied with many new words, which enriches languages of different countries, and makes it easier to understand other languages. (An Wenjing, 2010: 71)

Last but not least, with unremitting efforts of generations of translators, some words, and sentences have been changed from untranslatable to translatable. All the reasons above indicate that the untranslatability between different languages is temporary, and relative, while translatability is absolute, which is the same when it comes to pun translation. Please look at some examples that show translatability of puns.(Li Hanji, 2013: 135)

Eg.10. Seven days without water make one week.

Some translators translated it into “七天没水使人虚弱”，while others translated into “七天没水就是一周没水”。(Cao Shunfa, Huang Jianping, 2001: 32) Although both versions are correct, they changed the structure of one sentence into two sentences, and fail to express the humor.

Here’s another translation. “七天不盈（饮）弱一周”(Cao Shunfa, Huang Jianping, 2001: 32）In this translation, the translator successfully expressed two meanings in concise, and semi-classical Chinese style. The “不盈” pronounces similar to“不饮”, and the previous one refers to “cannot reach”, while the latter one refers to “do not drink”. The “弱” also conveys two meanings, one of which is “ less than…”, and other is “make…weak”. As we can see, although there are some subtle deficiencies in the last translation, for example, pronunciation of “不盈” is not completely equivalent to that of “不饮”, as the first one has a rising tone, and the second one uses a falling tone, we can not deny it’s a successful translation of puns.

Eg.11. 人曾为僧，人弗可以成佛
女卑是婢，女又何妨称奴

A famous Chinese translator Qian Gechuan thought the two sentences couldn’t be translated, but another excellent translator Xu Yuanchong gave his translation as follows:
A Buddhist cannot bud into a Buddha,
A maiden may be made a house maid.(Cao Shunfa, Huang Jiangping, 2001: 32）

The original text is a pair of couplets, which originated from such a story.
One day , the great poet Su Shi’s sister Su Zhen heard that Su Shi was talking with a Zen master Foyin about Buddhist ceremony. As Foyin was bragging about the greatness and boundlessness of Buddhist’s power, and advantages of submerging in Buddhism, giving an extravagantly description of studying Buddhist classics, of which Su Zhen disapprove. She wrote the former part of couplet and asked a maid to give it to Foyin. Foyin realized that it’s a refutation of his views that human could never be a Buddha no matter how hard he tried, but he didn’t willing to admit his mistakes, so he replied with the latter line of the couplet.

Although the couplets are full of irony, they are of great literary value and worth pondering carefully. In each couplet, the two words at the beginning of the phrase can be combined to form the word at the end of the phrase. It is a cleverly conceived pun that it looks like a logograph, but it actually aims to refute Zen master.
In Mr. Xu Yuanchong's translation, he not only retained the connotation of the original text, but also successfully reproduced the original text in the form, sound and meaning with “ Buddhist, bud, and Buddha; maiden, made, and maid”, and retained the basic structure and rhyme.(Cao Shunfa, Huang Jianping, 2001: 31)

The examples above show that some puns can be translated by changing the pronunciation and form of the words. We can also find that puns that are currently considered translatable have similar cultural backgrounds in target language and original language, so that translators can find the most appropriate words to translate.

=== Untranslatability of Puns ===

Although translators have made unremitting efforts to turn “untranslatable” puns into “translatable”, there are still many people who think that puns are untranslatable. This chapter will discuss the untranslatability of puns.

A Chinese Scholar Liu Miqing put forward the concept of "translatability limit" in Contemporary Translation Theories, in which he proposed that humor and puns in a language are almost untranslatable. Humor often results from the cleverness and skills of using words. Such words and intentions often disappear in translation of puns .(Liu Miqing, 1998:92)
Those who support the view that puns are untranslatable hold that the historical and cultural backgrounds, psychological thinking habits, regional cultures and religious beliefs of different ethnic groups are reflected in their own languages, so that the languages of various nationalities and countries have their own unique personalities. (Xumin, 2007: 196)Therefore, it is impossible to find a word in target language which can completely keep the rhetorical devices, styles, and characteristics of original language. Here are some examples.

Eg. 12. What does the lawyer do after he dies?
He lies still.

(1). 那个律师死后干什么？
静静地躺着。(Zhang Huan, Gong Xiaobin, 2008: 99)
The word “lies” has two meanings, the first of which is to lie down, the second one is to make up a story, and “still” also conveys double meanings, one of which is motionless, another is as usual. However, the translation can only deliver the first meaning of the two words, so that readers can’t feel it interesting.

Eg.13.A professor tapped on his desk and shouted “ Gentlemen—order!”
The entire class yelled: “Beer!”

一位教授敲着桌子喊道：“先生们，安静！”全班一致回答：“啤酒！”(Zhang Huan, Gong Xiaobin, 2008: 99)
In the original conversation, the students misinterpreted deliberately teacher’s word—order, means quiet here, into “order something to eat”, but in the translation, the answer of students only expressed the meaning of beer, and the punchline was lost, making the whole sentence unintelligible. It seems impossible to express both meanings in one Chinese word here, and perhaps the best way is to add annotations, however, in this way, the translation can’t keep the form of original text.

All the examples above show that there are limitations of translation. (Zhang Huan, Gong Xiaobin, 2008: 99) As a translator, we should not only blindly conform to the principles of what is translatable, and untranslatable, instead, we need to improve our literacy and translation skills. We should realize that it is true some words may be untranslatable, but try to find the best way to express them. One small step for puns’s translation is one big step for literature translation.

=== Corresponding Translation Strategies ===

No matter what kind of translation, it is closely related to the context, the translation of pun is no exception. Translators should not only understand the literal meaning of the original text, but also understand its social and cultural background, otherwise, the originality of the author can’t be understood. The translator obtains the basic meaning, or the superficial meaning of the pun through the source text, and understands the deep meaning of the pun through the illocutionary force.

In the translation of puns, the translator mainly adopts three strategies: literal translation, free translation and annotation. We will analyze which method is more appropriate through the translation of examples in the previous text.(Zhao Yuqing, 2019: 196)

1. Literal translation, the simplest and the most direct translation method, which is to translate source languages directly into the target language according to the literal meaning, while maintaining the same semantics as the original pun. (Zhao Yuqing, 2019,196) However, it is difficult to express the sense of humor in the original text for some puns translation, and the rhetorical devices of polysemy of the original pun may also be lost. Take translation of examples 2 and 5 as examples,

Eg.(2)国王：我的侄儿，哈姆雷特，我的儿。为什么你满目愁云呢？
哈姆雷特：不，陛下。我在太阳下待得太久了。(Zhao Yuqing, 2019: 196)
Although the literal translation does not directly show the relationship between "sun" and "son", the word “太” implies the meaning of complaint in Chinese. Combining with the context, the word "sun" also represents the king in ancient China, so readers can also feel the deep meaning in the literal translation.

Eg. (5) “我们必须抱成一团，否则我们将会被单独绞死。” (Zhao Yuqing, 2019: 196) Through literal translation, this sentence is indeed easy to understand. Readers can figure out the content of the sentence at a glance, but it does not form a pun, and lacks a sense of humor.

2. Free translation is more frequently used in pun translation, which mainly emphasizes on the target language, keeping fluency of the target language and retaining a sense of humor to a great extent. Here are the free translation of the 6th, 12nd and 14th examples.

Eg.(6) 树上不能生钱，但我们“枝”行能啊。(This translation is translated by myself.)

Although it is not the best version, it is also an attempt to translate a pun. We may as well analyze its advantages and disadvantages. In this translation, "枝" is used to represent the word branches, corresponding to the “tree” in first half of the sentence. “枝”and “支” are homonymous, and “支行” refers to branch bank. Marking “枝” with quotation marks, which can easily remind readers of the word "branch" and form a homonymous pun with a light tone. The disadvantage is that the word “枝行” does not exist in Chinese, which may lead to incomprehension to some people and the expression is quite colloquial, being informal if the translation is used in formal occasion.

Eg.(12)那个律师死后还能干什么？
躺着说鬼话。（Ma Hongjun, 2000:34）

The beauty of this translation is that the word “鬼话” in Chinese has both meaning of "ghost’s (dead) words" and "untrue words", which not only retains the form of pun in the target language, but also achieves the effect of humor.

Eg.(14)What’s the flower that everyone have? Tulips.
人人都有什么花？泪花(Ma Hongjun, 2009: 16)

The translation may be a controversial one as it actually has changed the original meaning, but keeps the form of pun in original text. In the original text, the answer “tulips” consists of two parts— “ tu” which sounds like “two” and “lips”, but “two lips” has nothing to do with “flower” in Chinese. In this translation, the translator kept the “flower” and gave the answer with another special “flower” that everyone had. Readers can actually feel the pun in the translation, so in my personal opinion, it is a good translation.

3. Annotation is often used when literal translation or free translation can not fully express the meaning of the source text. Its advantage is that it can make the reader fully understand the double meaning of the pun in source text, but the disadvantage is that it will greatly lose the sense of humor of the pun. Therefore, adding annotation is often the last choice in pun translation. Take examples 4 and 13 for example.

Eg.(4) 老师：乔治，你能给我们做林肯的葛底斯堡演讲吗？
乔治：不能，但我能给你林肯住址—他以前住在华盛顿白宫。（address在英文中既有演讲也有住址的意思，乔治还以为老师问他要林肯住址呢）

There is no word in Chinese that has both the meaning of speech and address. Therefore, this translation adopts the method of adding notes and explaining the joke, which can make the language humorous and clear to some extent.

Eg.(13) 一位教授敲着桌子喊道：“先生们，安静！”全班一致回答：“啤酒！” (Zhang Huan, Gong Xiaobin, 2008: 99)（order既表安静也有点单之义，学生故意曲解教授意思，让教授哭笑不得）

Readers can easily understand the meaning of this translation, but some underlying punchlines are totally imperceptible.

As an important medium of interlingual and cross-cultural communication, translation itself is an extremely difficult and complex task. In addition, as one of the figures of speech, pun translation is more difficult. (Zhang Huan, Gong Xiaobin, 2008: 99) Among the three translation strategies in this chapter, I think free translation is the best strategy in pun translation. For example, in the translation of the eg.14, if the literal translation method is used to translate tulip, readers may not know its meaning. But Mr. Ma Hongjun retained the word "flower" in the original text and also gave a hilarious answer. Although it is different from the original meaning, it not only keeps the form of pun, but also conveys double meanings, which in my personal opinion is a good translation.

In short, translators need to take many aspects into consideration when translating puns, and take strategies like literal translation, free translation and annotation or combine various translation strategies to overcome language and cultural barriers. The translation should convey the information in the original text to the target readers as much as possible, and reproduce the rhetorical effect of the original language, so as to promote cultural exchange.

=== Conclusion ===

This paper mainly discusses whether pun is translatable or not. By giving examples of some classic puns, this paper elaborates the classification of puns, and analyzes the advantages and disadvantages of three main strategies in pun translation: literal translation, free translation and annotation.

From my perspective, context is very important in pun translation, and translators need to accurately grasp the author’s ingenious conception in the context, and adopt various methods such as changing pronunciation and form of characters in the target language to find the most appropriate words.
Secondly, the author thinks that free translation is the most appropriate strategy in the three strategies of pun translation, because it is more important for readers to have the same feeling when reading the pun in the translation and in the original text, and to realize the humor and deep meaning. Then is literal translation. However, it seems that the best translated puns in literal translation are those with similar cultural backgrounds in both languages. For example, the word "sun" in example 2 has the meaning of emperor or supreme authority in both the original context and the target language. Therefore, readers can also realize that the translation means something other than what it’s saying. The final choice is annotation, which can express the content of the original text directly, but the sense of humor and the form of pun are lost to a great extent.

Of course, there are still many deficiencies in this paper, for example, the examples is not representative enough; the language is not refined; the classification of puns is not explained in detail, and the translatability and untranslatability of puns are not analyzed according to the text type. The paper can be improved through several aspects below: firstly, by analyzing a large number of classic texts, puns in what kind of text type are translatable, and untranslatable can be summarized. Secondly, deepening the depth of this paper by guiding under a specific theory.

=== References ===

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Yao Jinhong姚金红. (2001).英语双关的修辞特点[ The Rhetorical Features of English Puns] 唐都学刊 Tangdu Journal (17) 161

Tong Kaiwen 佟凯文. (2017) 双关修辞的幽默效用及翻译策略[The Humorous Effect of Rhetoric of Pun and Its Translation Strategy] 英语广场English Square.(11) 021-022

Zhao Yuqing赵雨晴. (2019) 浅析英语双关语及其翻译[Brief Analysis on English Puns and Their Translation].青年文学家Youth Literator (30) 196.

Zhang Huan, Gong Xiaobin张欢,龚晓斌. (2008) 双关语的可译性限度及其翻译补偿策略初探[The Translatability Limit of Pun and Its Translation Compensation Strategies]牡丹江大学学报 Journal of Mudanjiang University (07) 99-101.

Tong Kaiwen, Li Xianjin佟凯文,李先进. (2017)双关修辞的幽默效用及翻译策略[The Humorous Effect of Pun Rhetoric and Its Translation Strategy] 英语广场English Square (11):51-52.

Cao Shunfa, Huang Jianping曹顺发,黄健平.(2001) 浅谈“双关语”的可译性[ On the Translatability of Puns] 重庆交通学院学报(社会科学版) Journal of Chongqing Jiaotong University ( Social Science) (01):31-32.

Xu Min徐敏. (2007)论双关语的可译性及不可译性[ On the Translatability and Untranslatability of Pun]外语教育Foreign Language Education (00):193-197.

Lu Jie吕杰. (2008)浅论双关的不可译性[ On the Untranslatability of Pun] 科技信息Science and Technology Information (31):145+168.

Wei Lingmin魏玲敏. (2009)浅议双关语的可译性[On the Translatability of Pun]科技信息Science and Technology Information (19):98+93.

An Wenjing安文婧. (2010)双关翻译中的可译性和不可译性以及双关翻译方法[Translatability and Untranslatability of Pun and Its Translation Methods] 中国科教创新导刊 China Education Innovation Heral (05):71-72.

Li Hanji李晗佶. (2013) 双关语的可译性探索[Explorations of Translatability of Pun] 青年文学家 Youth Literator (32):135.--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 11:30, 21 December 2020 (UTC)

==The Untranslatability of Chinese Classic Poems and its Translation Strategies姚诚 Yao Cheng ==

<center> 姚诚 Yao Cheng 202020080661</center>

===Abstract===
It is commonly believed poetry translation, of all kinds of translation, is the most difficult and demanding, yet possibly most worthy of our studying. Though poetry translation has been practiced through time and theories regarding to poetry translation heavily outnumbered these of prose or drama translation. Yet people remain divided over the translatability and untranslatability of poems and even the definition of untranslatability. This paper will discuss the translatability and untranslatability of poems from the perspectives of imagery, “yijing”, the use of allusion, sound and form. Then some corresponding strategies will be given so as to guide our poetry translation practice.

===Key words===
Poetry Translation, Untranslatability, Translatability, Translation strategies
===摘要===
通常认为，诗歌翻译是所有文本类型翻译中难度最大，要求最高，甚至可能是最有研究价值的类型。虽然人们一直在进行翻译实践，关于诗歌翻译的理论数量也远远多于散文或者诗歌翻译的理论，但是对于诗歌可译与否甚至是可译性的定义都有很大的争议。此文将首先讨论不可译性的本质，然后分别从诗歌的意象，意境，典故使用，声音和形式这几个方面讨论诗歌的可译性，然后提出一些相应的翻译策略以指导我们的翻译实践。

===关键词===
诗歌翻译，不可译性，可译性，翻译策略
===Introduction===
Poetry is some sort of art that raises our sensuality of beauty through language. Through poetry, poets are able to express their pleasure, anger, sorrow and joy in a specific way which concentrates on sense, sound, rhyme, and now in a direct now in an oblique manner. In poems powerful emotions, remarkable imagination, bountiful rhetoric, and musical rhymes can be easily found. These elements altogether create the uniqueness of poetry. However, facing with the same Muse, an Englishmen, a Germany or a Greek may adapt a different way to present it since poetry owing to its artistic features, is deeply rooted in its native culture. Consequently, poems though may be appreciated by readers, they can be hardly reproduced by translators.(Li Haiyan,2000(04):155-158)

Though poetry translation has been practiced through time and theories regarding to poetry translation heavily outnumbered these of prose or drama translation. Yet people’ opinions about the translatability and untranslatability of poems remain divided. Some translation theorists and translators seem to agree with translatability for the fact that there exist common grounds of culture in different nations. Such common grounds make it possible for people of different nation and culture to communicate with each other and such possibility constitutes the basis of the translatability of poems: these common grounds enables people of different culture and nation to appreciate the meaning and emotion of poems and echo with each other though they are written in different languages(Rao Weimin 2012,14).

However, different nations also greatly differ from each other in historical reality which bring us to the very discussion of untranslatability. As poems are mainly appreciated in imagery, "yijing", allusion and form, the untranslatability will be further argued in these aspects. Then some corresponding strategies will be discussed to guide our actual translation practice.(Rao Weimin 2012,14(06):27-29)

===The untranslatability of poetry===
====The nature of untranslatability====
Though there are numerous scholars in home and abroad believe that poetry is untranslatable for example Xu Guangqian, Wang Yizhu, Yu Guangzhong, Shelley, Robert Frost etc, people appear to hold different definition of untranslatability. Catford thinks that both language and culture are untranslatable to some degree. Linguistic untranslatability exists in the inaccurate correspondence of different linguistic structure while cultural untranslatability is shown by the bare correspondence of meaning connoted in different culture.(Li Xinhong 2010,26(06):294-296)

But Bassnett holds that the untranslatability nature should be discussed in the role that the context plays during the translation process. Few translations are totally untranslatable while many untranslatable sentences manifested by the lack of cultural correspondence can be compensated or replaced with translation methods.
Some scholar simply maintained that the translatability of poetry means that possibility of poetry translation while equating untranslatability to the difficulties in translation(Rao Weimin 2012,14).

For example
“人曾是僧，人弗能成佛。女卑为婢，女又可称奴。”
The first part of the couplet was made by Su Xiaomei, sister of Su Dongpo with intention to ridicule Fo Yin and the second part was completed by Fo Yin as a response to Su Xiaomei. This antithetical and net couplet is famous for the meaning connoted in the form and anagram game. It was thought to be totally untranslatable until Xu Yuanchong gave his translation:
“A Buddhist cannot bud into a Buddha
A maiden maybe made a house maid”(Rao Weimin 2012,14)

Xu Yuanchong’s translation is undoubtedly an excellent one no matter in its meaning or antithesis. Thus, they concluded that form the point of historical development, the translatability nature runs though poetry translation while the untranslatability nature is temporary and can be eliminated as long as the difficulties are solved.(Rao Weimin 2012,14)

However, Xu Yuanchong himself appears to stand against this idea. In his opinion, a translated poem is the crystallization of the enormous efforts made both by the original poet and translator. when the original poet is compared to a father, the translator can be considered to be the mother and the translated poem a child. The child will never be utterly same to neither his father nor his mother. The same is also true of poem translation. The translated poem won’t be exactly the same as the original poem not will it be reproduced without the influence of the translator. (Xu Yuanchong, 1998, 40-30)

Thus, Xu Yuanchong concluded there is no such question of translatability or untranslatability but the matter of the degree a poem can be translated to. Xu Yuanchong gives the following example:
“流水落花春去也, 天上人间”
Any translation of a poem should take various functions at different levels into consideration. Take meaning for example, what is concerned with the reality or thoughts about the world the poet wants to deliver is commonly regarded as the core of the reproduction. However. The author’s thought is usually connoted in the poem which leads to different interpretation or understanding of the poem. As understanding is the first step in any translation, there would be different kinds of translation of one poem according to the translator’s understanding. And there are at least four versions of translation of this verse:(Xu Yuanchong, 1998, 40-30)

(1)“Flowing waters and faded flowers are gone forever
As far apart as heaven is form earth” (Tr. Chu Dagao)

(2)“The river flows –
The blossoms fall –
Spring going – gone
in Heaven as on earth ”(Tr. Lin Tongji)

(3)“One’s spring and youth has passed
never to return
One’s destiny is not of heaven’s
Concern.” (Tr. Xu Zhongjie)

(4)“Without flowers fallen on the waves
Spring’s gone away
So is the paradise of yesterday.” (Tr. X.Y.Z) (Xu Yuanchong, 1998, 40-30)

Xu Yuanchong argues since there are at least 4 versions of translation, poetry is of course translatable. Also, similarities and differences can be easily found in the four translated work. Then similarities represent what the original poet wants to convey and the differences exhibit different expression methods adopted by the translator. Different expression methods also reveal the “translated degree” which means to which degree a poem is subjectively translated by the translator within his ability. Then “translatable degree” should be discriminated form “translatable degree” which refers to the degree to which a poem can be objectively translated.(Xu Yuanchong, 1998, 40-30)

When Xu Yuanchong’s translation of “人曾是僧，人弗能成佛。女卑为婢，女又可称奴。” is reassessed with his definition of “translated degree” and “translatable degree”, it is clear that the difficulties that others equate untranslatability to fall into the category of “translated degree”.(Rao Weimin 2012,14)

Since Xu Yuanchong solved the problem of meaning and anagram game but the form is not fully translated at least in this point: in the original verse, two short clauses “人曾是僧” and ”人弗能成佛” altogether constitute the whole meaning, but in the translation “A Buddhist cannot bud into a Buddha“ there is only one complete sentence. In this sense, this couple is only translatable to a certain degree. So our discussion of translatability will be confined to the field of “translatable degree”(Xu Yuanchong, 1998, 40-30)

====The untranslatability of imagery====
Image is defined by J.A. Cuddon to be a general term that covers the use of language to represent objects, actions, feelings, thoughts, ideas, states of mind and any sensory or ex-sensory experience (1998:413). Qin Xiubai believes, “imagery is the soul of poetry”. It illustrates the critical status of imagery in literary translation, especially in poetry translation. Though Chinese and foreign poets attach great importance to the use of imagery, they, due to disparities in social and cultural background, differ from each other in tradition, ideology and mode of thinking. (Sui Yirong 2011(10):35-38)

When comparison is made between Chinese and Western imagery theory, we can conclude the following features of Chinese imagery:
At first, imageries in ancient Chinese place overwhelming importance on the meaning an imagery delivers rather than the imagery itself. Chinese tend to express their feelings in a very implicit way. The use of imageries consequently became prevalent among Chinese poet. As a result, imageries turn out to be the organic combination of the subjective feeling and an object. For example，“浮云游子意，落日故人情”（李白《送友人》） and “杨柳岸，晓风残月”（柳永《雨铃》）.(Sui Yirong 2011(10):35-38)

Chinse imagerys boast unique connoted meaning. “浮云”(floating clouds)”落日” (setting sun)、”杨柳”(willow) 、”晓风”(breeze) 、”残月” (wane moon)are typical imageries that Chinese poets used to express the feeing of farewell. When these imageries are literally translated, it can barely intrigue the same feeling in target readers. Another example can also clearly explain this untranslatability of imageries of Chinese poetry. “鸿雁” or “飞鸿” is commonly employed by poets to express the lovesickness while “wild swan” or “wild geese” is but some sort of bird. When “鸿雁” or “飞鸿” is simply translated into “wild swan” or “wild geese”, English readers can’t appreciate the translated work as much Chinese reader appreciate the original poem due to the untranslatability of imagery（Yang Qun & Liuyi, 2005(06):93-95+106）.

On the basis of its appeal to human sense, five types of imagery can be outlined as follows: visual imagery, aural or auditory imagery, tactile imagery, olfactory imagery and other sensory imagery. In addition, since any subject in the globe is either static or dynamic, imageries can also be divided into static and dynamic imagery. Then there come to the other prominent feature of imagery of Chinese poetry: Chinese much prefer static imageries to dynamic ones. Static imagery is comprised of adjectives and adjective phrase, nouns and nouns phrase as well. （Yang Qun & Liuyi, 2005(06):93-95+106）.

For instance, in the Chinese poem 《早发白帝城》 by Li Bai
“朝辞白帝彩云间，千里江陵一日还。两岸猿声啼不住，轻舟已过万重山。”
At dawn I left the walled city of White King,
Towering among the many-colored clouds;
And came down stream in a day One thousand li to Jiangling.
The screams of monkeys on either bank
Had scarcely ceased echoing in my ear
When my skiff had left behind it
Ten thousand ranges of hills(Tr. Wang Jianjun)(Wang Jiangu 2012,39(05):149-150)

“彩云”(colored clouds)、“轻舟”（skiff）、“万重山”（Ten thousand ranges of hills） can be categorized into static imagery. These three images are not only the objects the poet describes, but the very psychology equivalence reflecting the poet’s feeling. The poet express his great delight upon his absolved from exile through the image “彩云”while “轻舟”passing“万重山”shows the poet’ eager to return home. Reading the translated work, readers can hardly grasp the mood of the original poet. Despite the large quantity of static imagery, the use of dynamic is vivid and picture-evoking.(Wang Jiangu 2012,39(05):149-150)

Dynamic imagery refers to the dynamic description in chinse ancient poems such as imageries presented by the verbs of “还” and “过” use in Li Bai’s《早发白帝城》.There are other abundant examples of dynamic imagery: “绿” in “春风又绿江南岸”(王安石《泊船瓜洲》), “闹” in “红杏枝头春意闹”（宋祁《木兰花》）and “弄” in “云破月来花弄影”（张先《天仙子》）bring enormous vivacities to these verses. But such dynamic imageries can’t be hardly translated since exactly corresponded words can’t be found. Even so, the mood can barely be reproduced as “还” and “过” in examples above are translated into ”came down” and “left behind”.(Wang Jiangu 2012,39(05):149-150)

====The untranslatability of “yijing”====
The artistic kingdom has been sung high of throughout the history of Chinese poetry development, and assigned the name as “意境”(“yijing”). The phrase “意境” was translated into “artistic conception” or “ideorealm” by some. However, both of these two terms fail to fully express the core of “意境”（”yijing” ). ”yijing”, too mysterious and intangible as it is, is deemed to be the spirit of poetry. Though “yijing” originated from imagery, it is never a simple aggregate of images but an organic integration of imagery. Poets use concrete images to express their feeling and these two elements then become fully blended in “yijing” which altogether brings and far-retching philosophical effects.(Zhao Dan & Chen Yangto, 2015(12):5-6+34)

For example, in 《江雪》(柳宗元)
千山鸟飞绝，万径人踪灭。
孤舟蓑笠翁，独钓寒江雪。”
River Snow
A hundred mountains and no bird,
A thousand paths without a footprint;
A little boat, a bamboo cloak,
An old man fishing in the cold river-snow. （Tr. Witter Bynner）(Ma QinJun,2015,17(01):83-87)

At first glance, the poem seems to present a snow picture. However, through images including “大雪”、 “孤舟”、 “老渔翁”、 “寒江”、 “鸟飞绝” and “人踪灭”, a vivid picture of an old man fishing alone in the wild cold snow unfolds before our eyes and delivers us the image of the old fishman who exhibits loneliness and pride and forbears no sacrilege. In actuality, this old man by which the poet expresses his thought of getting rid of the secular and holding himself aloof from the world, is an incarnation of the poets’ sprit. Though any single image has no specific meaning, the organic integration of thess simple images attributes to the profound “yijing” which is exactly the charm of Chinese poems. However, in Bynner’s translation, nothing but a snow picture can be seen.(Ma QinJun,2015,17(01):83-87)

The other typical example is 《天净沙》（马致远）
“枯藤老树昏鸦，
小桥流水人家，
古道西风瘦马。
夕阳西下，
断肠人在天涯。”
It seems that the poet randomly puts “枯藤”、“老树”、“昏鸦” and other 7 images together, but the last sentence“断肠人在天涯” fully revels the core concept of the poem and leaves us roomy space for imagination. When Chinese sentence characterized by parataxis is translated into English features hypotaxis, the beauty of “yijing” of Chinese classical poetry vanishes to a large degree, if not completely.(Ma QinJun,2015,17(01):83-87)

====The untranslatability of allusion====
As a gem of Chinese national culture, allusion is characterized by rich cultural connation, highly-concentrated structure and compact expression. In the course of more than five thousand years, numerous Chinese allusions are widely spread. Poets, to avoid direct expression of feeling, would naturally resort to such allusions like myth, legends, or historic event. Due to cultural difference, western reader can hardly understand what is connoted in the poem as much as Chinese reader can appreciate.(Sui Yirong ,2011(10):35-38).

If these allusions are translated completely by explanation, the whole translated poem will be lengthy and no longer be poem in form. On the contrary, if the allusion is simplified, connotations and space for imagination would no longer exist(Sui Yirong ,2011(10):35-38).

For example:
古别离
孟郊
欲去牵郎衣，郎今何处去？
不恨归来迟，莫向临邛去！
You wish to go, and let your robe I hold.
Where are you going- tell me, dear – today.
Your late returning does not anger me,
But the another steal your heart away. (Tr. Fletcher)(Sui Yirong ,2011(10):35-38).

Undoubtedly, the basic meaning is reproduced when “莫向临邛去” was translated into “But the another steal your heart away.” However, the loss of image leads to the deviation of original information. Actually, “临邛” in the original poem is an allusion which tells the love story between Sima Xiangru, an prominent litterateur of West Han dynasty and an widow Zhuo Wenjun. The widow dared to break tradition hierarchy and ran way with the litterateur and married him at last. (Sui Yirong ,2011(10):35-38).

Obviously, here “临邛” is no longer a name for a place but a media the poet used to express the widow’s anxiety that her husband would fall in love with someone else in his journey. This anxiety is implicitly express in the original poem. However, the translated poem delivers this feeling in a blunt and frank manner, which doesn’t coincide with the characteristic of ancient Chinese women(Sui Yirong ,2011(10):35-38). Thus, the translation is by no means the perfect reproduction of the original poem. (Sui Yirong ,2011(10):35-38).

The translation of《琴瑟》（李商隐） can also illustrate this point:
锦瑟无端五十弦, 一弦一柱思年华。
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。
“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 emerald let vaporize!
Such feeling cannot be recalled again:
It seemed lost even when it was felt then.” (Tr. Xu Yuanchong)(Li Xinhong 2010,26(06):294-296）

Five allusion including “琴瑟”、 “庄周梦蝶”、“望帝春心”、“沧海月明”、“蓝天” in used in a poem of only 64 words to express the beaty of obscurity. Though Xu used interrogative and exclamatory sentence as well as such words like “amorous”、”cry” to reproduce this beauty. Butt westers, with little knowledge of Chinese culture will be confused by the relationship between of “string” and ”vanished things” or the connotation of “butterfly”、“cuckoo” and “pearls”.(Li Xinhong 2010,26(06):294-296）

====The untranslatability of sound====
Poetic language has a natural connection with sound. The monosyllable nature and the four tones of Chinese character make it possible for Chinese poets to have a sometime deep, sometime high rhyme and rhythm which however are hardly limited in Chinese poem for the following three aspect: the harmonious balance between level and oblique tones, requirement for antithesis and rhyme which means the regular repetition of the same vowel. However, it is still much more difficult for English poets to enhance the musicality due to the uncertain syllable of words, stress shift between words, and limitation of rhyme. Consequently, the beauty of sound itself of Chinese classical poems can barely reproduced in English(Li Haiyan, 2000(04):155-158).

For example,
海水朝朝朝朝朝朝朝落,
浮云长长长长长长长消。
Sea waters tide, day to day tide, everyday tide and everyday ebb.
Floating clouds appear, often appear, often appear and often go (Tr. Nida)(Li Haiyan, 2000(04):155-158)
Though the meaning of the original poem was fully translated, the reiterative locution, reduplication words and antithesis which can impress the original reader at their first glance disappear.(Li Haiyan, 2000(04):155-158)

Here is anther example；
“寻寻觅觅，冷冷清清，凄凄惨惨戚戚。《声声慢》（李清照）
“Seek, seek, search, search,”
Cold, cold, bare, bare,
Grief, grief, cruel, cruel grief,
Now warm, then like an autumn
Cold again
How hard to calm the heart. (Tr. Clara Candlin)(Li Haiyan, 2000(04):155-158)

There are seven couples of reduplication words bring the musicality that remind us the poet’s deep sorrow and grief though no single word regarding to sadness is used. The translated works is pale when compared to the original poem in terms of neither meter nor”yijing”. The word-for-word translation in attempt to maintain the repetition of sound reduces the sense of beauty to the most and can scarcely trigger the deep sorrow and grief in the target reader.(Li Haiyan, 2000(04):155-158)

====The untranslatability of from====
Since Aristotle, heated debates on the difference of poetry and prose have been hold. Yet, poetry should be discriminated from prose in the first place for its form. A translated poetry must be poetry in form for the following reason: first, the charm of a poem somewhat lies in the beauty of form. Second, target readers should have accesses to the feature and charm of the original poetry, and it is the supreme duty of the translator to ensure that to happen. Third, the translator should be royal to the original poem. However, because of the opaqueness and connotation pervading in Chinse poems, translator in one way or other are prone to translate them into poetry and thus the beauty of form is lost.(Wang Jianguo ,2012,39(05):149-150)

Even though the translator is determined to keep the original form, he can hardly do so. As mentioned earlier, because of implicit character of Chinese, they tend to express their intention or feeling in a direct way so much so that some special form in adopted in classic poetry such as the anagram mentioned earlier.(Wang Jianguo ,2012,39(05):149-150)

凡鸟偏从末世来，都知爱慕此生才。
一从二令三人木，哭向金陵事更哀。

This bird appears when the world falls on evil times;
None but admires her talents and her skill,
First she complies, then commands, then is dismissed,
Departing in tears to Jinling more wretched still. (Tr. Yang xianyi & Gladys)

This phoenix in a bad time came,
All praised her great ability.
“Two” makes my riddle with a man and a tree,
Returning south in tears she met calamity. (Tr. David Hawkes)(Wang Jianguo ,2012,39(05):149-150)

The original poem was used by Cao Xueqin to make hints of Wang Xifeng’s destiny. Here, “凡” and “鸟” altogether constitute the traditional Chinese character “鳳” which refers to the word “feng” of Lady Wang Xingfeng. Thus, the first couplet tells us though Wang is lady of high caliber but she came at a bad time. Neither “bird” nor “phoenix” can deliver us this hint. Also in the first part of the second couplet, “木” and “人” make the character “休” (“repudiation”) which implies Wang Xifeng would be dismissed by her husband at last. Though the first translation literally tells us her destiny, the anagram is gone. (Wang Jianguo ,2012,39(05):149-150)

It is still worser of the second translation that target reader will be utterly confused when he come to “‘Two’ makes my riddle with a man and a tree,”(Wang Jianguo ,2012,39(05):149-150)

===Translation strategies of Chinese classical poetry===
====Addition of word====
Chinese classical poetry features terse wording so much so that some words are omitted. Thus, considerable words should be added to make the translation more exact in sense. For example,(He Jun ,2008(04):124-127)

“十年生死两茫茫”
“Ten years now, I’m here, you’re gone. Though not thought, not forgot.”
“For ten long years, the living of the dead knows nought.” (Tr. Xu Yuanchong)(He Jun ,2008(04):124-127)

In the second translation, the preposition “for” is added to meet English expression and more importantly, it can strengthen readers’ feeling of the span of time and echo the grief.
Besides, connotation should added to prevent target reader from confusion resulted from culture difference.(He Jun ,2008(04):124-127)

For example,
“纤云弄巧，飞星传恨，银汉迢迢暗渡”
“Clouds float like works of art，Stars shoot with grief at heart．
Across the Milky Way the Cowherd meets the Maid ( In a fairy tale in ancient China，the Cowherd and the Maid were married，but theywere restricted by the Queen Mother to meet each other once a year) ”，An allusion is used for the implicit expression of lovesickness, it would be extremely difficult for target readers to appreciate the full sense of this poem.(He Jun ,2008(04):124-127)

====Deletion of word====
Reduplicated and repetitive words are used to trigger strong emotion. Such word can be sometime deleted to avoid redundance in English. For example, in “飞流直下三千尺” and “千锤万凿出深山”， “三千尺” and “千锤万凿” are actually hyperbolized. If they are literally translated into “It flows down three thousand feet” and “Only through tens of thousands of blows，can it be extracted from the mountains”，not only the beauty of sense but space for imagination are totally lost. After fully understanding of the poem, the numbers can be omitted and thus hyperbole is transformed into typical English adjective used for description.: “an incredible height” and “a hard hammer blows”.(Sun Huali ,2020,42(04):113-116)

====Conversion of word class====
English and Chinese differ from each other a lot in terms of linguistic form and structure. In order to make the translation faithful, Conversion of word class is frequently used. (Sun Huali ,2020,42(04):113-116)For example，
“明月几时有，把酒问青天” 《水调歌头·明月几时有》（苏轼）
“How long will the full moon appear?
Wine cup in hand, I ask the sky.” (Tr. Xu Yuanchong)
“How rare the moon，so round and clear!
With cup in hand, I ask of the blue sky,” (Tr. Lin Yuntang)(He Jun ,2008(04):124-127)

If “把酒” and “问青天” are separably translated into “hold the wine glass” and “ask the sky”, there will be two predicate which is inconsistent with English expression. When we take a close look to Xu’s and Lin’s translation, it is clear that the verb phrase ”把酒” are translated into prepositional phrase. By doing this, the focus ‘问青天” is empathized so that the sense is closer to the original poem(He Jun ,2008(04):124-127)

There are of course many other ways for poetry translation such as reconstruction of sentence and annotation. No matter what strategies we adopted, it borders on impossibly for us to 100% translate a poem. But we should also bear it in mind that we can always find a way to make the translated work closer to the original poem with brainstorm and ingenuity.(He Jun ,2008(04):124-127)

===Conclusion===
In spite of the very fact that poetry translation has been practiced since very long ago and theories of poetry translation have been much produced. Different opinion was still hold of translatability and untranslatability. This paper confined the definition of untranslatability first and then explained the untranslatability from image, “yijing” the use of allusion, sound and form. Some strategies are given not in the fancy of the full reproduction of the original poem but with wish to reproduce it to as much greater degree as possible.

===References===
He Jun何峻.从译者的再创造看诗歌由不可译性向可译性转化[On the Transformation from Untranslatability to Translatability of Poetry by Recreation]. Journal of Chengdu University成都大学学报(社会科学版),2008(04):124-127.

Li Haiyan李海燕.Beauty in Sense, Sound and Form in Poetry Translation —— Translation of Tang Poems From Chinese to English. Journal of Inner Mongolia Educational Institute 内蒙古教育学院学报,2000(04):155-158.

Li Xinhong李新红.试论中国诗歌之“不可译”[On the untranslatability of Chinese Poetry]. Journal of Lanzhou Education Institute 兰州教育学院学报,2010,26(06):294-296.

Ma QinJun马庆军.中国古典诗歌的不可译因素[On Untranslatable factors of Chinse Classic Poetry ]. Journal of Tianjia Occupational Institute 天津职业院校联合学报,2015,17(01):83-87.

Rao Weimin饶卫民.论诗歌翻译的可译性与不可译性[ On the Translatability and Untranslatability of Poetry]. Journal of Anshun Institute安顺学院学报,2012,14(06):27-29.

Sui Yirong隋荣谊.诗歌翻译[Poetry Translation]. Knowledge of English英语知识,2011(10):35-38.
Sun Huali孙华丽.中国古诗词翻译技巧研究[Translation Methods of Chinese Classical Poetry].Journal of Sanxi University三峡大学学报(人文社会科学版),2020,42(04):113-116.

Wang Jianguo王剑果.论诗歌翻译中形似的重要性[On the Importance of the Similarity of Form in Poetry Translation ]. Journal of Henan Normal University河南师范大学学报(哲学社会科学版),2012,39(05):149-150.

Xu Yuanchong许渊冲.诗词英译漫谈 [On the English Translation of Chinese Classic Poetry]Chinese Translation中国翻译,1988(03):40-43.

Yang Qun & Liuyi杨群,刘益.中国古典诗歌翻译中的不可译性[On the Untranslatability of Classic Chinese Poetry]. Journal of Nan Hua University南华大学学报(社会科学版),2005(06):93-95+106.

Zhao Dan & Chen Yangto赵旦,陈养桃.戴着镣铐起舞——诗歌翻译为何难的几点分析[On Difficulties of Poetry Translation]. Literature in Anhui Province安徽文学(下半月),2015(12):5-6+34.

==The Untranslatability of Xiehouyu 彭育志 Peng Yuzhi==

<center>彭育志 Peng Yuzhi 202020080635</center>

===Abstract===

Xiehouyu is a typical idiomatic Chinese folk expression, with its first part descriptive, while the second part, sometimes unstated, carrying the massage. However, this kind of expressions is often culturally loaded, and a great number of them are with puns, which accounts for its untranslatability. This paper will concentrate on distinguishing 4 key elements of the Chinese fork wisecrack and examine which elements of the 4 are bound to lose and therefore prove to some extent the Xiehouyu is untranslatable. Finally, I will try to find some methods to overcome this untranslatability at best.

===摘要===

歇后语是典型的中国民间俗语，它由两部分构成，前半部分是描述性的，后半部分则是对前一部分的解释，传达出说话者真正的意图。歇后语形象生动，又富含中国历史文化之意蕴，而且时常语带双关，这使其具备了不可译性。本文旨在区分歇后语翻译中关键的四要素，来考察何种或哪几种要素在翻译时注定会失去，从而证明歇后语在某种程度上是不可译的。但不可译并不代表就放弃翻译它了，本文探究其不可译性的最终目的还是想要找到合适的翻译策略来尽量弥补这一不可译性。

===Key words===

Xiehouyu; Untranslatability; Translation Method

===关键词===

歇后语；不可译性；翻译策略

===1.Introduction===

====1.1 Xiehouyu====

The Xiehouyu is a special Chinese expression created by Chinese people according to their everyday experience. It consists of only a few words and often achieves a humorous or ironic effect. Rooted deeply in Chinese conventions and the long history of China, the Xiehouyu is the typical product of unique Chinese Culture.
A Xiehouyu consists of 2 parts, the first part illustrating an image or event, the second parts explaining the meaning the addresser wants to express, and often the second part will not be expressed out, leaving a blank for the addressee to fill in. (Li Gongxue, 2014:12)

====1.2 untranslatability====

According to Catford, there are 2 types of untranslatability: linguistic untranslatability and cultural untranslatability. The former occurs when there are no lexical or syntactical substitutes in the TL for the SL; while the latter is due to the absence in the TL culture of a relevant situational feature for the SL.
Even if there is a relevant situational feature in the TL for the SL, like the English words “home” and “democracy”, whose counterparts can be easily found in different languages, these word pairs still have differences in meaning, depending on the contexts and cultural background. So the cultural untranslatability happens because language is the primary modelling system within a culture, it must be de facto implied in any process of translation.(Susan Bassnett, 2002:40)

Considering this thesis mainly deals with the translation of Xiehouyu into English, the untranslatability of Xiehouyu will be further discussed by using English and Chinese as examples.
The first to be discussed is the linguistic untranslatability. The Chinese characters have only one syllable, and with the change of the 4 different tones, different characters are created and even the same sound can represent different characters, which is a far more common case than that in English. While English is a very different story, an English word can have one, two three or even more syllables and it relies on the position of stresses instead of change of tones to alter the meaning of a word or sentence. This makes the translation of puns and poems in both languages very difficult. For example, one line from a Chinese, “东边日出西边雨，道是无晴却有晴。” is untranslatable in that the “晴” (“sunny”)here is a pun, it implies “情” (“love”), but in English, no pair of words can be found with the same pronunciation while the 2 totally different meanings.(Feng Cuihua,1995:62)

The second to be discussed is the cultural untranslatability. Obviously, due to different cultural and historical background, even a same object in Chinese and English can be quite different. Take the words “dog” and “狗” for example. The word “dog” has a positive or neutral connotation in English, with which, the English speakers show their friendly and intimate relationship with others by saying “he is my dog.” Another English idiom put it that “every dog has its day.”, in which “dog” means ordinary people. While in Chinese, things are quite the opposite. “狗” in Chinese has a negative connotation. Many Chinese idioms can serve as the proof, such as “狗仗人势”, “狗嘴里吐不出象牙”, “落水狗”, “丧家之犬” and so on. If these “狗” or “犬” are all translated into “dog”, the English speakers will find it unacceptable.(Feng Cuihua,1995:62)

It is obvious that Xiehouyu features all these untranslatable elements, which means the Xiehouyu is untranslatable.However, this does not mean the Xiehouyu cannot be translated at all. What we can achieve is an optimal translation. What Xu Yuancong says about the translation of poetry is suitable for the translation of the Xiehouyu, actually to all kinds of translation.
According to him, the translation of a poem is the crystallization of the enormous effort of both the original author and the translator, the former is compared to a father, the latter, mother, then the translation is like their child. The child will never be the same as neither his father, nor his mother. The translation can never be the same as the original work without being affected by the translator. (Xu Yuancong,1988:42)

So there is no absolute translation, the problem of translation is a matter of degree. And therefore, the focus point of this thesis will be to what extent Xiehouyu is untranslatable, or what elements would be lost in translation and what can be done to achieve the optimal translation.
In the following sections, the structure of the Xiehouyu will be analyzed and the function of Xiehouyu will be examined to see what elements in them are untranslatable and what translation methods can be adapted to make up for this untranslatability to the best.(Xu Yuancong,1988:42)

===2.1 The structure of Xiehouyu===

The Xiehouyu, as mentioned above, consists of mainly 2 parts, the first part descriptive, the second part explanatory. Between the 2 parts, there is always a comma or hyphen which serves as a link to indicate certain connection between them. In actual use, the second part is sometimes not stated by the speaker. In some cases, this is because the descriptive part is vivid enough, both the speaker and the hearer are very familiar with it, they both know perfectly what the unstated part is and what that actually means. (Li Gongxue,2014:20)

Chinese people always say, referring to someone, “狗咬吕洞宾”, leaving the latter part “不识好人心” unstated, for the story of Lv Dongbin and dog is well-known in China, no further explanation is needed. While in other cases, the descriptive part is not that clear and the speaker intentionally leaves a blank to the hearer to fill in. He waits the hearer to ask why such a description is used. Until then the speaker will reveal the latter part to achieve a humorous or ironic effect. (Li Gongxue,2014:20)

When we take a closer look at these 2 parts, more details can be found. The descriptive part is either an object or an event. “十月的萝卜” and “外甥打灯笼” can serve as examples respectively. As for the second part, it may serve as an adjective or an adverb to modify the former，or even the action the former part performs if it is an object or some particular person, as the cases in “老九的弟弟—老十（实）” “韩信点兵—多多益善” and “十月的萝卜—冻（动）了心” respectively. (Li Gongxue,2014:20)

In actual use, we can find the former part, the object or the event appearing in the Xiehouyu, is often replaced by the real object or event we want to modify with the Xiehouyu. It is the object or event which the speaker is referring to that is directly modified by the later part of the Xiehouyu. So the function of the Xiehouyu as a whole, in fact depends on the latter part of it. It can serve as an adjective, an adverb or a verb. And therefore, if the aim of translation is only to serve the same function of modifying, the former descriptive part can be simply omitted, only translating the latter descriptive part. (Li Gongxue,2014:21)

However, the Xiehouyu is a culture-loaded expression. It is deeply rooted in the soil of unique and colorful Chinese history and culture, which is best embodied in the first half of the Xiehouyu. It often illustrates a famous figure in Chinese history or an image which vividly reflects Chinese outlook of viewing the world. In a word, the first part is more valuable in the aspect of culture than the second part, which when translated, must be kept at best. As for the latter part, though its main function is to explain the true meaning, there is also a noticeable element in it, the pun in Chinese language, which is the difficult point of translation. (Li Gongxue,2014:21)

===2.2 The classification of Xiehouyu===

As can be seen in the structure of Xiehouyu above, the first part of Xiehouyu is descriptive which is the basis for the reader in understanding the meaning of it, while the second part is explanative, in which the meaning of the Xiehouyu will be shown to the reader. Some Xiehouyu have only one meaning in the second part, which is the literal meaning; while in other Xiehouyu, there are 2 different meanings in the second part, which are its literal meaning and the extended meaning. In other words, the former do not employ pun, and the latter is punny. The punny ones can be further divided into 2 categories: the polysemous punny Xiehouyu and the homophonic punny Xiehouyu.(Li Gongxue,2014:19)

Based on the discussion above, the Xiehouyu can be classified in to 3 categories: the literally-stated Xiehouyu, the polysemous punny Xiehouyu and the homophonic Xiehouyu. To better illustrate these 3 kinds of Xiehouyu, 3 examples are given below respectively:
Literally-stated Xiehouyu:

张飞穿针—粗中有细

Zhang Fei threading a needle – subtle in one’s rough ways

This literally-stated Xiehouyu above literally means that even a rude man like Zhang Fei, a general of Shu regime, is able to thread a needle, it naturally indicates that someone can be subtle in his rough ways. The first is descriptive which gives the reader a hint and imagination and the second part tells the meaning of it directly. The literal meaning is the practical meaning without an extended one.(Zhao Xiaoyan,2014:104)

Polysemous punny Xiehouyu:

王妈妈卖了磨，推不了的

Like Dame Wang who sold her grindstone:
You’ve no way to grind your axe any more.

In the Xiehouyu above, “推”(“tui”) is polysemous in Chinese, one meaning to grind, the other meaning to absolve oneself from responsibility. This Xiehouyu thus has 2 meanings. The literal meaning is that Dame Wang sold her grindstone and the other is that one cannot absolve himself from responsibility now，which is difficult for the target reader to understand, requiring more explanation. (Li Gongxue,2014:21)

Homophonic punny Xiehouyu:

连着三个观音堂—庙（妙）！（妙）！（妙）！

Three shrines to the goddess Kuan-Yin lined up in a row:
Wonderful! Wonderful! Wonderful!

In the example above, the Chinese characters “庙”and “妙”are homophonic, both pronounced as “miao”. But the former means “temple” the latter means “wonderful.” The meaning “wonderful” is the true meaning that the Xiehouyu wants to convey. (Li Gongxue,2014:22)

After analyzing the structure and classification of the Xiehouyu, 4 key elements of the translation of Xiehouyu are found: cultural connotation, image, sound and meaning. The first 2 elements can mostly be found in the descriptive part of Xiehouyu, and the element of meaning can be found in the explanatory part of Xiehouyu, and if it is a homophonic punny Xiehouyu, the sound element can also be found. Considering the aim of translating Xiehouyu, which is to spread Chinese culture to other countries, the 4 elements need to be saved in the translation. A question is that when translated, can all 4 of the elements be kept without losing a little bit of them? And if any or all of them is doomed to be lost, what method can be adapted to best regain it or them?
The following part will concentrate on the first questions, taking the 4 elements into consideration, examining whether or not will lose and thus prove the untranslatability of the Xiehouyu.(Li Gongxue,2014:22)

===3. The possible loss of 4 key elements===

===3.1 The loss of cultural connotation===

The cultural connotation in the Xiehouyu results mainly from 3 aspects. The first is the unique Chinese tradition. An example of this category is shown below:

正月十五贴门神—晚了半月

Be too late (Zhao Xiaoyan,2014:104)

The Xiehouyu above demonstrates a unique Chinese tradition, rich in cultural connotation, which is better to be kept in the translation, however the translator failed.
Traditionally, the Chinese people put up the pictures of door-god(门神) on the door on the first day of the lunar new year to get rid of evil things. Usually 2 pictures will be glued on the door, which is often opened from the middle. So the 2 pictures will be stuck on the 2 sides of the door. As the door-gods, no ordinary people can be called as god by the Chinese. (Zhao Xiaoyan,2014:104)

They were Qin Shubao and Yuchi Gong, both of whom were generals in the Tang dynasty. They were warriors on the battlefield, who once guarded the door for the greatest emperor of Tang dynasty, Li Shimin, to protect him for nightmare.
The picture of door-god should be glued on the first day, which indeed will be too late if glued on the 15th day. The meaning of this Xiehouyu is, as the translation shows, to be too late. But all the translation achieves is conveying solely the meaning of it, which is absolutely inadequate. The translation abandons the former descriptive part, which means the cultural connotation is completely lost.(Zhao Xiaoyan,2014:104)

The second involves with famous names in Chinese history. As the example shows:

韩信点兵—多多益善

The more the better(Zhao Xiaoyan,2014:104)

In the Xiehouyu above, a famous Chinese name in Chinese, Han Xin(韩信), was mentioned. However, in the translation it disappears. The translator denies the target reader’s access to an interesting anecdote of Han Xin, which is worth-telling. Han Xin was a general in the Han dynasty, the first emperor of which, Liu Bang, once asked him: “how many soldiers do you think can I command?” Han Xin answered, “100000 at most.” “so, what about you?” the emperor asked. Han Xin’s answer was: “the more the better.”, which is what the Xiehouyu actually means.(Zhao Xiaoyan,2014:104)

The story is so famous in China that once the first 4 Chinese characters are mentioned the next 4 will automatically appear in the hearer’s mind. But the translation deletes it all, like buying caskets without the jewels. The cultural connotation is missing due to a translation like that.
The third is about Chinese legends, as is shown in the example below:

八仙过海—各显神通

Like the way the eight fairies cross the sea, each displaying his own talent.(Zhao Xiaoyan,2014:104)

The story is so famous in China that once the first 4 Chinese characters are mentioned the next 4 will automatically appear in the hearer’s mind. But the translator deletes them all like buying caskets without the jewels. The cultural connotation is missing due to a translation like that.

===3.2 The loss of image===

The image is lost often when the translation abandons the descriptive and imagery part, as the examples show:

千里搭长棚—天下没有不散的筵席

Even the longest feast must break up at last.

“千里”(“ one thousand Li”) and “长棚”(“ long awning”) are 2 visual images in the Xiehouyu. In the translation, the word “longest” emphasizes more on time rather than space which is stressed by “千里” in the original text. The image of “长棚” is also missing. When Chinese people read the first part, a picture of people seeing off their friends on the 1000-Li awning with wines and dishes appears, which cannot be reproduced by the translation using the phrase “longest feast” which means a feast that last a long time. The special image is undoubtedly missing.(Zhao Xiaoyan,2014:104)

擀面杖吹火—一窍不通

To know nothing about something

The translation gives up an important image “擀面杖”, which means rolling pin in English. It’s a solid stick, through which the air cannot be blown to promote the flame. Blowing air through a rolling pin is actually a very amusing and ridiculous situation. It is imagery and the image connects naturally with the meaning in that the Chinese “一窍不通” literally means “one hole is stuck” in English and it also connotes the real meaning of the phrase that one know nothing about something. It is a pity that the translation fails to reproduce this meaning image in the target reader’s mind.(Zhao Xiaoyan,2014:106)

But it should be admitted that not all image will lose, when the image itself is not unique to Chinese culture but common to human cognition. It can be explained by the example below:

因风吹火，用力不多。

Let the wind fan the flames
And take the easiest course.

As can be seen in the example above, the literal meaning of the Xiehouyu is its real meaning and the 2 parts of it convey universal knowledge in both source language and target language.(Li Gongxue, 2014:63)

===3.3 The loss of sound===

The loss of sound in the translation of Xiehouyu occurs when the Xiehouyu has a pun. There are 2 kinds of punny Xiehouyu, one is polysemous Xiehouyu, the other is homophonic Xiehouyu. The former contains a word or phrase in its second part that has more than one meaning. It has the literal meaning and the extended meaning at the same time. The polysemous word helps conveying the extended meaning to the hearer.(Li Gongxue,2014:60)

As for the homophonic Chinese wisecrack, it uses the homophonic or similar homophonic words to achieve a punny effect.
Those punny Chinese wisecracks are regarded as absolutely untranslatable, because it involves the play of sound. Which is clearly demonstrated by the following examples:

外甥打灯笼—照舅（旧）

Things will be back as they were before.

It is a homophonic Xiehouyu. The phrase “照舅” is homophonic to “照旧”, the former meaning “to find uncle with a lantern” while the latter meaning “ the same as before”. The sounds are same, but the meanings are totally different. No 2 English words with the same sound can be found to convey the 2 different meanings as their Chinese counterparts do. The translation has to abandon the sound elements, because it is bound to lose and convey only the meaning of it.(Zhao Xiaoyan,2014:105)

隔着门缝看人—把人看扁了

If you peer at a person through a crack - he looks flat. (pun: Don’t be so prejudiced)

The example above is a polysemous Xiehouyu. The translation conveys the literal meaning of it then adds a note to indicate it is a pun and explain the extended meaning so that the target reader can understand it. However, simply telling the reader it is a pun is not enough, it still cannot the multiple meanings that is easily perceived by Chinese people with a single phrase in English.It is safe to say that the loss of sound element is inevitable when dealing with the punny Xiehouyu.(Zhao Xiaoyan,2014:106)

===3.4 The matter of meaning===

Meaning is the only element which can be saved in the translation of all kinds of Xiehouyu. As Nida believes, “anything that can be said in one language can be said in another language unless the form is an essential element of meaning.” While in the case of the Xiehouyu, the only important formal element is pun. It is a linguistic barrier between Chinese and English. Except the punny Xiehouyu, the loss of cultural connotation and image can be compensated if proper translation methods are adapted. In fact, even the sound image can also be compensated though in very few cases.The next part is to figure out certain methods to reduce the loss of the cultural connotation, the image and sound, though in very few cases, respectively.(Li Qinhua,2018:43)

===4 Translation methods to compensate===

===4.1 Method for the loss of cultural connotation===

If the cultural connotation is lost in the translation, only a note is needed for compensation. Therefore, the method of literal translation plus annotation can be adapted in this case, as the example shows:

张飞穿针—粗中有细

Zhang Fei threading a needle - subtle in one’s rough ways

Note: Zhang Fei was a general of Shu (221-263) during the Three Kingdoms era of China. In most matters he was crude and careless but quite subtle at times.

The translation itself is a literal translation without any information of Zhang Fei. But with the note, which depicts who Zhang Fei was and his personalities, the cultural connotation is complemented.

===4.2 Methods for loss of image===

===4.2.1 Borrowing===

Borrowing in the translation of the Xiehouyu means using the image familiar to the target reader to replace the image in the source language. So that the original meaning of the source language is saved and the target reader’s understanding to it is deepened, as can be seen in the example below:

猫哭耗子—假慈悲

To shed crocodile tears

Cats are raised in China to catch mouse so “猫哭耗子”(“ cats shed tears for mouse”) means pretending to show mercy. Fortunately, the phrase “to shed crocodile tears in western culture also means the evil person pretends to show his mercy towards the victim, because in western legends the crocodiles shed tears when the eat their prey. The replacement of images helps the Xiehouyu better understood by the target readers and make the translation vivid.(Zhao Xiaoyan,2014:103)

===4.2.2 Literal-liberal translation===

In some translations of Xiehouyu only the liberal translation is adopted, which leads to the loss of the images. So literal translation is necessary in this situation to help keep the image. An example is shown below:

瞎子点灯—白费蜡

Like the blind man lighting the candle – to do something in vain

The translation not only explains the meaning of the Xiehouyu but also keeps the image – blind man lighting the candle by literal translation. This move helps the target reader understand the meaning as well as seeing the picture behind it.(Zhao Xiaoyan,2014:105)

===4.3 Method for loss of sound===

===4.3.1 imitation plus annotation===

Due to linguistic differences, the loss of sound elements is difficult to reproduce in the target language. To achieve this goal, it depends on the translator’s own creativity to imitate the pun in the source language to strive to find a same or similar sound in English which conveys 2 different meanings. Then an annotation is needed to explain to the target reader how the 2 words in the source language are punned. Below are 2 adequate translations of Xiehouyu which most reproduce the homophonic elements for the target reader:

云端里老鼠—天生的耗（好）

The ‘furry pest’ Heaven has to offer
Annotation: This humorous expression depends for its force on a pun between the word hao, meaning “vermin” and the word hao, meaning “good.” In an attempt to render something of this play on words, I have punned “furry pest” with “very best.”(Li Gongxue, 2014:40)

卖盐的做雕銮匠，我是那咸（闲）人

If you endeavor to turn a salt peddler into a sculptor,
He’ll end up making an ‘idle’ use of his time.
Annotation: The point of the second of these two hsieh-hou yv turns on a pun between the expressions hsien-jen meaning “idol of salt” and hsien-jen meaning “idle person”. I have tried to convey this by punning “idol” and “idle”.

The 2 translations above set the example for the translation of homophonic punny Xiehouyu. The translator strives to reproduce the sound in the source language by creative imitation and a detailed note, explaining how the 2 words in Chinese are punned and how the pun is recreated in English.(Li Gongxue, 2014:40)

===Conclusion===

The untranslatability of Xiehouyu results from the difficulty to keep 4 key elements in it. And why the 4 elements need to be saved in translation is justified by the aim to spread Chinese culture overseas. It need to be admitted that not all 4 elements are going to be lost in translation. The cultural connotation element, the image element and the sound element are often to be lost more or less, of which the sound element is almost doomed to be lost. While the element of meaning is to be kept in the translation.

In order to compensate those losses at best, several methods can be adapted in translation. To keep the element of cultural connotation, we can use literal translation plus annotation, telling the cultural background or anecdote behind the Xiehouyu, so that the cultural connotation can be better understood.

To keep the image element, we can also use literal translation plus annotation or borrowing, of which the former depicts the image literally and explains what the image means and the latter replace the image in the source language with another image familiar to the target reader, so as to make the Xiehouyu vivid.

The sound element, with linguistic differences between Chinese and English, is the hardest to compensate. But the method of imitation plus annotation can be adapted which imitates the sound elements in Xiehouyu, typically the homophonic punny ones, by creating a new pun in English to achieve the punny effect in Chinese. And an annotation is needed to explain to the target reader how the words in the source language are punned and how the pun is recreated in the target language. The method reproduces the sound elements in a pun to its best. However, not all Xiehouyu with sound element can be so fortunate that a pair of English words can be found to reproduce the effect.

What is obvious is that annotation is of great importance in the translation of Xiehouyu if the 4 elements are to be kept. But too much annotation will inevitably reduce the lucidness of Xiehouyu: to keep one thing means to lose another. That said, there are still many obstacles standing in the way of Xiehouyu translation.
In a word, Xiehouyu is a combination of image, sound, cultural connotation and meaning, when translated into English, it should be translated not only to simply convey the meaning of it, but also to help the image, sound and most importantly, the culture behind it better perceived, understood and accepted by different countries. Only in this way can we say it is satisfactorily translated if we aim to make Chinese culture spread overseas, which is an extremely important task in today’s era of opening and communication. This thesis proves Xiehouyu is to some extent untranslatable, and provides some methods trying to overcome this untranslatability.

===References===

*Egerton, Clement. The golden lotus [T]. London: Routledge & Kcgan Paul, 1939.

*Susan, Bassnett. Translation Studies[M]. London: Routledge, 2002.

*Yang Hsien-yi & Gladys Yang. A dream of Red Mansions [M]: Foreign Language Press, 2003.

*Cao Xueqin & Gao 'E,曹雪芹,高鹗. 红楼梦[A dream of Red Mansions ]［M］．北京；中国戏剧出版社，2002．

*Feng Cuihua,冯翠华.英语修辞大全[English Figures of Speech][M]. 外语教学与研究出版社, 1995.

*Lanlingxiaoxiaosheng,兰陵笑笑生．金瓶梅词话[Chin P'ing Mei]［M］．北京：人民文学出版社，1992．

*Li Gongxue,李宫雪. 芮译本《金瓶梅》歇后语翻译研究[D][A Study of Xiehouyu Translation in the English Version of ''Chin P'ing Mei'' by David Tod Roy] .天津财经大学,2014.

*li Qinhua,李庆华.变译视域下汉语歇后语的英译[J][The Translation of Xiehouyu from the perspective of Transfered Translation].现代交际,2018(04):93-94.

*Tang Rongshan,谭荣珊. 从关联理论看《红楼梦》中汉语歇后语的英译[D][On the Translation of Chinese Folk Wisecracks from the Perspective of Relevance Theory].华中师范大学,2013.

*Xu Yuanchong,许渊冲.诗词英译漫谈 [On the English Translation of Chinese Classic Poetry]Chinese Translation中国翻译,1988(03):40-43.

*Zhao Xiaoyan,赵晓燕. 从文化语境的角度看歇后语的英译 [The translation of Xiehouyu from the perspective of cultural context][J].淮北师范大学学报,2015(06):102-106.

--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 07:48, 21 December 2020 (UTC)

==Study on Xu Yuanchong’s Translation of ''Shengshengman'' from the Perspective of Translation Aesthetics 朱旭 Zhu Xu 202070080631 MTI 英语笔译==

<center> Zhu Xu 朱旭, 202070080631. </center>

===Abstract===
As her later representative work, ''shengshengman'' written by Li Qingzhao, praised by later generations as“the Eternal Farewell”, describes autumn scenery, expresses her feeling which has great aesthetic value. It is necessarily of high significance to analyze English versions of ''shengshengman'', which is full of aesthetic features. From the perspective of translation aesthetics, this paper analyzes Xu Yuanchong’s English version of ''shengshengman'' from four aspects: beauty in image, beauty in sound, beauty in lexis, beauty in form in order to study the application of Translation Aesthetics in literary translation.

===Key words===
Translation Aesthetics; Sheng sheng man; Xu Yuanchong; Literary Translation

===题目===
翻译美学视角下《声声慢》许渊冲英译本的研究

===摘要===
声声慢是李清照后期代表作，被后人誉为“千古绝唱”。在这首词中，作者描写秋景抒发哀情，全词感情浓烈，文学造诣极高。本文从翻译美学角度入手，从意象美、音韵美、用词美、形式美、四个方面对宋词《声声慢》许渊冲的英译本进行分析，分析研究翻译美学理论在文学翻译中的运用。

===关键词===
翻译美学；许渊冲；声声慢；文学翻译

===1 Introduction===

Literary translation refers to the process of translating a literary work of source language into target language. There is an interactive relationship between literary translation and literary recipients, the influence of literary receiver on literary translation is more obvious. Due to the great differences between Chinese and Western poetry in terms of language and culture, it is impractical that translator wants to make a perfect translation, that is to say, in literary translation, it is difficult for the translator to completely transform the source language into the target language. This paper, from the perspective of Translation Aesthetics, studies on Xu Yuanchong’s translation version of ''shengshengman'' from the aspects of image, sound, lexis and form, and probes into the application of Translation Aesthetics in the translation of Chinese poetry(''ci''), it further demonstrates the importance of Translation Aesthetics to literary translation.

===2 An overview of Translation Aesthetics===

Translation is the activity of expressing the information carried by one language in another language, each language has its own characteristics, and its connotation and extension are influenced by different living environment and cultural background.Translation Aesthetics play an important role in translation studies. Translation Aesthetics have long been in connected for a long time, which the basis of Chinese Traditional translation theory includes aesthetics. Translation Aesthetics is an aesthetics origin revealing translation, to study translation from the perspective of aesthetics, which brings a new theoretical basis for the study of contemporary translation theory. (Li Lei, 2011, 83)

====2.1 The Aesthetic Translation Theory in China====

The subset of Chinese history, poetry and painting are in fact the eternal beauty of direct or indirect narrative, Linyi, interpretation, exploration and development of natural beauty, life beauty, human beauty, personality beauty and spiritual temperament. (Liu Miqing, 1994, 56) Based on the linguistic and expression characteristics of Chinese, Chinese translation and aesthetics have a natural connection. Translation and aesthetics have been officially used as an area of translation research since the 1990s. In the Field of Translation in China, the earliest person who systematically combined translation and aesthetics was Xi Yongji, and ''The Comparative Study of Translation Aesthetics'' is the first study of translation aesthetics in China. (Li Jie, 140)

Since the 1980s, Western translation theory has occupied a very important position in The Chinese translation circle, new theoretical terms and research methods have dazzled researchers, Western-style logical thought research has entered various fields of scientific research, and the traditional Chinese method of experience is considered unscientific and fragmented. Quite a few researchers have abandoned the traditional Chinese way of study, but Mr. Yu Yongji still thinks calmly, not in the Western way of logical thinking, but by means of Chinese culture's own sense of experience, trying to open up a new way for translation research from the perspective of Chinese traditional aesthetics, so that China's self-made traditional translation theory can be connected by a link, this link is translation aesthetics. In his works, Mr. Yan discusses the aesthetic factors in literary translation from the three aspects of language beauty, imaginary beauty and style beauty. In the translation research methods to the later researchers have brought inspiration.(Yang Xiaoru, 2013, 25);(Yu Jiying, Guo Jianzhong, 2006, 54)

Second, Mr. Liu Miqing's book ''Introduction to Translation Aesthetics'' published in Taiwan. This work through argumentative analysis, revealed the aesthetic origin of translation, analyzed the translation aesthetics and the natural connection between Chinese words and text, put forward the basic theoretical framework for the construction of translation aesthetics. Professor Mao Ronggui's book ''Translation Aesthetics'' came out in 2005, which is divided into four parts: the main article, ask the beauty, the hazy article, the practice article.(Yang, 2013, 25)

As the book has a novel layout, the content of the article swept the study of the text of the obscure wind, the language is sometimes eternal, sometimes witty, sometimes thought-provoking, sometimes people can't help but let people understand the study of translation theory at the same time really feel the language beauty. This work suggests that language ambiguity and translation aesthetics can be combined to study, which was rarely mentioned among domestic scholars at that time, opening up new ideas for translation research. In his opinion, the study of language ambiguity and how to compensate in its translation is a topic that translation research can not get around, as far as language ambiguity is concerned, Chinese is more than English. Therefore, Chinese translation theory can not lack the study of language ambiguity and its compensation mechanism in translation. The above three works are the more systematic works in the field of translation aesthetics in China.(Mao Guirong, 2005, 98);(Sui Rongjing, Li Fengping, 2007, 56)

These three works reveal the research significance, research tasks, research methods and research categories of translation aesthetics from different aspects. Throughout these three works, in the course of their discussion, most of the translations listed are concentrated in the field of literary translation. With the guidance of translation aesthetic theory, a large number of academic works and papers on translation have come into being from the perspective of translation aesthetics. Translation aesthetics is a very "young" research field, which needs to be further developed and perfected, and needs to be reconsidered and studied.(Sui Rongjing, Li Fengping, 2007, 57)

At present, the remarkable feature is that the study of translation aesthetics is mainly concentrated in the field of literary research. Most of the articles studied from the aesthetic point of view are still focused on the analysis and criticism of translation, comment on the merits, explore the best translation methods and so on. The perspective is relatively narrow, which has not been separated from the simple evaluation of the quality of translation under the model, less all kinds of translations as aesthetic objects, can not be from the aesthetic point of view of appreciation, taste, comparison, analysis, resulting in literary works and their translations contain aesthetic factors and their value can not be revealed in full, so that readers can not be fully revealed, so that readers in the study of translation works, The aesthetic value of the original and the translation cannot be fully appreciated. (Sui Rongjing, Li Fengping, 2007, 57)

====2.1 The Aesthetic Translation Theory in the West====

As we know, western translation theories have been greatly attached to aesthetics for a long time before the entrance of the modern linguistics. The theories are based on the study of philosophy and aesthetics, which has lasted for more than 1800 years.

The first western exploration of translation began with Marcus Tullius Cicero(106-43 B.C.) and Quintus Flaccus Horace(65-8 A.D.). Their stress was laid on sense for sense translation and the aesthetic criteria of the TL produced. St Jerome(347-420) and St. Augustine(354-430) were the followers in the flow of western translation theories. The former proposed that translation mostly lied on the nature, so the translated text should be as simple as the daily language. The latter proposed that in the process of translation, the translator must notice three styles: simplicity, elegance and sublimity and they were requirements of the readers.(Li Xiangmin, 2020, 79)

From the fourth century A.D. to the 17th A.D., with the spread of Christianity, Bible translation became the major concerns of western translators. Martin Luther(1483-1542), as the most influential Bible translator, also laid emphasis on the significance of producing an accessible and aesthetically satisfying vernacular style. Later a noted English translator of Homer George Chapman(1559-1643) realized that the good translation must grasp “spirit” and “tone” of the source text, so the translated text can be regarded as a transmigration of the source text(Susan B.M.,2002, 61)

Alexander Fraster Tytler (1747-1813), a renowned English translation theorist in the eighteenth century, set up three principles of translation which focus upon the reproduction of idea, style and ease of the original. Benedetto Crose(1866-1952) was a distinguished aesthetician and literary essayist in Italy. In his masterpiece Estetica(1948), he expressed his thought like this: literary translation was a process of art recreation. Ezra Pound (1885-1972) is not only a great poet, but also a famous translator. He said: “Rime looks very important. Take the rimes of a good sonnet, and there is a vacuum.” (Pound, 1929, 30).

One of the most noteworthy may be the renowned American scholar Eugene A. Nida, who writes in his book ''The Theory and Practice of Translation'' (2003, 128) that “translating consists in reproducing in the reader language the closet natural equivalent of the source language, first in terms of meaning and secondly in terms of style.” Here, “meaning” is not only related to lexical elements, but also to other linguistic or non-linguistic factors which contribute to the understanding and appreciation of a literary work. As seen from the history of western translation theory, translators never ceased to take in nutrition from aesthetics. As Liu Miqing (1995, 58) put it: “In the west, the bud of translation theory was first bound to the tree of philosophic-aesthetics and has stood for as long as one thousand and eight hundred years.”(Li Xiangmin, 2020, 79)

During the long course of development, western and Chinese translation aesthetics have experienced ups and downs and share many similarities in translation principles, approaches, procedures etc. Firstly, both Chinese and western translation theories have gone through the process of development from dispersive statements to monographs which reflects the common law of development. Secondly, they both have experienced the dispute between literal and free translation.(Li Xiangmin, 2020, 79)

Confined by the limitation of the aesthetic subject's intuition and appreciation and weakness in objective analysis, traditional studies of translation in China are characterized by their fuzziness and ambiguity in logical intension. As compared with Chinese translation studies, western translation studies pay much attention to explicit definition and clearness of logical intention. Influenced by different systems of philosophy, culture and language, they have their distinctive features as well. (Li, 2020, 80)

Western traditional philosophy, though having passed through different stages, mainly regards human beings and nature as incongruous. It lays stress on dualism rather than holism. While through years Chinese traditional philosophy had laid great emphasis on harmony, integration and the mingling of opposites. Therefore, the differences between western traditional philosophy and Chinese traditional philosophy have exerted a great influence on translation studies. The influence is especially remarkable in the following aspects. Chinese traditional studies of translation trend to pay much attention on the wholes rather than parts, on intuition rather than reasoning. Therefore, the success of a translation work depends mainly on the perception and empirical insight of the translator rather than systematic investigation of its structural elements and logical verification. (Yu Jiying, Guo Jianzhong, 2006, 54)

Moreover, in China, translation theories are but a set of much talked-about principles or criteria such as “faithfulness, expressiveness, elegance” and “closeness of spirit” which can hardly break away from controversial discussions on literal and free translation and have been left to stick with classical literary aesthetics or philosophical aesthetics. Western translation studies, on the other hand, are inclined to lay emphasis on rational and impersonal analysis of structural elements. Therefore, western translation theorists are more likely to approach translation studies from various perspectives and fort systematic conclusion on translation theory. They have never ceased to seek theoretical reference from linguistics, poetics, philosophy, semeiotics, cross-culture studies etc to build their translation theories. In all, similarities and dissimilarities in Chinese and western aesthetic traditions may help us find out the commonness and idiosyncrasy, the universality and particularity between them so that we can get enlightenment from western translation theories and develop those of our own.(Li, 2020, 80)

===3 Previous studies on Li Qingzhao’s Ci-poetry in China===

In China, Bing Xin is the earliest one introducing Li Qingzhao and her works to the English -speaking world. In 1926, she finished her master thesis ''An English Translation and Edition of the Poems of Lady Li Yi-an'' in Wesley College in the United States. In this paper, she systematically explained the fundamental knowledge about Ci-poems and tried to translate twenty-five major Ci-poems of Li Qingzhao. It might be the first time for aca demia of western literature to contact with Ci-poetry. In some west ern countries, a few English translations were published and circulated after that. (Tang Lin, 2012，54)

Chu Dagao (aka Ch'u Ta-kao or TK Chu) is considered as the second one who introduced Li Qingzhao's Ci-poetry to the western world. In 1937, Chu Dagao published his ''Chinese Lyrics''by Cambridge University Press, which has been difficult to obtain now. In 1987, he published another book ''101 Chinese Lyrics'' (published by New World Express), with five Ci-poems of Li Qingzhao's in it.(Tang Lin, 2012，56)

In 1961, Lin Yutang published his famous book ''The Importance of Understanding Translations from the Chinese'' , with Li Qingzhao's Ci-poem ''shengshengman'' and ''Comments on Ci-poetry'' in it. This book aimed to introduce Chinese famous poets and works to the western world. Xu Jieyu published his article about English translation of Lyrics of Li Qingzhao in 1962, which included twenty Ci-poems in it. Specialized translation research on Li Qingzhao at home was done by Weng Xianliang. In 1985, his book ''An English Translation of Chinese Ancient Poems'' appeared for the readers at home and abroad. (Tang, 2012, 57)

Xu Yuangchong is one of the most experienced translators in China. He translated and published 60 Ci-poems of Li Qingzhao (some uncertain works also involved) in his magnum opus ''Literature and Translation'' in 2003. He drew the outline of the development of Chinese poetry translation in his works, which made a great contribution to popularity Chinese culture and enhancing its status in the world. Mao Yumnei is the daughter of Dr. Mao Yisheng, who is the most famous bridge engineer in China. She obtained her M A. Arts Degree from the Department of English at Washington University. Since the 1950s,she has begun tore search translations on the exchange of Eastern and Western cultures. After few years she published her monograph ''Picking the Best Ci-Poems from the Washing Jade'' with thirty-two Ci-poems of Li Qingzhao in it. (Tang, 2012, 58)

Since the twenty first century, Li Qingzhao' s Ci-poetry has attracted more and more audience by its unique artistic flavor. A great deal of scholars has devoted themselves to the translation and introduction of Li Qinghao and her works. YangJian's thesis ''On the English Translation of Ci-poems by Li Qingzhao'' is regarded as the earliest thesis in this period.In 2001, the reputable couple Yang Xianyi and Gladys Yang published their works ''Song Lyrics'' (《宋词》).Other famous translators who have made outstanding contributions include Gong Jinhao (Gong Jinhao, 1999), Huang Hongquan (HuanHongquan, 2001), and Zhu Chunshen (Zhu Chunshen, 2003).(Tang, 2012, 58)

In 2005, Li Qing finished her dissertation ''A Contrastive Study on the Translations of Tz 'u Poems by Li Qingzhao'', which published as a monograph in early 2009. Using the comparative method, she systematically induced and analyzed there search on various translations of Li Qingzhao' s Ci-poetry from the perspective of macro and micro.(Li Qing, 2005, 32)

===4 A case study of ''Shengshengman'' from the perspective of Translation Aesthetics===

Literary translation plays an imperative role in translation studies, and it’s an intricate process that needs many skills. For one thing, the aesthetic style and aesthetic feeling are very important for the author to compose his work. Therefore, the translator should choose the literary words to transform the aesthetic sense of the source text in the process of translation. For the other thing, literary translation is the representations of all-round artistic quality which can make the target reader get the similar appreciation of the original beauty of the target language context. (Dang Zhengsheng, 2010, 97)

声声慢 Tune: ”Slow, Slow Tune”

寻寻觅觅

冷冷清清

凄凄惨惨戚戚

I look for what I miss

I know not what it is

I feel so sad, so drear,

So lonely, without cheer

乍暖还寒时候

最难将息

How hard is it

To keep me fit

In this lightering cold!

三杯两盏淡酒

怎敌他晚来风急

Hardly warmed up

By cup on cup

Of wine so dry

Oh, how could I

Endure at dusk thedrift

Of wind so swift?

雁过也

正伤心

却是旧时相识

It breaks my heart,alas!

To see the wild gees pass

For they are my acquaintances of old.

满地黄花堆积

憔悴损

而今有谁堪摘

The ground is coveredwith yellow flowers

Faded and fallen in showers

Who will pick them upnow?

守着窗儿

独自怎生得黑

Sitting alone at thewindow

How could I butquicken

The pace of darknesswhich won’t thicken?

梧桐更兼细雨

到黄昏点点滴滴

这次第

怎一个愁字了得

On parasol-trees leaves a fine rain drizzles

At twilight grizzles

Oh! what can I do with a grief

Beyond belief?

====4.1 Beauty in image====

In this part, the author discussed is the Translation Aesthetics in Xu Yuanchong’s Translation of ''Shengshengman'' , and the first sentence of this poem is the typical one reaching coexistence of fiction and reality, the translations of the first sentence are analyzed in this part of the thesis.

''Shengshengman'' is a representative work of Li Qingzhao, and the seven pairs of reduplicative characters at the beginning are also regarded as a poetic masterpiece. It has also attracted many translators trying to translate it. According to the statistics by Li Qing, Li Qingzhao started her writing as “寻寻觅觅，冷冷清清，凄凄惨惨戚戚”, The sentence and the repeated words are used to make full use of the advantages of Chinese, and strive to create an abstract and only contemplated artistic conception.(Qi jiajia, 2014, 44)

In the sentence, “寻寻觅觅” is the dynamic state of feeling as if bereft of something, “冷冷清清” is the static state of feeling as if bereft of something,“凄凄惨惨” is the feeling on the surface of inner heart, and “戚戚” is the feeling in the deep inner heart . This sentence seems to describe the inner feeling, but it aims to describe the real situation at that time in fact. (Yang Huiying, Liu Weixin, 2003, 10)

In his translation, Xu translated “寻寻觅觅” into ‘I look for what I miss ', attempting to indirectly convey the meaning of “寻寻觅觅” through the description of environment. that of Lin does not meet the first and fourth requirements. The second four characters,“冷冷清清”, is the description of surround environment (cold and quiet) and the static state of poetess' inner condition as well. Xu translated it into ‘I know not what it is ', which is not in accordance with the original text semantically, but his translation conveys the psychological condition of the poetess because of her suffering. (Qi, 2014, 44)

Hence, for the translation of these four characters, according to the five requirements of Liu Miqing, Xu’s versions of them are completely in conformity with the original poem. The last part of this sentence consists of three pairs of characters,“凄凄惨惨戚戚”,describing the poetess’ inner grief and sorrow. Xu Yuanchong translated these six characters into‘I feel so sad, so drear, So lonely, without cheer ', using alliteration to transfer the stylistic format and stylistic factors of original poem, reproducing the lonely situation of poetess. Xu Yuanchong has a deep understanding of this reduplicative characters. Therefore, he translated this part of the article in “so+adj” structure to explain the feelings of the Li Qingzhao's sadness and reconstruct the character image, which is very in line with the habit of English writing.(Qi, 2014, 44)

====4.2 Beauty in sound====

Poetry should not only pay attention to the beautiful image, but also the harmony, naturalness and smoothness of phonology. Li Qingzhao attaches great importance to rhythm in her ''ci'', and the musical lyrical language used in ''Shengshengman'' is very distinctive. Xu Yuanchong is also very particular about the beauty of phonology when translating poems. In order to achieve the same effect on the phonology of the translated poems and the original words, he adopted the typical translation techniques of ending rhymes, alliterations, and double tones in the translated poems to make the translated poems read It is full of music, and it fully conveys the sadness of the original word.(Sun Yunyu, 2011, 130)

The vowels /iə/、/ai/、/au/ in the English translation of the poem are all diphthongs, and the sound is made by sliding one vowel to another. They are pronounced like a few sighs. Xu Yuanchong used these vowel sounds to imitate the sigh of a female poet. On the whole, the final rhyme of the entire English translation of the poem are very musical, and the sounds themselves give a sense of desolation, urgency, and anxiety, and accurately express the author's feelings.(Sun Yunyu, 2011, 131)

Xu choose “swift” to express “晚来风急” , so that the reader can see the image of the poet like withered leaves floating in the wind, at the same time choose the short sound/i/similar to “urgent” , skillfully reproduce the beauty of sound and the beauty of meaning. The rhymes “Alas” and “pass” in Xu’s translation are similar to the words “时” and “识” .The two words “faded” and “fallen” not only have similar meanings, but also rhyme /f/ alliteration. (Pan Jiayun, 2003, 54)

In the original poem, the word “gaunt” is the same side of the heart, and the meaning is similar. The translator also skillfully rhymed the now and how in the next sentence, “生得黑” being translated as “quicken the pace of darkness”, with the word “thicken” in the next sentence, adding to the sense of rhyme in the poem. (Dong Hui, 2003, 21)

The word “drizzles” and “grizzles” correspond to the reduplicated words “点点滴滴” in the translation. The short sound /i/ in the choice of words is similar to the sound of “点点滴滴”, here is another long Sound/i:/ to show the continuous sound of a little rain, further enhanced the feeling. The last sentence is a kind of spoken expression. The rhyming of “ief” with the words “grief” and “belief” not only reflects the beauty of the sound of the translated poem, but also pushes the feelings of the whole poem to a climax.(Nie Yanmin, 2014 , 103)

====4.3 Beauty in lexis====

The author thinks that the sentence “In this lingering cold “is totally express the content in the original image of “乍暖还寒时候” , the keyword “Linger” personifies the inconstancy of the weather at the end of autumn as an image that seems to be going but lingers. In addition, Xu Yuanchong’s translation of “最难将息”，the four abstract Chinese characters, “hard is it to keep me fit” , has added a few extra elements, which makes a female image that frail, sad and vulnerable, unable to adapt to the cold and uncertain weather.(Che Mingming, Zhao Shan, 2012, 82)

In the sentence “三杯两盏淡酒”, “三” and “两” here means the approximate number, but the corresponding English “three” , “two” cannot mean this meaning. To translate this meaning, Xu Yuanchong used “By Cup on Cup”， which means “cup after cup”. It paints a picture that a female wants to drive away the chill in the air with the contents of the cup. The helpless mood incisively and vividly expressed.(Yang Huiying, Liu Weixing, 2006, 10)

In sentence “雁过也正伤心确是旧时相识”, “正伤心” is the role part. To Express this almost desperate sadness, the translator use the word ”alas” to show author’s sorrows. Alas used to express unhappiness, pity, or concern. It’s a sad, disappointed, painful word that conveys the author’s feelings in an appropriate way.(Yang Huiying, Liu Weixing, 2006, 10)

For the sentence “满地黄花堆积憔悴损”，Xu translated it into “faded and fallen in showers”. He turned the static physical description into a dynamic process of flowers withering, giving people the enjoyment of beauty. In order to show this dynamic beauty, Xu Yuanchong just uses a “showers” to sublimate the silent gesture of falling flowers into a sound water flow, so that the readers can get the sense of hearing in the visual sense.The meaning of the image of “黄花” may be lost on the target language readers, but people can feel the same about the rise and fall of all things in the natural world So,Xu use the word "faded" and "fallen" to convey it.(Che Mingming, Zhao Shan, 2012, 83,86)

====4.4 Beauty in form====

The most striking feature of poetry is its unique external form. The number of lines of poetry and the number of words in each line are fixed. As an extension and development of poetry, the form of words breaks through the constant limit of the number of words in poetry. One word, two words, many words, long sentences and short sentences intersect and correspond, and they are scattered and beautiful. In short, due to Chinese and English languages belong to different language families, the phonology is very different as well as the way of expression. (Li Lei, 2011, 92)

Therefore, the English translation of Chinese poems (''ci'') is a very difficult task. It is not easy to reflect the artistic conception of the original text, and it is even more troublesome to retranslate the beauty of form and rhyme of the original text.The different numbers of characters are in an orderly manner, and there is no lack of strong cohesion and centripetal force among the various characters. There is also a unique beauty.(Dai Caihong, 2006, 77)

As far as the ''ci'' ''shengshengman'' is concerned, the number of lines in the front and back is roughly symmetrical, with nine sentences in the front and eight sentences in the back. The length of each sentence is staggered, with nine characters long and three characters short. Sometimes short, the first, third, fifth, seventh, and ninth sentences of the first film and the first, second, fourth, sixth, and eight sentences of the second film are all rhymed, and the first, second, third sentence and the second sentence of the first film, the six sentences creatively use the phonetic rhetoric of repetition.(Dong Hui, 2003, 22)

Xu Yuanchong is also superior in showing the beauty of form. On the whole, the long and short sentences of the original poem are intertwined, and the appearance has a unique beauty of ci. The translation also uses a variety of long and short sentences, which are simple and refreshing. Xu Yuanchong is also unique in the arrangement of words. The supplementary use of the three subjects at the beginning, from the vertical view, the arrangement is neat and uniform, like a slim tree. Later, with the number of words in the original poem, the single-line arrangement gradually shortened or lengthened; the total number of words in each line of the original poem's 下阙(the last part of ''ci'') is slightly more than that of the 上阙(the first part of ''ci''), so the 下阙 in the translation also uses longer sentences.(Nie Yanmin, 2014, 103)

According to Xu Yuanchong’s translation, the whole word is translated into 26 sentences, of which 21 sentences are broken from the middle of the long sentence to form a rhyme, which not only corresponds to the original two-character three-word sentence, but also shows the beauty of the original word. So that each sentence shares a similar or identical ending, neatly, orderly and neatly reflecting the beauty of the shape of the end of the sentence, and at the same time achieves the effect of rhyming. On the whole, the translation is long and short, uneven and natural. The similar or same syllables at the beginning or end of the sentence between the lines give the original word a kind of architectural beauty, and the beauty of the original word is better preserved and conveyed.(Nie , 2014, 103)

===Conclusion===
''Ci'' is a high-level artistic aesthetic activity. The beauty of poetry is abstract and hazy. To effectively convey this beauty, it is obviously useless to copy and imitate the original text. Poetry translation aims to achieve the reproduction of the original aesthetic effect in the translation. Of course, the so-called aesthetic effect includes many elements, the representational elements such as phonetics, lexis and sentence patterns, and the non-representational elements such as image, ideorealm, artistic conception and so on. The translator, as the aesthetic subject of translation, shoulders the important task of achieving aesthetic expressions. The best way of expression is to actively promote the conversion of the source language to the target language, thus completing the translation of aesthetic literature.In translation practice, translator should fully experience the beauty of the source language and its expressive characteristics, and seek the best of the target language in terms of sound, form, image, and lexis.

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--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 15:10, 20 December 2020 (UTC)

==Study on translations of inverted sentences in ''Vanity Fair'' from the perspective of poetics 许鹏飞Xu Pengfei翻译学（Translation Studies）==

<center>许鹏飞 Xu Pengfei 202020080659</center>

===Abstract:===

This thesis aims to discuss loss of poetic function and reappearance of poetic effects in translations of inverted sentences from the perspective of poetics. In literary translation, translators may not strictly follow forms and structures corresponding to original texts due to various reasons, which can help translators convey emotions and content of original texts but also do damage to some functions of originals unconsciously. This thesis chooses some excerpts from two versions translated by Yang Bi and Peng Changjiang respectively. About their translations, Yang Bi tends to choose free translation while Peng Changjiang pays attention to retain forms of original texts. Under the guidance of poetics theory, this part will discuss their different translations of inverted sentences and compare them to the original texts. And the author will analyze loss of poetic function and reappearance of poetic effects in the specific examples from two versions of ''Vanity Fair''’s translation.

===摘要：===

本文旨在从诗学角度探讨倒装句翻译中诗学功能的损失和诗学效果的再现。在文学翻译中，译者时常不会严格遵从原文的形式与结构，这有利于译者对原文情感内容的传达，但也在无形之中损害了原文的某些功能。本文节选了杨必和彭长江二人译本中的部分文段，关于二者对《名利场》的翻译，杨必倾向于意译的方式而彭长江的译本则注意保留原文的形式。在诗学理论指导下，通过分析二者对于倒装句不同的翻译方式以及与原文进行对比研究。然后作者会分析两个《名利场》译本中具体例子的诗学功能损失以及诗学效果的再现。

===Key words:===

Literary translation;''Vanity Fair'';poetics theory;inverted sentence;poetic effect

===关键词：===

文学翻译；名利场；诗学理论；倒装句；诗学效果

===Chapter 1 Introduction===

When it comes to literary translation, it cannot escape from controversy and difficulty. It is considered that literary translation is quite hard because the sense of beauty and emotions may be lost in the process of translation before they reach target receptors. And one or more translators seek to give a good translation of the same original, hence re-translation often occurs. ''Vanity Fair'' is a novel written by English writer William Makepeace Thackeray in 1847 which depicts English society in the early nineteenth century.

About a hundred years later, Yang Bi translated it into Chinese in 1957. Her translation is free from the shackles of the original language structure, showing charm and original style of Vanity Fair. After Yang Bi’s translation, multiple translations of this book appeared. Among them, Peng Changjiang’s work is an impressive one. His translation, published in 1996, follows the original structure which is quite different from Yang Bi’s version in style, wording, and many other aspects. Both of them give their unique translations to Chinese readers and their translations own their characteristics and merits. Nevertheless, it is inevitable that something in source text may be lost in target text.

Their different translating strategies of inverted sentences are worthy of discussion. In literary works, an inverted sentence bears its task to achieve some special purposes. To explore these, this thesis will discuss some examples excerpted from the two versions compared with the original text under the guidance of poetics theory. According to comparisons and study, it will analyze poetic effects and poetic function in source text and translations from the perspective of poetics. Based on these, this thesis will focus on loss of poetic function and reappearance of poetic effects about translations of inverted sentences. And how literariness in original texts is retained or damaged in their translations will also be involved. (Yin Boan 2000, 79)

===Chapter 2 An Overview of Relevant Theories===

Before discussing the comparison between translations of Yang Bi and Peng Changjiang, this part will briefly introduce the theoretical basis of this chapter. In this section, the author will first give an introduction to relevant parts of poetics theory and then expounds on functions of language proposed by the Roman Jakobson, especially poetic function. And then this part will give an illustration of internal connections between poetics theory and poetic function. After these, it will briefly discuss inversion and its poetic function.

====2.1 Poetics theory====

Poetics originated in ancient Greece. Poetics in tradition is a study on poetry based on Aristotle’s Poetics, while Jakobson enlarges its fields. Roman Jakobson proposed that poetics can be applied in research on literature because its object of study is the art of language. According to Jakobson, the main question that poetics studies are what transforms verbal messages into arts. Poetics theory proposes that literariness in literature distinguishes it from other text types and gives it poetic effects. And it is literariness that makes literature a kind of verbal art. (Roman Jakobson 1987, 63, 69)

Correspondingly, literariness is the object of literature research. As a result, a vitally important issue in literary translation that needs to figure out is how to retain literariness in original works. This is closely connected with functions of language, especially poetic function, which is dominant and crucial for literature. Besides, cognitive poetics theory considers that the more efforts a reader makes to understand a work, the stronger poetic effects it will produce. (Roman Jakobson 1973, 62) (Pilkington 2000, 161 -169)

The unfamiliar expression is a technique of creating art and grabbing readers’ attention from the poetic perspective. And poetic language is a kind of self-focused message, different expressions can build different informational capacity of messages. Therefore, choices of word order and sentence structure in literary works cannot be ignored and should be seriously concerned in literary translation. That’s why this thesis pays attention to inverted sentences.(Shklovsky 1998, 16; Jakobson 1987, 67, 85)

====2.2 Functions of language====

At first, the Prague Circle proposed that there are three functions of languages, that are expressive, conative, and referential function. Then, linguists of the Prague Circle also proposed a fourth function—aesthetic function. This function indicates that language can serve art. In 1960, Jakobson raised another three functions: phatic, metalingual, and poetic function. Based on functions, he distinguished six elements in his model of functions that are necessary for communication to occur: context, addresser(sender), addressee(receiver), contact, common code, and message(as cited in Feng Zongxin). Poetic function originated from literariness is the main function of literature and it focuses on the message. (Roman Jakobson 1987,69) (Feng Zongxin 2006, 19-34)

How to use various linguistic devices to achieve the desired purpose is a focus of scholars who study various kinds of linguistic communication. In other words, different communicative purposes determine that linguistic devices should perform different tasks and fulfill different functions. As poetic function pays attention to a message itself and its expressive device is a kind of self-focused message, carriers of information should be focused on. Therefore, forms of original works should be taken into consideration. Combined with poetics, forms of original works can influence literariness, which cannot be ignored in translation. (Roman Jakobson 1981, 19) (Roman Jakobson 1987, 85)

====2.3 Poetics theory and poetic function====

In view of formalism, no matter what the art, it needs to be expressed through certain forms. The medium used in literature is language, and studyinge th art of literature is actually studying a language itself. Jakobson argues that poetics is an integral part of linguistics. Thus, the main research method of poetics is studying language through linguistics. As mentioned in 2.1, it is literariness that makes literature a kind of verbal art. And literariness is produced by certain permutation and combination of language. And Jakobson argues that, whereas most language is concerned with the transmission of ideas, the poetic function of language focuses on the ‘message’ for its own sake.(Roman Jakobson 1958, 63)

Formalist scholars led by Jakobson believe that the intentional violation of conventions results in the variation of forms, and thus forms defamiliarization. The process by which readers gain understanding from reading and decoding these novel and inexplicable forms of language will produce poetic effects and aesthetic feelings. In a short, analyzing poetic function of language in literary works is an indispensable method to appreciate literature from the perspective of poetics. (Wang Dongfeng 2010, 8) (Shklovsky 1998, 16)

====2.4 Inverted sentences====

For some reason, people need to put part or all of the predicate verb before the subject in writing, which produces inverted sentences. There are two types of inversion. One is obligatory and the other is optional. The former is decided by grammar and the latter is mainly chosen by writers. This thesis will choose examples of optional inversion to study. The rhetorical functions of optionally inverted sentences can be divided into five categories, that are emphasizing, balancing sentence structure, connecting the preceding and the following, vivid description, and expressing emotions. (Zhang Keding 2001, 19) (Lu Yang 2008, 126)

Emphasizing, vivid description, and expressing emotions are of vital importance for shaping characters and construction of plots. Therefore, an inverted sentence is a form closely connected with poetic function and poetic effect. In literary works, an inverted sentence is a way of defamiliarization. It uses inversion to achieve literariness by emphasizing some information or emotions to promote the development or shape characters.

For instance, “Where is your daughter?” “On the table stands she.” Here, it can be observed this inverted sentence is a rheme-transition-theme structure, which is a marked and emotional sequence. Daughter is a message questioner has provided in the question. And the respondent gives the answer in an inverted sentence. In this situation, the respondent aims to emphasize the information about the location of the daughter.(Feng Zongxin, 2006, 30)

This kind of sentence form is a writing skill that an author uses to carry specific messages. Readers need to take efforts to understand an inverted sentence itself and the specific meaning and message implicated by an author. And the poetic function of inverted sentences is of great significance to the realization of poetic effects of a text. It will be discussed in detail in the next chapter.

===Chapter 3 Comparative Analysis of Translations of inverted sentences in ''Vanity Fair''===

In the history of translation, the phenomenon of suppressing forms has existed for a long time in both east and west. And in terms of translation methods, free translation prevails while literal translation is suppressed. Yang Bi’s translation is full of humor and smoothness. Her natural and expressive translation avoids translationese and removes the trace of interpretation and stiffness, which becomes a classic version of ''Vanity Fair''’s translation in China.(Wang Dongfeng 2010, 6)

However, her inclination to free translation also causes some issues when studying her translation from the perspective of poetics. This point is also prominent in the translation of inverted sentences. After reading her translation, the researcher found that she cares less about sentence forms and usually changes sentence structures. In contrast to Yang Bi, Peng Changjiang adopts a different method to tackle inverted sentences. Actually, their translating styles and strategies are distinct. In the following sections, the author will discuss comparisons between their translation with examples in detail.

====3.1 Analysis====

In the following part, it will mainly analyze the two versions’ arrangements of word order and sentence structure in translations of inverted sentences. And it will discuss the influences of their translations on poetic effects and poetic function through analyzing examples of inverted sentences. The researcher chooses five examples from Vanity Fair as followed.

Example 1 Many a dun had she talked to, and turned away from her father’s door; many a tradesman had she coaxed and wheedled into good-humour, and into the granting of one meal more.(Thackeray 1994, 17)

Yang Bi’s translation: 她常常和逼债的人打交道，想法子打发他们回去。她有本领甜言蜜语的哄得那些做买卖的回心转意，再让她赊一顿饭吃。(Yang Bi 1957, 11)

Peng Changjiang’s translation: 有不少逼债人上门，她跟他们周旋，把他们从家里劝走；有不少买卖人，她连哄带骗把他们哄得高兴，让她再赊一顿饭。(Peng Changjiang 2005, 11)

This text is excerpted from a paragraph that introduces Rebecca Sharp. The author’s language here is very subtle. Thackeray skillfully designs this text. He writes this sentence with Rebecca as the subject in the active voice, and he designs sentences as inverted ones, bringing objects of Rebecca's action to the beginning of sentences. It emphasizes the information about what she had dealt with. This form is a realization of defamiliarization. Readers need to make efforts to understand the complete meaning of this text under this form. (Zhang Keding 2001, 22)

This text shows us Sharp’s childhood. She had to deal with troubles and make a living when she was still a kid. Exercised by her hard life, she could tackle these. But it does not mean that she deserves this hard life. Therefore, Thackeray puts “many a dun” and “many a tradesman” forward to express Sharp’s passivity in her early life. She had no choice so she was active in actions and passive in acceptance. She seems to be at ease, but it is the life that makes her have no choice. Through this carefully designed sentence structure, the inverted sentence implicitly shows that Sharp lives in a poor and bad environment, while the active voice clearly states that she is smart and mature.

These sentences realize their poetic effects and poetic function through this special form. It is necessary to pay attention to this form in order to retain the literariness of the source text. But in Yang Bi’s translation, she generally translates this text in a way that converts sentences to active voice and put the subject in front of the sentence. This omits some true meanings and important information about Sharp, which damages literariness. In contrast, Peng Changjiang uses amplification to retain the information of activity and passivity between character and environment.

In addition, he adds “上门” to show the passivity that Sharp has to face duns as a kid. And he also keeps the order of characters in this sentence, preserving poetic function of language and achieving poetic effects contained in the source text. There is a topic of Vanity Fair that we should notice. Thackeray writes this work with no fame to critically scrutinize the capitalist system and expose the darkness of the society at that time. Defamiliarization here has its underlying intention and message which should be focused on when translating.

Example 2 So imprisoned and tortured was this gentle little heart, when in the month of March, Anno Domini 1815, Napoleon landed at Cannes, and Louis XVIII fled, and all Europe was in alarm, and the funds fell, and old John Sedley was ruined.(Thackeray 1994, 177)

Yang Bi’s translation: 这温柔的小女孩子感觉到烦恼和苦闷。那时正是公元一千八百十五年的三月里，拿破仑在加恩登陆，路易十八仓促逃难，整个欧洲人心惶惶，公债跌了价，约翰·赛特笠老头儿从此倾家荡产。(Yang Bi 1957, 175)

Peng Changjiang’s translation: 这颗小小的温柔的心就是这样被禁锢，受煎熬。当时是公元一八一五年三月，拿破仑在戛纳登陆，路易十八逃亡，全欧洲惊恐不安，公债下跌，老约翰·塞德利破产。(Peng Changjiang 2005, 190)

This sentence describes the situation when Amelia Sedley’s family is broke and she hasn’t get any response from her lover for a long time. Amelia was depressed, worried and distraught under the circumstances. Thackeray uses an inverted sentence here, putting her feelings at the beginning of the whole sentence to emphasize her anxiety and worry. In such a long sentence, the author put her experiences behind her feelings as a subordinate clause. This is a deliberate form that could highlight Amelia’s sufferings in soul and body because of these upheavals.

When translating, the two adjectives imprisoned and tortured should be focused on in order to express Sedley’s situation and feelings. In translations of the two versions, they realize the importance of the order of clauses and translate it in a similar form to the source text. However, when dealing with this inverted sentence, both of their translations change it to a theme-transition-rheme structure. The original one is a rheme-transition-theme structure, which is marked and carries poetic function. (Zhang Keding 2001, 22)

Changing the sequence of components impairs its poetic function and poetic effects. The emotions in Chinese and English expressions are not equivalent. Besides, the lexicon of Sedley’s feelings used in Peng’s translation is closer to the source text than Yang Bi’s translation. Yang Bi uses a freer way of choosing words to show these feelings. Although they do not follow the original form, it can be forgivable. Because if they followed the structure, it would be translated like “太折磨了，太煎熬了，这颗幼小的心。”. This translation does not conform to Chinese grammatical norms, which breaks the cohesion of this sentence. In this case, translators need to find other methods to make up for the damage of poetic effects in process of changing structure.

Example 3 What humiliation and fury:what pangs of sickening rage,balked ambition and love;what wounds of outraged vanity, tenderness even, had this old worldling now to suffer under!(Thackeray 1994, 238)

Yang Bi’s translation: 老头儿是个名利心极重的俗物，想到儿子这样的丢他的脸，气得发昏，只觉得一阵阵的怒气冒上来，彻骨的难过。他的野心和他对儿子的骨肉至情受了个大挫折。他的虚荣心，还有他的一点儿痴心，也遭到意想不到的打击。(Yang Bi 1957, 234)

Peng Changjiang’s translation:这年老的世俗之徒，现在羞怒交加；野心受挫，爱心无着落，气得他发昏；虚荣心，甚至还有点温情，受到了粗暴的伤害，更使他心如刀绞。(Peng Changjiang 2005, 254)

This sentence is excerpted from chapter 24, which describes that old Osborne knows that his son wants to marry Sedley from Dobbin. The original sentence uses a rheme-transition-theme structure, which is marked and emotive. Besides, when it comes to word order, normal word order is typical and unmarked while an inverted sentence is atypical and marked. From the perspective of poetics, an atypical and marked expression is defamiliarized contributing to foregrounding while typical and unmarked expression is contributing to backgrounding. Here, Thackeray uses defamiliarization to achieve poetic effects. Thackeray puts the old man's anger, pain, sufferings forward to emphasize his feelings. Character’s emotions are highlighted intuitively in this form of expression. (Zhang Keding 2001, 22)

Regrettably, it is rare to see such a long inverted sentence in Chinese. So, Yang Bi and Peng Changjiang both change this sentence into a theme-transition-rheme structure, which does damage to poetic function of the original. However, they adopt diverse translation strategies that produce different results. Yang Bi splits this sentence into three sentences that is different from Peng Changjiang’s translation. Although her translation may be more in line with Chinese reading habits, the defamiliarization of the original sentence has disappeared. Her splitting of the whole sentence also weakens the continuity and progression of emotion which largely impairs the poetic function of the original sentence. Nor does Peng Changjiang retain this rheme-transition-rheme structure.

It is a pity that differences between Chinese and English makes it difficult to put long clauses before a subject which will cause a logical problem. In Peng Changjiang’s version, his word order is almost the same as the source text, preserving the flavor and poetic effect of the original to the greatest extent. In addition to slightly changing the inverted sentence, Peng Changjiang still follows the original form, using short clauses to retain the continuity of emotion. Thus, the situation in the source text is vividly reproduced.

Example 4 Here, too, in this humble tenement, live care, and distrust, and dismay.(Thackeray 2003, 507)

Yang Bi’s translation: 这家子的生活是够清苦的，他们也有他们的烦恼和心事，也免不了互相猜忌。(Yang Bi 1957, 498)

Peng Changjiang’s translation: 这儿，在这卑贱的屋子里，也有忧虑、猜疑和恐慌。(Peng Changjiang 2005, 538)

This sentence is excerpted from chapter 50, in which Amelia’s family sank into poverty and her life got stuck in trouble. At the beginning of this chapter, it tells the impoverished status of her family and lays the background for Amelia having to send her son away. This example is the first sentence of laying background which sets the tone of this chapter. There is no character in this sentence. which is narrated from the perspective of an objective bystander. And inversion here puts the family’s poverty in front and human feelings behind, which corresponds to the content of this chapter.(Zhang Keding 2001, 21)

This arrangement implies to readers that care, distrust and dismay may be caused by the family’s humble status. Besides, the word “humble” is a quite agreeable and inoffensive depiction of their situation while this inverted sentence highlights their humble situation. Correspondingly, Amelia’s family is in deep poverty but still trying to maintain the vanity. As mentioned above, this inverted sentence means a lot for producing poetic effects. The writer uses this form to attract readers' attention to this chapter and create literariness combined with the content of this plot.

Yang Bi and Peng Changjiang both retained the original sequence, with the situation in the first place and emotions in the last. Yang Bi uses “这一家子”, “他们” and “他们的” to connect the whole sentence while Peng Changjiang uses “这儿” and “这”. Comparing the two translations, the latter is closer to the original sentence because it retains the design of no character. What’s more, there are progression and transition of background introduction in this sentence. “这儿” and “这” correspond with “here” and “this”, which retains progression and transition and poetic effects.

====3.2 Conclusions====

William Thackeray’s ''Vanity Fair'' is a classic satirical novel, and sarcasm can be seen everywhere in this work. Inversion is a significant form to build this satirical tone. So, translators should make efforts to retain the poetic function and poetic effects of this satirical tone in inverted sentences. Through the discussion of examples in 3.1, it can be found that Peng Changjiang's translations of inverted sentences are more consistent with the form of the original text. Many of the emotions and writing skills contained in this inverted form are fully preserved in his translation.(Zhi Xiaolai, Zeng Lisha 2015, 90)

An inverted sentence is a typical example that shows literariness and usually carries an important message. In Vanity Fair, Thackeray uses a lot of inverted sentences to show characters’ personalities, situations and experiences, which is an impressive writing skill. This form has a significant influence on the story, which needs more attention to translate. Whereas, Yang Bi lived in a time when people criticized and suppressed formalism, that’s why her translation seems freer. Because of this, she lays emphasis on stories and diction while omits the power of form so that she does not translate inverted sentences with retaining main structures.(Wang Dongfeng 2010, 7)

In the era that Peng Changjiang lives, influenced by Russian formalism, people realize the importance of form again. And it can be observed that he pays more attention to forms in his translation of inverted sentences. In his translations, he makes efforts to retain the original sentence structure. When translating according to the form does not conform to Chinese grammar, he will use similar forms to retain poetic effects contained in the original form as much as possible.(Wang Dongfeng, 2010, 11)

In the era that Peng Changjiang lives, influenced by Russian formalism, people realize the importance of form again. And it can be observed that he pays more attention to forms in his translation of inverted sentences. In his translations, he makes efforts to retain the original sentence structure. When translating according to the form does not conform to Chinese grammar, he will use similar forms to retain poetic effects contained in the original form as much as possible.(Wang Dongfeng 2010, 11)

In translation, the basic reason for a change of form is the difficulty of translation, that is, it is possible or necessary to change the form of the original text only when a translation with corresponding smoothness cannot be obtained without changing the form. Arbitrarily changing the form of the original text will destroy its poetic effect and author’s purposes. In this novel, William Thackeray vividly shapes many characters through his careful diction. His expression on the development of plots and delicate feelings of characters cannot be separated from forms.(Wang Dongfeng 2007, 48)

Inversion is a sentence that changes the order and structure to emphasize a certain sentence component. Its distribution of information is designed by the author to promote the development of the plot. Therefore, a translator should conserve this inverted form as far as possible as long as it does not affect the readability of texts. When an inverted sentence form cannot be retained, we should also pay attention to keep the order of sentence components and structure of rheme and theme as much as possible. And how to deal with inversion properly and retain its poetic effects remains to be further studied. (Lu Yang 2008, 128)

===Chapter 4 Summary===

It is often said in Chinese literature that one has to grasp the content and forget the form. However, This is not always applicable to translation because forgetting forms may result in losing meanings. This thesis makes a comparative analysis of translations of Vanity Fair. Through discussion, it can be seen that forms deliberately chose by the author bear specific functions in this story of vanity. An inverted sentence designed with purposes is an important form that needs attention in translating, especially optional ones. They usually own a task to achieve poetic function.(Lu Yang 2008, 128)

Sometimes, translators change the original form in order to take care of readers’ language habits. Maybe it is not necessary. This kind of change may produce a good work but will also sacrifice literariness that an author designed on purpose. This does not mean that translators must follow exactly the same form without considering whether it conforms to the grammatical norms of the target language or not. Instead, it means translation should consider the influence of form on poetic function and poetic effect. What’s more, maybe literary writers don’t aim to make every reader understand the whole text. They may write to express feelings and thoughts to let readers explore and feel.

Translators try to give an equivalent text without damage to forms, which can give readers opportunities to think about what contains in forms by themselves. When changing forms, translators may also ruin writers' emotions on characters or stories contained in forms, which will destroy literariness unconsciously. Literary translations should be more cautiously treated. Every detail may have a specific intention. Without literariness, literary works will lose their souls, and poetic effects on readers will also disappear. Nowadays, with converting attention on forms again, when translators try efforts to make a great translation, they maybe could think about paying some attention to formal correspondence to retain literariness.(Wang Dongfeng 2010,9)

===Chapter 5 References===

[1] Jakobson,R. (1987). ''Language in Literature'',Cambridge,Massachusetts&London:The Belknap Press of Harvard University Press.

[2] Jakobson,R. (1973). ''Modern Russian poetry:Velimir Khlebnikov''.In.E.J.Brown(ed.).''Major Soviet Writers:Essays in Criticism''. Oxford University Press.

[3] Pilkington,A. (2000). ''Poetic Effects: A Relevance Theory Perspective'' . Amsterdam/Philadelphia: John Benjamins Publishing Company.

[4] Shklovsky, V.(1998). ''Art as technique''. In Julie Rivkin &Michael Ryan(eds.). ''Literary Theory: An Anthology ''(2nd ed).Oxford: Blackwell Publishing.

[5] Feng Zongxin 封宗信. (2006). 现代语言学流派概论 [An Overview of Modern Linguistics]. 北京大学出版社[Peking University Press].

[6] Zhang Keding 张克定. (2001). 英语倒装句的语篇功能[Textual Functions of English Inversion from a Pragmatic Perspective].''外国语(上海外国语大学学报)[Journal of Foreign Languages]'',(05):18-24.

[7] Lu Yang 卢杨. (2008). 浅谈英语倒装句的修辞功能[On Rhetorical Functions of English Inversion]. ''合肥工业大学学报(社会科学版)[Journal of HeFei University of Technology(SocialSciences) ]''22(06):126-128.

[8] Jakobson, Roman. (1958/1981a). ''Linguistics and Poetics''. in ''Selected Writings Ⅲ:Poetry of Grammar and Grammar of Poetry''. Hague Mouton.

[9] Wang Dongfeng 王东风. (2010). 形式的复活:从诗学的角度反思文学翻译[Resurgence of form: Reflection on literary Translation from a poetic perspective] [J].''中国翻译[Chinese Translators Journal]'',31(01):6-8,11.

[10] Zhi Xiaolai, Zeng Lisha 支晓来,曾利沙. (2015). 讽刺口吻在修辞格中的体现——兼评《名利场》的两个中译本[The expression of sarcasm in figures of speech: Comments on two Chinese translations of ''Vanity Fair''].''广东外语外贸大学学报[Journal of Guangdong University of Foreign Studies]'',26(02):90-93.

[11] Yin Boan 尹伯安. (2000). 重译贵在创新——《名利场》两种译本的评析[Innovation Is the Key to Re-translation:An analysis of two versions of translation of ''Vanity Fair''].''山东师大外国语学院学报[Journal of Basic English Education]'',(04):79-83.

[12] Thackeray, William. (2003). ''Vanity Fair''. Wordsworth Editions Ltd.

[13] Yang Bi 杨必. (1957). ''《名利场》''[Vanity Fair]. 北京:人民文学出版社[People's Literature Publishing House].

[14] Peng Changjiang 彭长江. (2005). ''《名利场》''[Vanity Fair]. 北京:中国戏剧出版社[China Drama Press].

[15] Oxford Advanced Learner’s English-Chinese Dictionary. (2009). Oxford University Press.

[16] Wang Dongfeng 王东风.(2007). 从诗学的角度看被动语态变译的功能亏损——《简·爱》中的一个案例分析Function Loss in Passive-active Reversal Concerning Material Processes in Literary Translation: A case study of a piece of translation from Jane Eyre from a poetic perspective.''外国语(上海外国语大学学报)[Journal of Foreign Languages]'' , (04):48.

--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 13:05, 20 December 2020 (UTC)Xu Pengfei

==A Study of the Chinese Prose Translation from the Perspective of Translation Aesthetics 赵晓燕 Zhao Xiaoyan==

==A Study of the Chinese Prose Translation from the Perspective of Translation Aesthetics-Based on the English version of ''Cong Cong''==

===Abstract===
There are great differences between Chinese and English languages. Especially the language of Chinese prose and its form, which have distinctive features, contains rich Chinese cultural characteristics, increasing the difficulties when translate Chinese prose into English. The paper mainly introduces the origins and development of translation aesthetics both in China and abroad, and some translation methods of Chinese prose. The author chooses the English version of Cong Cong translated by Zhang Peiji as the representative work to study its translation methods and the way of aesthetics representation with the theory proposed by Liu Miqing, to draw a conclusion that the language features of Chinese prose could be manifested by means of translation aesthetics in the process of translation. By presenting the application of the translation aesthetics in prose translation, this paper is expected to help language learners have a deeper understanding of the translation methods in Chinese and English literature.

===摘要===
中英语言存在较大差异。尤其是汉语散文的语言和形式特色鲜明，蕴含丰富的中国文化特色，使得汉语散文的英译难度加大。本文主要介绍了中外翻译美学的起源和发展以及一些汉语散文的翻译方法，并以张培基教授翻译的《匆匆》英译本为范本，运用刘宓庆教授提出的翻译美学理论，研究其中运用的翻译方法及审美再现的方式，由此得出结论在翻译的过程中借助翻译美学理论可以使汉语散文的语言特色得以体现。通过展示翻译美学在散文翻译中的应用，本文期望帮助语言学习者更深入地了解汉语及英语文学作品翻译的方法。

===Key words===
Chinese prose translation; translation aesthetics; ''Cong Cong''

===关键词===
中国散文翻译；翻译美学；《匆匆》

===Introduction===
Literature is an artistic way to express language. The Chinese prose, as one of the important literary genres, with its features that scrambled in appearance but united in spirit, is widely favored by many readers. ''Cong Cong'', as one of the master works of Zhu Ziqing, was written in 1922 when the May Fourth Movement was coming to an end. At that time, Zhu Ziqing taking the responsibility of literator, with beautiful language and refined structure, delicately described his resignation and plaint for time elapsing, and implied the reality that the young people felt confused about the future of the country. In the prose, Mr. Zhu’s reflection on time not only touched the youth at that time, but also alerted today’s readers.

The “beauty” of the Chinese prose is the most important as well as the most difficult problem to solve in translation. As the integration of aesthetics and translation, translation aesthetics’ basic principles are used to analyze and explore aesthetic difficulties during the process of interlingual transfer, including the aesthetic constituents of aesthetic object (original text, translation text), the dynamic role of aesthetic subject (translators and readers), the connection of aesthetic subject and object, the types and means of aesthetic reproduction in translation and the standard of translation aesthetics, etc.

The aesthetical process of Chinese prose translation is to coordinate the conflicts and incoherence which exist in different cultures when translating. People have accumulated much experience in national prose study in the past thousand years, but the study for Chinese prose translation still lagged behind, let alone the study by systematic theories or from the aesthetic orientation.

Exploring the Chinese prose translation with aesthetic theories, whichever from the view of theory or practice, both of them could be used for reference. Throughout the history of national translation theory development, it is not difficult to find that since ancient times, the traditional Chinese translation theory have reflected abundant aesthetic ideas. According to that, this paper takes the translation aesthetic theory proposed by Liu Miqing as the primary theoretical framework, to study and analyze the English version of ''Cong Cong'' translated by Zhang Peiji. Professor Zhang has devoted to the translation of Chinese modern prose for a long time, making significant contribution to the theory of the Chinese modern prose translation, especially to the translation practice.

The paper mainly includes twelve parts. The first is the introduction which defines the study subject of the paper, proposing the study purpose and significance through summarizing predecessors’ studies; from the second to the fourth parts mainly introduce theoretical framework of the paper which was proposed by Mr. Liu Miqing, explaining the origins of Chinese translation aesthetics and some involved concepts in the paper such as aesthetic subjects and objects, regular and standard; and the following three parts simply focus on some methods in the process of Chinese prose translation, which mainly involve four methods: Literal translation and free translation, domestication and foreignization.

By comparing these methods this paper could make people realize the differences of translation methods and choose the proper way when translating; the eighth and the following three parts are based on the previous parts, according to the theories of translation aesthetics and methods, to analyze the translation beauty in ''Cong Cong'', its language, image and style beauty; the final part is the conclusion, through a large number of analysis getting a conclusion, to make it clear that the Chinese modern prose, as a beautiful art, its beauty could be manifested during the process of translation by imitation, rebuilding and translator’s re-creation, and that the Chinese prose translation itself is a process of pursuing beauty, therefore translators need to continuously improve and perfect in practice.

===An Overview of Translation Aesthetics===
Historically, the development of translation theory both at home and abroad has closely connected with aesthetics, for example, in the west, the famous “three principles of translation” proposed by Alexander Fraser Tytler; and Paul Valery, a great French translator, advocated that the technique of translation mostly depended on the translator’s aesthetic perception for the literature’s truth value; in China, when people translated the ancient Buddhist Scriptures, someone had proposed that, faithful translated texts lacked beauty, whereas beautiful translated texts lacked faithfulness. Yan Fu also put forward “faithfulness”, “expressiveness” and “elegance” these points in 1896 when translating ''Theory of Natural Selection''. [6](Yan Fu, 2010, 6)

Although the translation and aesthetics both have a long history of development, they were linked into one conception—Aesthetic-poetic translation for the first time in 1954 by an eminent American scholar, Joseph B. Casagrande. And Wang Zuoliang, a great Chinese scholar and translator, has proposed in Chinese Translation Standard that the translator should put aesthetics at the first place when translating, and leave translation standard behind, which also connected translation with aesthetics. [7](Wang Zuoliang, 1991, 113) And up until now, the connection existing between translation and aesthetics has been widely accepted in the field of translation, and the “translation aesthetics” has become a basic conception.

===The relationship between translation and aesthetics===
There are various definitions of translation. Oxford English Dictionary explains translation as—to turn from one language into another;[1] (Hornby, 1988, 2149) and the New Webster International Dictionary defines it as—to turn into one’s own or another language. [2](Gove, 1961, 1956) In Chinese dictionary Han Yu Da Ci Dian, “translation” is defined as—to express the meaning of one language by another language. [8](Luo Zhufeng, 1986, 2374) And Eugene A. Nida, the famous American translator has said, “translating consists of reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style”.[2] (Nida & Taber, 1969, 12-24)

From these definitions, a conclusion can be made that translation is essentially a process of transforming language and words, so translation can be divided into interpreting and translating; with the development of science and technology, there are human translation and machine translation.[9] (Fang Mengzhi, 2004, 296) What is more, the translation of written language is also divided into two parts, non-literary translation and literary translation. Comparing with the translated texts of non-literary translation, that of literary translation embodies more uncertainty and diversity. Facing with so many options, how the translator makes a judgment and selects one text as the final version requires the translator has a standard for reference. The author believes that aesthetic analysis can be a feasible way in literary translation.

Although in China and the west, aesthetics has developed for a long time, it was not given the name until 1750 by a German philosopher Alexander Gottlieb Baumgarten. The definitions of aesthetics vary from scholars to scholars, especially in the west. The author selects one of them as the study foundation of this paper. The Basic Principles of Aesthetics written by Liu Shucheng has a relatively clear definition for aesthetics, which says that aesthetics is a branch of learning that deals with the general law of beauty and with the creation or appreciation of beauty; in detail, aesthetics studies the nature of beauty and its law, and the aesthetic connection of subject and object, art and reality, and the aesthetics experience. [10](Liu Shucheng, 2006, 9-20) Aesthetics can be divided into different parts according to its study objects, such as natural beauty, artistic beauty, linguistic beauty and social beauty.

Based on the previous part, translation is a process of transforming language and words and the aesthetics studies objects including language beauty, so ultimately, it is language that connects translation and aesthetics. As combining translation with aesthetics or taking the aesthetic theory into the translation and practice, a new subject is formed—translation aesthetics. Strictly speaking, translation aesthetics studies the nature and the law of translation beauty and the aesthetic relation between the translator and the original and translated text, and the aesthetic relation of translated text and the original text.

It is the translator’s aesthetic experience. The process of translating is also the aesthetic activity; the translator could refer to the classification of aesthetic forms to analyze the aesthetic factors in the original text and translated text. Meanwhile, the translating process itself belongs to one of the aesthetic study objects, which includes the translator’s aesthetic experience, process, and judgment. Translating is a dynamic aesthetic and creative process which closely connects with the original text and translated text. The beginning of translation is the original text and the ending of translation is the translated text, while what the author is talking about is aesthetic translation or literary translation, that is to say, both the original and translated text contain many aesthetic factors, which demands more from translators.[11] (Liu Miqing, 1986, 46-51)

The aesthetic thinking throughout the whole process of literary translation, plays an important role in faithfully expressing the idea of the original text, retaining the vivid language of the translated text and reproducing the style of the original text. So the translator needs to transfer the aesthetic factors in the original text into the translated text, whatever the presentational elements or non-presentational elements, which was proposed by Liu Miqing in the passage Basic Conception of Translation Aesthetics published on the Chinese Translators Journal. [12](Liu Miqing, 1986, 19-24) The next part would be the illustration of Liu Miqing’s translation aesthetics.

===Liu Miqing’s thought in translation aesthetics===
Professor Liu’s aesthetic theory mainly includes the translation aesthetics’ category and tasks, its aesthetic subject and object, and the general law of translation aesthetics. In the paper, the writer will give a brief introduction to the translation aesthetic subject and object and its general law.

In the Basic Conception of Translation Aesthetics, Professor Liu Miqing puts forward that the aesthetic subject is the translator.[12] (Liu Miqing, 1986, 19-24) He thinks that if the translator wants to represent the beauty of the original text, the aesthetic constituents of the original text must connect with the aesthetic condition of the aesthetic subject, i.e. the translator. And the aesthetic condition of the aesthetic subject includes three aspects, literary ability, aesthetic sense and aesthetic experience. Literary ability as the most basic requirement enlightens people’s aesthetic sense. A translator with higher literary ability will have better sense and reproducibility for the beauty of the original text.

And aesthetic sense means the ability to sense beauty and the sensibility for beauty, which usually stem from the intuition. If a translator has high literary ability that could deepen his aesthetic sense, in such way, he could possess the relatively high level of aesthetics and could put this ability into the translating practice, to optimize the aesthetic sense. Aesthetic experience is the aesthetic perception and cognition produced by repeating aesthetic activities. Practice makes perfect, abundant aesthetic experience could bring out the best of the aesthetic ability of the aesthetic subject. A translator without enough aesthetic experience, even if he has high literary ability, facing with a beautiful original text, he could not optimize his aesthetic ability. The aesthetic subject must possess three abilities at the same time, so that he could manifest the beauty of the original text in the greatest extend.

It is self-evident that the aesthetic object of translation is the original text. Professor Liu proposes that judging the beauty of the original text involves the aesthetic values, and the basis of judging the aesthetic values of the original text is its aesthetic constituents, in other words is the aesthetic elements which compose the features of the original text. Meanwhile, Liu Miqing puts forward two types of aesthetic elements, one is the “aesthetic presentation” elements and the other is the “non-presentational elements”.[12] (Liu Miqing, 1986, 20)

The aesthetic presentation element in the original text is the beauty in its language form, including the phonetic beauty, which is called the formal beauty of the matter in aesthetics. It normally could be felt directly and be reflected through human’s vision and hearing. For example, a beautiful prose could give people the feeling of beauty through its language, rhythm or phonology. The non-presentational elements, contrasting with the presentational elements, have not direct connection with the language form of the original text. It is usually not intuitionistic and “uncountable” as it often cannot be expressed by words, sentences or texts.

The aesthetic constituents of the language form usually can be counted, for instance, the number of parallel sentences, rhetorical devices or alliterations all are numerable; while not the non-presentational elements. It is impossible to quantify the features of an article, such as its artistic conception, charm, and linguistic modality. However, these elements are crucial for the aesthetic values of an article. Although they are not given specific language form or material form, they could be sensed. With this point, Professor Liu describes that as “nonquantitative obscure collection” in translation aesthetics. [12](Liu Miqing, 1986, 21) Its core is the obscurity, and through the following Professor Zhang’s translated text people could sense the obscurity clearly.

Liu Miqing points out that the translation aesthetic experience often goes through the following steps: the cognition for the aesthetic constituents of the aesthetic objects; the conversion of aesthetic cognition; the modifying for the result of conversion; the representation of the result of modifying. In summary, cognition, conversion, modifying and representation these four steps are included.

===The Translation Methods of Chinese Prose===
Prose is a lively and dexterous literary form, whose structure is flexible and language form is free from the constraint of rhythm. A beautiful prose requests refined language, thoughtful thinking and clear theme, which could give people a beautiful sense. While the prose translation, no matter from English to Chinese or from Chinese to English, is difficult works for all translators. Prose translation is an aesthetic practice, not only requiring the translator to convey the form beauty in the original text, but also to convey the content and style beauty, to achieve the harmony between the original text and the translated text.

Many great translators at home and abroad have put forward various translation theories or methods. In this paper, the author will resort to some prominent theories or methods to illustrate the translation of the Chinese prose.

===Literal translation and free translation===
It has a long debate on literal and free translation, which mainly argues about the definition of literal and free translation, or which one should be used in the process of translating; these debates put the literal translation and free translation on an opposite position. [14](Ye Zinan, 2001, 5-8) Some people advocating the literal translation think that the literal translation should not add or reduce any words, by doing so, the meaning and information of the original text could be maintained accurately, while the free translation is on the contrary.

Others supporting free translation maintain that many translated texts translated literally, are not only text rigid, but also difficult to read and understand. The author thinks that there are two reasons leading to this circumstance. One is that there is great difference between Chinese and English. Facing with this situation, the translator often confronts with two options: a sentence can be translated both literally and freely, at this point, different people have different attitudes toward these two methods, so the disputes appear; and the other is different people have different definitions for literal translation and free translation.

China has a long history of translation development, and during the process, many great translation masters have appeared, such as Xuan Zang in Tang Dynasty and Yan Fu in modern time, whose achievements all have exerted great influence on the development of translation methods in China. The debates between literal and free translation started from the process of translating Buddhist scriptures when, Dao An, a famous monk in the Eastern Jin Dynasty, who advocated the literal translation, worried that free translation would destroy the information in the original text; while at the same period, Kumārajīva, a monk and translator who came from the Kingdom of Kucha, can not only be able to speak Sanskrit but also to understand Chinese language, thinking that it is necessary to add or dele some contents in order to convey the meaning of the original text better.

This debate went down to the period of Xuan Zang, who did not clearly state whether he supported literal or free translation. Generally, people titled his methods as “new translation”, in other words, using these two methods at the same time in a proper way. When dealing with different contexts, he applied adding, reducing and some other methods to reserve the meaning and spirit of the original text, which made a perfect combination between literal and free translation. Although until today there are still some disputes about literal and free translation, people have come to a consensus that both of them as the basic translation methods, aiming at conveying the information of the original text to the target language in a loyal way.

It is wrong to say which one of them is good or bad. And with the development of China’s translation theories, the definitions of literal and free translation have been improved a lot. Generally speaking, literal translation means that the language form of the original text should be maintained as much as possible as well as its words, sentence structure or rhetorical device, meanwhile the translated text is required to be fluent and easy to understand and must be loyal to the original text; and the free translation starts from the meaning of the original text, not only requiring about clearly expressing the literal meaning of the original text, but its implication conveyed to the reader and loyal to the original text.

===Domestication and foreignization===
The origin of two terms can be traced back to the speech On the Different Methods of Translation delivered by a German ideologist Schleiermacher, who thought that translation had two methods, one was that the translator “leaves the author in peace as much as possible, and moves the reader toward him” ; and the other is that “the translator leaves the reader in peace as much as possible, and moves the author toward him”, but he did not give the two methods a specific name. [4](Shuttleworth & Cowie, 2004, 43-60)

And the Dictionary of Translation Studies published in 1997, edited by Mark Shuttleworth and Moira Cowie, thought that Venuti was the first person who concluded these two methods in 1995 with two terms “domestication and foreignization”. As the extending of literal and free translation, domestication and foreignization break up the constraint of language factors. The literal and free translation mainly focus on the language level, while the domestication and foreignization mainly refer to the cultural level. The literal and free translations are translation methods while the domestication and foreignization are translation strategies. Although they have something in common, the distinct differences still exist.

Eugene A. Nida, as the representative of domestication, he proposed “functional equivalence” in his book The Theory and Practice of Translation. In this book, he wrote that “in terms of the degree to which the receptors of the messages in the receptor language respond to it in substantially the same manner as the receptors in the source language”, which indirectly expressed the key points of the domestication, that is focusing on the target language, making readers have the same feeling or responding to the original text readers. [3](Nida & Taber, 1969, 24)

However, Venuti who advocated foreignization, thought the term domestication has some negative connotations, for it lost the features of the original language during the process of translation, which restricted the development of cultural diversity. [5](Venuti, 2004, 16-17) Contrary to the domestication, foreignization advocates to focus on the source language, maintain the exotic features and style of the original language. Just like literal and free translation, domestication and foreignization are contrary as well as complementary.

So, choosing a proper way in translation people should consider some factors, for example the author’s intention, the translating purpose and the level and demands of readers. And in the process of translating, a translated text is not completely confined within domestication or foreignization, but the translator always takes two or more methods unconsciously. Considering the translating purpose of the literature, the two translation methods are often used in the same text at the same time. It is not difficult to find that all great translated texts use these two methods together under the precondition that the content of the original text could be expressed accurately rather than just simply choose one of them and use it singly in the whole text.

===The Translation Aesthetics in ''Cong Cong''===
Translation aesthetics is an important branch in translation system, which is widely used to translate poems, prose and fictions. Cong Cong, as one of the master works of Zhu Ziqing, is always appreciated for its beautiful language, vivid image and profound thinking. Chinese prose and English prose are quite different, which makes the translation of Chinese prose difficult. Professor Zhang Peiji has worked a long time on the translation of Chinese prose. His translation methods and theories provide good references. This part the author mainly takes the English version of Cong Cong translated by Zhang Peiji as an example, using Professor Liu Miqing’s translation aesthetics to analyze the translation methods and aesthetic representation in ''Cong Cong.''

''Cong Cong'' was a masterpiece written by Zhu Ziqing, a famous Chinese prose master, on March 28, 1922 and was published on April 11 in the same year. It is a prose about sighing for the elapsing time and warning people to value the time, and is the representative work in the period of May Fourth Movement.The first special point of the prose lies in that Zhu simultaneously used three different personal pronouns: you, I and he. [15](Xue Gongping, 2008, 229) “You” in this prose, is the person whom the author is talking with; is the interlocutor communicating with “me”; people can also call “you” as a fictitious friend.

At the first paragraph of the prose, the author expressed his feeling of treasuring time and nostalgia for the passing time through rhetorical questions like “I” asking “you” why the time goes by never to return.[16] (Zhang Peiji, 2007, 55-60) And in the middle of the prose, the author called the time as “he”, to describe the elapsing of time, expressing “my” abashed and anxious feeling about the passing time. Through using the three personal pronouns the prose described the time and sighed for its elapsing, making readers have a feeling of familiarity as well as vitalize the time and the years.

The most artistic feature in the prose is the sensual description for the elapsing of time. In order to emphasize the hasty sense of “the time” as an alive object, the author applied both personification and parallelism, to give the time human’s emotion, character and temperament. In the first sentence of the prose, Zhu used parallelism to attract readers’ attention, leading them immerse in the beautiful poetry; and next put forward four questions without answers. In this way, people can clearly realize that the time is invisible and irreversible, which make them feel lost.

===Aesthetics representation in ''Cong Cong''===
The author is very fond of the English version of modern Chinese prose translated by Zhang Peiji, always willing to study the beauty of his translated text. Cong Cong also is one of the author’s favorite Chinese proses, whose language style attracts the author a lot. These translation methods used by Professor Zhang in Cong Cong completely reflect the application of translation aesthetics in prose translation.

So in order to learn more about the technique of Chinese prose translation, the idea that using translation aesthetics to analyze the translation methods applied by Zhang Peiji was produced. According to the previous parts, the aesthetic subject is the translator, i.e. Professor Zhang Peiji, who is proficient enough in the field of prose translation, and possesses high level of literary ability and abundant aesthetic experience. Therefore it is unnecessary to pay much attention to the aesthetic subject. In this chapter, the author mainly focuses on the aesthetic object, i.e. the prose, to analyze the beauty of the translated text.

===Beauty in language===
The language beauty firstly is reflected by rhyme beauty. Rhyme is one of the basic aesthetic units, and is the important element to make the language beautiful. In the original text, there are many rhymes, and Professor Zhang’s approach toward the rhyme beauty is worth learning.
Example sentence: 那是谁？又藏在何处呢？
Translated text: But who could it be and where could he hide them? [16](Zhang Peiji, 2007, 57)

Through the rhetorical question, the author expressed his anxiety about the elapsing of time. Professor Zhang applied the alliteration to convey the emotion of the author, which makes reader feel neatly and read fluently, reaching the translating goal.

And secondly the language beauty is shown by the words beauty. In translation, choosing proper words is crucial for the quality of the translated text, because the English language and the Chinese language have some differences. Paying attention to the cultural differences is also a process to pursue the correspondence in aesthetics. However, it is difficult to choose the proper words sometimes, especially in literature translation. That is to say, in the prose translation, people must select the words with aesthetic values, to reach the standard of “elegance”. Professor Zhang chose the words exquisitely in the translated text, which showed the beauty of the words. Here are some examples:

①“我不知道他们给了我多少日子”
Translated text: I don’t know how many days I am entitled to altogether.[16] (Zhang Peiji, 2007, 57)
“给了” was translated into “entitled to”. “Entitled” is a quite formal word, which means to give someone the official right to do or have something. By using this word, Professor Zhang fully expressed the passive and resigned feeling of the author, achieving the aesthetic effect of the original text.

②“但我的手确乎是渐渐空虚了”
Translated text: But my quota of them is undoubtedly wearing away. [16](Zhang Peiji, 2007, 57)
In this sentence Professor Zhang used the free translation. “Quota of them” means a certain amount of days or my allotted span, which conveys the anxious and uneasy feeling of the author in a vivid and delicate way, and also can be easily understood by the readers of the target language. And in this sentence, the translator chose the free translation. For the difference between English and Chinese, it is not suitable to translate directly. And from the aesthetic perspective to analyze, it is the process of pursuing corresponding and rebuilding the beauty of the original text. If the translator chose imitation to translate the sentence, not only the meaning but the beauty would lose and may cause misunderstanding as well.

Thirdly, language beauty especially can be reflected by the rhetoric beauty. In this prose, parallelism was the most used device, second was the metaphor and personification. For all these rhetorical devices, Professor Zhang resorted to all of them in the translated text. That is to say, for rhetorical devices of the original text, Zhang used the literal translation in the translated text, in other words, Professor Zhang retained the rhetoric beauty of the original text. For example:
Example sentence: 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.
Translated text: If swallows go away, they will come back again. If willows wither, they will turn green again. If peaches shed their blossoms, they will flower again. [16](Zhang Peiji, 2007, 57)

The original text had three parallel sentences, with bright and neat rhyme, arousing readers’ interests and helping them to catch the theme of the prose quickly. The translated text, which retained the sentence pattern of the original text, also adopted parallelism, making the translated text as fluent as the running water and conveying to the readers the same feeling as the original text. It also can be called “corresponding”, which could retain the formal beauty of the original text and avoid the loss of aesthetic values. What is more, another highlight in the translated text was “if” at the beginning of every sentence, which reminded readers of the famous verse written by Shelley—If Winter comes, can Spring be far away. That is the translator’s masterly design, taking these cultural differences into account and guaranteeing the readability of the translated text.

===Beauty in image===
Image is the indispensable elements in Chinese literature, using which in an ingenious way can make readers resonate with the author. In Cong Cong, the author applied rich images to express his feelings, of course, these images, without exception, were carefully translated in the translated text. For example, “swallows”, “willows” and “peaches” represented the changing seasons and the elapsing time; “a drop of water falling off a needle point”, “the sun edging away”, “the wisps of smoke and the thin mists” all these specific images were retained in the translated text to express the abstract philosophy, making the same influence on the target language readers’ emotion as the original text on the source language readers, and representing the aesthetic values of the original text. Professor Zhang still used the literal translation to translate these images, through imitation, or accurately speaking, through the corresponding, representing them to achieve the “functional equivalence”.[16] (Zhang Peiji, 2007, 57-60)

===Beauty in style===
The style of the prose Cong Cong is very distinct. Firstly, it had sophisticated structure and distinct systems; secondly, its words were pretty and meaningful, with plain and concise features; thirdly, the emotion of the author was blended into the scene in this prose. And the most prominent feature of the prose was its language style. Throughout the whole prose, the author adopted the colloquial language such as tell “me”, “you”, “he”, “wash hands”, “rice bowl”, “have meal”, “lost in reverie” to describe vividly the elapsing of time and the helpless feeling of the author, which made the prose close to life and easy to understand and accept.[16] (Zhang Peiji, 2007, 57-60) Professor Zhang Peiji adopting literal translation and free translation together and focusing on the domestication, by imitating and rebuilding, properly reproduced the style of the prose in translated text, which is absolutely a good example to learn Chinese prose translation.

===Conclusion===
Literature as a cultural symbol of a country plays an important role in cultural communication, and literature translation as an important branch of translatology, especially prose translation, should be paid more attention. Prose translation as an art, involving form and content these two aspects, and for most translators, it is a challenging task. The translator must pay attention to both aspects, which not only requires the high literary ability, but also the sensitive aesthetic ability. Only by choosing the proper translation methods, can the author create the aesthetic values of the prose translation. What is more, the Chinese modern prose, as a beautiful art, its beauty could be represented during the process of translation by imitation, rebuilding and translator’s re-creation. Meanwhile, now that the Chinese prose translation itself is a process of pursuing beauty, translators need to continuously improve and perfect in practice.

===References===

[1]Hornby, Albert Sidney. Oxford Advanced Learner’s English-Chinese Dictionary [M]. London: Oxford University Press, 1988, 2149.

[2]Gove, Philip Badcock. New Webster International Dictionary [M]. Springfield: Merriam Webster, 1961, 1956.

[3]Nida, Eugene A & Taber, Charles R. The Theory and Practice of Translation [M]. Leiden: Brill, 1969, 12-24.

[4]Shuttleworth, Mark & Cowie, Moira. Dictionary of Translation Studies [M]. Shanghai: Shanghai Foreign Language Education Press, 2004, 43-60.

[5]Venuti, Lawrence. The Translator’s Invisibility [M]. Shanghai Foreign Language Education Press, 2004, 16-17.

[6] 严复. 天演论[M]. 北京: 中国画报出版社. 2010, 6.

[7] 王佐良. 论新开端[M]. 北京: 外语教学与研究出版社. 1991, 113.

[8] 罗竹风. 汉语大词典[M]. 上海: 汉语大词典出版社. 1986, 2374.

[9] 方梦之. 译学词典[M]. 上海: 上海外语教育出版社. 2004, 296.

[10] 刘叔成. 美学基本原理[M]. 上海: 上海人民出版社. 2006, 9-20.

[11] 刘宓庆. 翻译美学概述[J]. 外国语. 1986, 2: 46-51.

[12]刘宓庆. 翻译美学基本理论构想[J]. 中国翻译. 1986, 4: 19-24.

[13] 刘宓庆. 翻译美学导论[M]. 北京: 中国对外翻译出版公司. 2005, 157.

[14] 叶子南. 高级英汉翻译理论与实践[M]. 北京: 清华大学出版社. 2001, 5-8.

[15] 薛功平. 朱自清散文《匆匆》赏析[J]. 科教文汇. 2008, 7: 229.

[16] 张培基. 英译中国现代散文（一）[M]. 上海: 上海外语教育出版社. 2007, 55-60.

--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:25, 9 December 2020 (UTC)

==A Study on the translations of Cosmetic Trademarks from the Perspective of Translation Aesthetics 张琪 Zhang Qi==
202020080667 张琪 Zhang Qi 英美文学

===Abstract===

With the tide of economic globalization, foreign cosmetics brands are actively starting to enter Chinese market. The trademark symbolizing the lintel of the brand is the first brick that knocks on the door of customers' hearts. The quality of cosmetics trademark translation will directly affect the consumers’ psychology. This chaper intends to discuss the aesthetic principles and translation techniques used in the translation of cosmetics trademarks from the perspective of translation aesthetics. It aims to provide a reference for better standardizing the translation of cosmetics trademarks and let cosmetics trademarks and translation aesthetics work together to reflect people’s pursuit of beauty and humanistic ideas.

===Key Words===
translation aesthetics；trademark translation；cosmetics

===题目===
翻译美学视角下化妆品商标的翻译

===摘要===
随着经济全球化的浪潮，国外的化妆品品牌踊跃开始登陆中国市场。象征品牌门楣的商标是叩响顾客心灵之门的第一块砖。化妆品商标翻译质量的好坏会直接作用于顾客的消费心理。本文拟从翻译美学的视角探讨化妆品商标翻译所遵循的美学原则及翻译技巧，旨在为更好的规范化妆品商标的翻译提供参考以及让化妆品商标与美学携手体现人们对美的追求和人文理念。

===关键词===
翻译美学；商标翻译；化妆品

===Introduction===
The trademark is a special symbol carefully selected or created by an enterprise to distinguish the products of other enterprises. Its meaning and function have obvious characteristics. A trademark is like a business card, a golden business card for a company's products to stand on the market. The importance of its translation is self-evident. As the market economy in the beauty industry continues to heat up, a dazzling array of branded cosmetics has entered the international market for competition. The fierce competition has made businesses pay special attention to the translation of cosmetic trademarks.Because cosmetics themselves contain beauty and represent beauty, their translation is destined to be an aesthetic process that integrates beautification and optimization. The translation of cosmetics trademarks processed with "beauty" and "excellence" will arouse people's beautiful yearning for cosmetic products, making people feel comfortable and catering to the consumer psychology of female audience. Meanwhile,it will stimulate the desire of demanding and bring consumers a warm aesthetic pleasure.(Li 2000, 58)

Translation aesthetics is to use the basic principles of aesthetics and modern linguistics to study and explore the aesthetic issues in interlingual transfer, to help translators understand the general laws of translation aesthetic activities, and to improve the ability of interlingual transfer and aesthetic discrimination of translations(Mao 2003,5). Translation aesthetics occupies a special position in translation theory. Translation aesthetics has broad prospects for development and it is still waiting for development. Its research fields can include many major issues in modern translation studies. These issues are exactly what other fields of translation studies don't include（Liu 1986，51）.

Taking into account the needs of cosmetic trademark translation and the development and uniqueness of translation aesthetics, this chaper will combine the characteristics and functions of cosmetic trademarks together to apply translation aesthetics theory to the practice of cosmetic trademark translation. It will discuss the aesthetic principles and the translation techniques embodied in the cosmetic trademark translation through analyzing a large number of examples, so as to achieve the purpose of successfully attracting consumers to open up markets for businesses. At the same time, translation aesthetics, as a major breakthrough in traditional translation theory and an important supplement to translation theory research, opens up a new perspective for the research on cosmetic trademark translation.

=== 1.Trademark and Trademark Translation===
====1.1 Definition、Features and Functions of Trademark====

For the definition of trademark, different scholars have different interpretations. Trademarks are linguistic signs that appear in the form of words and characters. They are a distinctive category in a language vocabulary. They are carefully selected or created by individuals or individual companies to distinguish products from other companies. Therefore, the meaning and function carried by this special symbol have obvious characteristics, which are prominently manifested in the distinctiveness, specificity, associativity of trademark and its function including identification、quality assurance、 legal protection and advertising（Wang 1997，25）. Additionally, Zhu Fan believes that trademarks are language signs that appear in the form of words with specific and rich symbolic meanings, carrying unique commodity information and cultural information（Zhu 2002,16).

Trademarks are words, names, symbols or patterns used by manufacturers or merchants to make people recognize their own products or services and distinguish them from those of other competitors (Zhou 2003, 61). Besides, Modern Chinese Dictionary also defines trademarks. It defines trademarks as "marks, signs (pictures, pictographs, etc.) engraved or printed on the surface or packaging of a product, It is different from other products of the same kind". From the explanations of trademark above, we can conclude that the trademark has following features: it is a linguistic sign and it’s distinctive. As an important part of commodities , it contains special significance for the companies and enterprises.(Modern Chinese Dictionary 2002, 1677)

For the functions of trademark, Yujun concludes that the function of the trademark itself is the basic motivation for providing legal protection to the trademark. It is generally believed that trademark functions mainly include identification function, quality assurance function and advertising function. The identification function of a trademark refers to a trademark that helps consumers distinguish it from multiple suppliers of similar goods or services. The quality guarantee function of a trademark means that consumers start to regard a specific trademark as a symbol of quality. The advertising function of a trademark means that a trademark is obviously a symbol tool and can be used for advertising. It is worth mentioning that the packaging with the trademark itself has also become the medium of advertising. When so many products are placed on supermarket shelves or other self-service equipment, the advertising medium is particularly important for today's product promotion(Yu 2009, 74-75).

According to the discussion about the definition, features and functions of the trademark above, we can find that although a trademark is only a small part of a product, it cannot be ignored for the integrity of the product and its function for the value of the product.

====1.2 Features of Cosmetics Trademarks====
The cosmetic trademark is the image representative of cosmetics. In order to attract consumers' attention at the first time and to have sustained appeal, an effective cosmetics trademark is one of the most essential and important factors. Through investigation and analysis, some scholars summarized that cosmetics trademarks have the following characteristics: people’s names, place names, and vocabularies suggesting beautiful images are often used in the content. (1) The name of the person in the cosmetics brand is mostly the name of the founder of the brand, such as Givenchy (founder Givenchy), Estee Lauder (founder Estee Lauder) and so on. Brands are sometimes named after other famous people. The name of the Australian brand Aesop (Aesop) reminds people of Aesop's fables, promoting the product's concise and simple concept(Shang 2011,97)

(2) Place names in cosmetics trademarks reflect the birthplace of the brand or imply the brand concept, such as Suiss Programme (Swiss, the birthplace of Switzerland), Albin (the name of a chalky cliff on the coast of the United Kingdom, which means a beautiful country with pure whiteness). (3) Brands that use words that imply beautiful images include Angle (angle :French brand angel beauty), A-cademie ( French brand Academie), etc.The form is streamlined with fewer characters to facilitate memory transmission, such as H2O, DHC, VOV, etc. Some cosmetics brands are named after people whose names are long and inconvenient to remember. They also adopt abbreviated forms, such as CD (Christian Dior), YSL (Yves Saint Laurent), CK (Calvin klein) and so on(Shang 2011,98).

The rhyme and sound effects are often crisp and sweet, or gentle and soft, which can stimulate consumers psychological harmony and comfort, and make them be willing to accept. For example, in the Japanese skin care brand Clean&Clear, both words begin with /kl/, which shows alliteration. It is full of rhythm, reminiscent of a clean, beautiful, lively and lovely girl image. Both words of the Canadian brand Pretty Rally have two syllables, and both end with /i/. The pronunciation is clear and loud, giving people a crisp and jumping rhythm(Shang 2011,98).

====1.3 Trademark Translation====
Regarding trademark translation, American advertising master E.S. Lewis put forward the famous AIDA principle in 1898, that is--successful advertising should have four concerns: Attention （attracts attention）, Interest (generates interest), Desire (triggers desire), and Action (stimulates action). In other words, as long as the trademark translation can play the above-mentioned role, the translation can perfectly convey the message of the beauty of the original trademark, attract the attention of consumers and trigger a strong desire to buy;this is a successful translation. The trademark translation is not a simple conversion between language symbols, but to reflect the "short and brilliant" characteristics of the trademark itself. The translation must take into account the differences in language and culture, conform to the aesthetic psychology of customers, and realize the established brand function (Wang 2011, 236).

From the perspective of language form, the structure of a trademark is simple and easy to understand. Compared with other forms of inter-language conversion, the translation process is not affected by the deeper language levels such as sentences, paragraphs, and chapters, so it seems simple, which results in the translation of trademarks. Don't take people seriously. However, Professor Qian Guanlian believes: “People have two levels of requirements for the creation of any tool: practical and aesthetic(Qian 1993, 13).”

Therefore, the trademark translation should achieve the perfect unity of sound and meaning. At the same time it is necessary to overcome the cultural barriers of the translated language and conform to people's aesthetic taste and consumer psychology. In a word, it is not easy to do a good job in the translation of trademarks. It needs the guidance of translation theory and also needs to master certain translation skills.

=== 2.Translation Aesthetics===
====2.1 Aesthetic Origins of Translation Studies====
For the Chinese view of language, language functions and aesthetic judgments are inseparable. Chinese philosophers have been talking about beautiful words and beliefs since ancient times. Lao Tzu put forward the idea of boosting the letter and suppressing the beauty and held a negative attitude towards the beauty of disguise. Confucius proposed reaching the acme of perfection and unification of text and quality, Mencius proposed benevolence and justice for beauty, Xunzi proposed consideration of text and quality and unity of beauty and goodness. Judging from the history of Chinese aesthetics, beauty and faith, text and quality are the oldest and consistent propositions(Wang 2011,135）.

For the Chinese language view, language functions and aesthetic judgments are inseparable. Chinese philosophers have been talking about beautiful words and beliefs since ancient times. Lao Tzu put forward the idea of boosting the letter and suppressing the beauty and held a negative attitude towards the beauty of disguise. Confucius proposed reaching the acme of perfection and unification of text and quality, Mencius proposed benevolence and justice for beauty. Xunzi proposed consideration of text and quality and unity of beauty and goodness. Judging from the history of Chinese aesthetics, beauty and faith, text and quality are the oldest and consistent propositions(Wang 2011,135）.--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:57, 20 December 2020 (UTC)

Beauty and text refer to the perceptual form of literary works, and faith and quality refer to the essence of content. The ideal aesthetic state is glasses grace. It is obvious that the dispute between literature and quality in traditional Chinese translation theory is the process and manifestation of Taoist aesthetics giving way to Confucian aesthetics. Since the 19th century, new translation ideas such as Yan Fu's faithfulness, smoothness, and elegance, Ma Jianzhong's good translation, Qian Zhongshu's contextualization theory, and Fu Lei's similarity theory have also further promoted Chinese translation(Wang 2011,135）.

Beauty and text refer to the perceptual form of literary works, and faith and quality refer to the essence of content. The ideal aesthetic state is glasses grace. It can be seen that the dispute between literature and quality in traditional Chinese translation theory is the process and manifestation of the transfer of Taoist aesthetics to Confucian aesthetics. Since the 19th century, new translation ideas such as Yan Fu's faithfulness, smoothness, and elegance, Ma Jianzhong's good translation, Qian Zhongshu's contextualization theory, and Fu Lei's similarity theory have also further promoted Chinese translation(Wang 2011,135）.--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:57, 20 December 2020 (UTC)

====2.2 Aesthetic Subject and Aesthetic Object in Translation====
The study of academic content such as the aesthetic subject and aesthetic object in translation has always been the content that scholars pay more attention to. The aesthetic subject refers to the person who performs aesthetic activities on the aesthetic object, and the aesthetic subject of translation (TAS) is the translator. As far as translation is concerned, the aesthetic attitude of the aesthetic subject involves the concept of translation, and its task must be twofold: the understanding and appreciation of the original language, and the reproduction or creation of the original aesthetic information（Jiao 2010，104).

The aesthetic subject of translation has two basic attributes.One is subject to the aesthetic object, that is, the original text is subject to the translatability limit of the formal beauty of the original language, the translatability limit of the non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation . The second is the translator's subjective initiative, that is, the translator's initiative, creativity, and the high level of activation and stimulation of the aesthetic potential of the aesthetic object. Chinese aesthetics summarizes these characteristics as "subjective practicality". In translation, if the translator does his best to suppress the objective constraints, translation can still become a handy creative activity(Jiao 2010,104).

The exertion of the subjective agency of translation depends on whether TAS has the following aesthetic conditions. Specifically, it refers to the aesthetic emotion of the aesthetic subject: emotion, knowledge, talent and will. The so-called "emotion" is aesthetic emotion. The so-called "knowledge" can refer to insight, as well as the vision expanded and enriched by the translator's personal experience. The so-called "talent" refers to actual ability or skill, which is manifested in language analysis ability, aesthetic judgment ability, language expression and rhetoric ability. The so-called "will" refers to the perseverance to learn(Jiao 2010,105).

The study of aesthetic objects is mainly for the original text. Because different scholars have different perspectives, the specific classifications are also different. In "Introduction to Translation Aesthetics", Liu Miqing divides the aesthetic objects into "textual aesthetic appearance" and "non-representative beauty". In fact, it is to appraise the intrinsic beauty of the original language form and the charm of the article. Additionally, Mao Ronggui refined the aesthetic objects into phonological beauty, rhythm beauty, simplicity beauty, charm beauty, artistic conception beauty, tone beauty, image beauty, neat beauty, stylistic beauty , fuzzy beauty and other forms of analysis(Liu 2005,130).

In addition, Huang Long’s article "The Aesthetics of Translation" elaborates on the aesthetic issues of translation from six aspects: rhetorical beauty, artistic conception, beauty, image beauty, typical beauty and macro beauty. Its essence is still the study of translation objects. It can be seen that although the specific classification of this type of research is different, its essence is to conduct a comprehensive analysis of the exterior and connotation of aesthetic objects.Regarding the relationship between aesthetic subject and object, Liu Miqing believes that only when the aesthetic subject and the aesthetic object are combined organically can translation, as an aesthetic reproduction process, produce aesthetic effect and translation is beautiful(Huang 1988,180).

====2.3 Aesthetic Interpretation of the Translation of Cosmetic Trademarks====
Trademarks, translation aesthetics and cosmetics are all products of a certain historical stage of social development. The trademark originated from the name attached to the works by the ancient Greek writers, and the trademarks with pictures and texts appeared in the Northern Song Dynasty in China. In the modern market economy society, trademarks constitute a part of products and tend to be universal. Their nature is not only a mark for distinguishing commodities, but also a tool for market competition. Trademarks have revealing and propaganda functions, so that their role in commodity exchange and market competition not only indicates the origin of the goods and guarantees the quality of the goods, but also has the role of advertising and promotion.Therefore, a successful trademark translation can make consumers have beautiful associations, thereby creating brand identity(Encyclopedia of China 2009, 283).

What is beauty? Women would rather cut off three meals for a beautiful dress and men would not regret seeing a beautiful girl at the cost of hitting a tree. Humans would not hesitate to climb up the heights without hesitation, all for the sake of beautiful clothes, beauty present and " The physical and mental pleasure brought by "seeing the small mountains" is also called aesthetic feeling. Beauty is essentially a kind of direct or indirect physical pleasure. The physical pleasure induced by "beauty" is elevated to the level of culture, rationality, and spirit, so that human physiological experience has cultural and spiritual connotations of "beauty", and human society can move toward a harmonious and beautiful state due to the pursuit of beauty(Mao 2015,29).

The aesthetics of translation leads people to appreciate the beauty of the artistic conception of "suddenly looking back, but the person is in a dim light" through the conversion of two languages. The object of research is the aesthetic object (original, target) in translation, the aesthetic subject (translator, reader) in translation, aesthetic activity in translation, aesthetic judgment in translation, aesthetic appreciation, aesthetic standards, and creativity in translation The aesthetic reproduction and so on(Mao 2015,29).

Both translation aesthetics and cosmetics can bring beauty to people and make people happy both physically and mentally. Cosmetics generally have a pleasant fragrance, which can make a person's appearance clean and beautiful, and is good for physical and mental health. The translation of cosmetics trademarks has become an indispensable object to carry and convey beauty(Encyclopedia of China 2011, 553).

===3. Translations of Cosmetic Trademarks Guided by Translation Aesthetics===
====3.1 Aesthetic principles of cosmetics trademark translation====
=====3.1.1Rhythmic Beauty=====
Rhythmic Beauty means that the trademark name has a bright sound, a clear rhythm, and a sense of music, which gives people a beautiful listening experience. A successful trademark translation should be easy to remember, rich in imagination, and easy to read. For example:

Clean Clear is translated as "可伶可俐", For the translation of Clean Clear, the first letter of the English trademark is "Cl", it adopts alliteration and the vowels in the middle part are the same. Besides, the pronunciation is very smooth, which like a tongue popping out. When translating into Chinese, translators separate the singular word "伶俐", and use the characteristics of Chinese double vowels and compound vowels to make the translated name sound bright. What’s more, the Chinese characteristics of flatness and syllable length change make the trademark sound sonorous, powerful, smooth, and rhythmic(Zeng 2010,183).

For the translation of the trademark "美加净" into "Maxam", it perfectly embodies the beauty of phonology. First of all, the pronunciation of the first syllable of "Maxam" and the pronunciation of "美" in "美加净" form a correspondence. When people see the letter "M", they will think of the Chinese pronunciation of "美" to obtain a feeling of beauty. In addition, the pronunciation of "Maxam" is short but powerful, giving people a fresh and natural feeling, which coincides with the brand concept of Maxam(Zeng 2010,184).

=====3.1.2 Image Beauty=====
On the one hand, Image beauty, as far as translating poetry is concerned, it has the same poetic format and rhythm as the original text. This beauty of form is built on the basis of similarity. For trademark terms, the translation should be in the form of a trademark, and the language should be concise and clear, easy to see, easy to read, easy to understand, and worthy of memory. It is best to use good words. Different countries, nationalities and regions use different characters, and their preferences for certain characters are also very different.

For example, the Chinese characters that Chinese people like are mostly "福", "寿"喜", "乐", etc. Another example: Avon is translated as "雅芳", Arche is translated as "雅倩", Colgate is translated as "高露洁", Safeguard is translated as " "Shufujia", Rejoice translated as "飘柔", etc. These translated names are linguistically recognizable, easy to read, and easy to see, which is what we call the beauty of form, and "“雅、芳、倩、黛、露、佳、飘、柔” in Chinese have elegant, refined, , graceful and feminine charms. Not only can they leave a good impression on consumers, but they can also be beautiful in the fragrant and aromatic scent when using the product. The products represented by these translation standards have always been trusted, in addition to the product itself, it is also related to the simplicity and memorability of the translation standards(Ye 2010,112).

On the other hand, the translated name of cosmetics should have "clear meaning, concise graphics, clear image, easy to remember" as its artistic characteristics, and it states the product characteristics intuitively and clearly, so that the product image is clear and prominent, which is easy to resonate with consumers, and is conducive to obtaining good impressions and strong memory impression. According to the language characteristics of Chinese and the language psychology of the Han nationality, the Chinese translation of female beauty products should choose words with beautiful content and sweet rhyme, and the sound should be bright and the rhythm should be clear, giving people the enjoyment of visual and auditory beauty(Ye 2010,113).

Such as: American cosmetics Maybelline, the Chinese translation is "美宝莲". "美" implies that its function is to make consumers more beautiful, and "莲" implies that its effect is to make consumers as beautiful as a lotus. Both the sound and the meaning are used. The two languages are integrated, and the sound is bright and the meaning is beautiful.The French skin care product Clarin is named "娇韵诗" in Chinese. It chooses "娇" and "韵" to express the beauty of "feminine and tenderness". The addition of "诗" makes people feel "picturesque and poetic", leaving female consumers with a deep impression.

=====3.1.3 Conceptual Beauty=====
The conceptual beauty of a trademark refers to that the trademark of a product highlights a certain artistic conception through the associative meaning of the vocabulary or the connotation combination of the constituent words, so that people have rich and beautiful associations, and arouse people's yearning and pursuit of beauty. Therefore, it creates beauty in the minds of consumers, so that the products stand out and are accepted by consumers. Therefore, it creates beauty in the minds of consumers, so that the products stand out and are accepted by consumers(Zeng 2010,185).

In addition, The conceptual beauty requires that the trademark of the product can make people produce rich associations. That is, through the associative meaning of the vocabulary or the connotation combination of word formation, a certain artistic conception is brought out. For example, the Chinese translation of BIOTHERM is "碧欧泉", it is one of the three major European skin care brands. The author believes that this translation is very clever, and it can be described as a perfect combination of sound, form and meaning. The trademark of the source language has rich connotations(Ye 2010,115).

Bio- means the life of the skin, and -therm refers to mineral hot springs, because there is a kind of mineral hot springs in the mountains of southern France. It has special effects on the human body, especially the skin, and BIOTHERM products are organic The active factor PETPTM is extracted from this mineral hot spring. In the Chinese translation of its name, "碧" is reminiscent of clear water, blue sky, and full of greenery. "欧" and "泉" refer to the birthplace of the product. The design of the trademark is based on blue, which makes people even have more creative, fresh and natural, elegant and pure feeling(Zeng 2010,186).

====3.2 Translation Techniques under the Guidance of Translation Aesthetics====
=====3.2.1 Free Translation=====
Free translation is based on the meaning of trademark words. The trademark translated by free translation can vividly express the utility of the product through careful selection and addition of words, which is conducive to consumer memory. Free translation neither uses the original name nor the direct Chinese meaning of the original name. Instead, it is based on the characteristics of the product, giving full play to imagination and creating a translated name with another meaning, thereby achieving the purpose of respecting consumers' cultural habits and aesthetic value(Zhu 2008,366).

For instance, the cosmetics trademark "Lancome", the founder of its brand name Armand Petetjean took inspiration from a beautiful castle "Lancome" surrounded by roses in central France. He believed that every woman is like a rose with her own posture and charm.The translation of the trademark as Lancome is unique, because in China, “兰”means orchid, which represents elegance and beauty. It is the most beautiful flower, like the rose surrounding the castle, exuding fragrance and beauty; “蔻” is a scented herb in Chinese, “豆蔻年华” is often used to describe young and beautiful. As Armand described, every woman is as young and beautiful as a rose(Zhu 2008,366).

Cosmetics Juven "柔美娜", Juven is equivalent to young in English, meaning "young", people think that young is beautiful; the translator adopts free translation, flexibly and creatively translating Ju-ven into "柔美娜", which correctly conveys the efficacy of the cosmetics to consumers that you can get soft, beautiful and young skin by using this product(Zhu 2008,367).

Another example is cosmetics Clinique (倩碧). Clinique originally means clinic in English. Under the guidance of dermatologists, Clinique has developed the first 100% fragrance-free skin care product.The translation of “倩碧” can make people have beautiful associations. “倩” means beautiful and“碧”means turquoise, light and clear color. By free translation of such a name, consumers will have beautiful associations-healthy and beautiful, crystal clear skin. Just imagine if literally translated as a clinic, and who would dare to use such a product? In addition, examples of free translation include: H2O "水之奥", Prettiean "雅姿丽", etc., which have reached the goal of respecting consumers' cultural habits and aesthetic values(Zhu 2008,367).

=====3.2.2 Transliteration=====
Transliteration refers to a translation method that uses phonemes as a unit to retain the pronunciation of the original text in the translation so as to highlight the main functions of the original text. The transliteration of the trademark is meaningless of the original trademark. The pronunciation of the original trademark is expressed in the target language and the text symbols of the target language.Transliteration of a trademark should follow the principle of name obeying the owner, that is, if the original text is in Japanese, it should be pronounced in Japanese, if the original is in French, it should be pronounced in French, if it is German, it should be pronounced in German, and if it is Italian, it should be pronounced in Italian.The same goes for other languages(Zhang 2007,121).

The translated name translated by the transliteration method retains the beauty of the original trademark’s phonology .Although it does not conform to the Chinese rules in terms of word creation, it has ulterior motives in the choice of Chinese characters. After careful selection, it appears novel and unique and caters to women consumers’ curiosity and aesthetic psychology.Besides, it is relatively straightforward, and also brings convenience to translation” . Therefore, most cosmetics trademarks use this translation method. American cosmetics Maybelline, its original name is full of flavor. The Chinese translation of "莲" implies that its effect is to make consumers beautiful like a lotus. It takes its pronunciation, "美宝莲". "美" implies that its function is to make consumption and take its meaning. The two languages can be integrated, which is a superior work（Yu,An 2006：98）.

=====3.2.3 Literal translation=====
Literal translation is to find words with the same or similar meaning in the target language according to the meaning of the original trademark word. The advantage of the literal translation method is that it retains the original trademark name, conveying the information and feelings of the original name, which achieves harmony and unity in meaning with the trademark pattern. For example, the makeup brand Cover Girl literally translates as "封面女孩", which means that the girl who uses this cosmetic is as glamorous as the model on the cover(Zhang 2009,125).

Literal translation is to find words with the same or similar meaning in the target language according to the meaning of the original trademark word. The advantage of the literal translation method is that it retains the original trademark name, conveying the information and feelings of the original name, which achieves harmony and unity in meaning with the trademark pattern. For example, the makeup brand "Cover Girl" is literally translates as "封面女孩", which means that the girl who uses this cosmetic is as glamorous as the model on the cover(Zhang 2009,125).--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 11:11, 20 December 2020 (UTC)

Natural Beauty "自然美", the concept of this cosmetics brand company spanning seven countries in the Asia-Pacific region is "Nature is Beauty". The literal translation retains the purpose of the trademark to retain fresh and natural beauty. Another example is the famous British health and beauty chain store—The Body Shop(“美体小铺”). Its main products are body care and facial masks. The products are natural and healthy. Literally translated, this brand can retain the purpose of the trademark—to make skin and body become more beautiful and moving.

Natural Beauty "自然美", the concept of this cosmetics brand company spanning seven countries in the Asia-Pacific region is "Nature is Beauty". The literal translation retains the purpose of the trademark to retain fresh and natural beauty. Another example is the famous British health and beauty chain store—The Body Shop(“美体小铺”). Its main products are body care and facial masks. The products are natural and healthy. With Literal translation, this brand can retain the purpose of the trademark and make skin and body become more beautiful.--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 11:11, 20 December 2020 (UTC)

In addition, the literal translation of "小护士" as Mininurse is also for purpose. People think of nurses as angels, caring for people who are cared about.The purpose of this translation is to tell consumers that the products of little nurses are as gentle and considerate as nurses, and by this way it achieved promotional purposes.

In addition, the literal translation of "little nurses"("小护士") as Mininurse is also for purpose. People think of nurses as angels, caring for people who are cared about.The purpose of this translation is to tell consumers that the products of "little nurses" are as gentle and considerate as nurses, and by this way it achieves promotional purpose.--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 11:11, 20 December 2020 (UTC)

=====3.2.4 Creative Translation=====
If neither transliteration nor literal translation can vividly reproduce the characteristics of the original trademark, then consider putting aside the consideration of the original trademark's phonology and meaning and adopting a new and innovative approach. It is not necessary to stick to the similarity of simple phonology, nor to ponder its literal referential meaning. Translators can fully open up new ideas, find new ways, boldly innovate, and give readers unlimited reverie. In other words, the unconventional method is a special free translation method, which refers to the renaming of products under the premise that the culture and customs of the target language country allow it. Although the translated name of the target language is quite different from the original meaning of the original name, it can achieve the same goal by different routes(Zhou 2003,63).

If neither transliteration nor literal translation can vividly reproduce the characteristics of the original trademark, then consider putting aside the consideration of the original trademark's phonology and meaning, and adopt a new and innovative approach. It is not necessary to stick to the similarity of simple phonology, nor to ponder its literal referential meaning. Translators can fully open up new ideas, find new ways, boldly innovate, and give readers unlimited reverie. In other words, the unconventional method is a special free translation method, which refers to the renaming of products under the premise that the culture and customs of the target language country allow it. Although the translated name of the target language is quite different from the original meaning of the original name, it can achieve the same goal by different routes(Zhou 2003,63).--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 11:15, 20 December 2020 (UTC)

For example, the American brand Neutrogena is translated as "露得清", which is derived from the Latin words "Neutralis" and "Genus", which means "new birth". The combination of the two words implies the meaning of "creating natural effects". When the brand was founded, it was famous for a soap that was comfortable and cleansing the skin, and it was known as the "precious soap from Belgium". "Recommend products suitable for skin" has always been at the core of the Neutrogena brand philosophy. Translating Neutrogena into "露得清", although it doesn't seem to have much connection with its literal meaning, it fits the original intention of clean and clear skin in the brand story.

For example, the American brand Neutrogena is translated as "露得清", which is derived from the Latin words "Neutralis" and "Genus", which means "new birth". The combination of the two words implies the meaning of creating natural effects. When the brand was founded, it was famous for a soap that was comfortable and had good function on cleansing the skin. It was known as the precious soap from Belgium. "Recommend products suitable for skin" has always been at the core of the Neutrogena brand philosophy. Translating Neutrogena into "露得清", although it doesn't seem to have much connection with its literal meaning, it fits the original intention of clean and clear skin in the brand story.--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 11:15, 20 December 2020 (UTC)

===Conclusion===
From the perspective of translation aesthetics, this essay analyzes the aesthetic principles and translation techniques used in the process of cosmetic trademark translation through specific examples. For the translation of cosmetics trademarks, it is not a simple conversion of one language to another, so it requires that we should be based on the specific circumstances of the aesthetic characteristics of the trademark words, and from the perspective of translation aesthetics, we should fully consider the aesthetic ability of the aesthetic subject and aesthetic needs to accurately and fully reproduce the aesthetic objects—the rhythmic beauty, image beauty and conceptual beauty of trademark to consumers by combining with the respective characteristics of the two languages and cultures of English and Chinese, so as to promote product sales and achieve its commercial value.

From the perspective of translation aesthetics, this paper analyzes the aesthetic principles and translation techniques used in the process of cosmetic trademark translation through specific examples. For the translation of cosmetics trademarks, it is not a simple conversion of one language to another, so it requires us to take specific circumstances of the aesthetic characteristics of the trademark words into consideration. From the perspective of translation aesthetics, we should fully consider the aesthetic ability of the aesthetic subject and aesthetic needs to accurately and fully reproduce the aesthetic objects—the rhythmic beauty, image beauty and conceptual beauty of trademark to consumers by combining with the respective characteristics of the two languages and cultures of English and Chinese, so as to promote product sales and achieve its commercial value.--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 11:27, 20 December 2020 (UTC)

When translating cosmetics trademarks, as Xie Hua pointed out, the translator must flexibly handle language and cultural differences and conflicts according to the context in the translation process. You cannot be imprisoned in words for the sake of literal translation or transliteration or free translation, and make the words rigid; At the same time, in order to successfully express the connotation of the trademark and show the charm of the trademark, translators should strive to get rid of the shackles of rigid equivalence, be flexible and innovative, choose the best method for trademark translation, and try to give the trademark the best appropriate translated name(Xie 2000,85).

When translating cosmetics trademarks, as Xie Hua pointed out, the translator must flexibly handle language and cultural differences and conflicts according to the context in the translation process. You cannot be imprisoned in words for the sake of literal translation or transliteration or free translation, ortherwise;it will make the words rigid; At the same time, in order to successfully express the connotation of the trademark and show the charm of the trademark, translators should strive to get rid of the shackles of rigid equivalence, be flexible and innovative, choose the best method for trademark translation, and try to give the trademark the best appropriate translated name(Xie 2000,85).--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 11:27, 20 December 2020 (UTC)

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==A Study on Ba Jin's Translation of Oscar Wilde's Fairy Tales from the Perspective of Translation Aesthetics 周园曲 Zhou Yuanqu 202070080630 英语笔译==

===Abstract===

Oscar Wilde, as a leading figure in the Aesthetic Movement, was famous for his ornate words and sharp wit. His fairy tales embodies and exhibits his aesthetic ideal. Until now, his two collections of fairy tales The Happy Prince and Other Tales as well as A House of Pomegranates still receive popularity around the world. And one of the most favored translation editions of Wilde’s fairy tales in China was written by Ba Jin. This thesis is aimed to analyze from the perspective of translation aesthetics what Ba Jin did to make the representation of beauty possible. This thesis includes three chapters. In Chapter One, the author introduces the definition and development of translation aesthetics, and Liu Miqing's theory about translation aesthetics to provide theoretical support for the rest part of the thesis. In Chapter Two, the author explores from the aspect of translation aesthetic subject what aesthetic conditions Ba Jin possessed to let him reproduce the beauty in the original work. In Chapter Three, the author analyzes Ba Jin's translation from four levels including sound, diction, image and style to see what translation skills he used and what translation theories he held to make it possible to reproduce the beauty in the original work.

Through analysis, the author finds that a literary translation of high quality should not only deliver the logic information but also reproduce similar aesthetic feelings.

===Key words===
Ba Jin; Oscar Wilde; Fairy tales; Translation aesthetics

===摘要===

作为美学运动的代表人物，奥斯卡·王尔德的语言优美华丽，风趣机智，而他创作的童话作品则被认为是其美学思想的最佳载体。直到今天，他的两部童话集《快乐王子》和《石榴之家》依然在世界范围内广受欢迎，而巴金先生的王尔德童话译本则是国内最为推崇的译本之一。本篇论文旨在从翻译美学的角度分析巴金是如何在其译文中再现了原作中的美。本篇论文包括三个章节：第一章介绍了翻译美学的定义、其发展历史以及刘宓庆的翻译美学理论，旨在为后文的论述提供理论铺垫。第二章从翻译审美主体的角度探索了巴金重现原作美所具备的审美条件。第三章作者从音乐美、词汇美、意境美和风格美四个角度，举例对比分析了原文和巴金译文，总结了巴金再现原文美的翻译技巧和翻译思想。

通过对巴金的王尔德童话译本的分析，作者发现，一篇高质量的文学作品译文不仅要传达原文的基本逻辑信息，还要能为译文读者重现与原文作品相似的美的感受。

===关键词===
巴金奥斯卡·王尔德童话翻译美学

===Introduction===

The fairy tales by Oscar Wilde, like his other works, exhibited his great talent for language. The Happy Prince and Other Stories published in 1888 and A House of Pomegranates in 1891 collected nine fairy tales. All of them were of musical tone and ornate words, creating indescribable beauty of tragedy. The stories sparkling with poetic beauty and wisdom received favor all over the world.

In China, Wilde’s fairy tales were first translated in 1909. Zhou Zuoren and Lu Xun translated The Happy Prince to classical Chinese and published it in a book named Other Land (《域外小说集》).Although the book didn’t sell well, it introduced Oscar Wilde’s fairy tales to China. In 1920s, more translations of the fairy tales were seen in various books and magazines. Mu Mutian in 1922 translated five stories. In the year of 1933, You Baolong translated seven stories of Wilde’s fairy tales. In 1946, Mu Mutian made a complete translation of Wilde’s nine stories. Among all of the Chinese translations, one of the most influential editions was translated by Ba Jin. His translation was firstly published in 1947 and revised and reprinted twice respectively in 1957 and 1980.

In CNKI, 157 essays conduct research on Oscar Wilde’s fairy tales. And the study object of twenty essays is the translation of Oscar Wilde’s stories. Among them seventeen essays covered Ba Jin's translation. Scholars often conduct their research on the following angles: the influence of translation of Oscar Wilde’s fairy tales in China; translator’s subjectivity; reception aesthetics; translation of children’s literature; translation aesthetics. There are three theses adopting an aesthetic view to study Ba Jin's translation of Wilde’s fairy tales. Lin Lin (2007) compared the aesthetic features of the original work and Ba Jin's translation from an aesthetic perspective. Liu Xiaoyin (2012) used Mao Ronggui's theory of translation aesthetics to analyze the aesthetic elements in Ba Jin's translation. Yang Liqiu (2016: Ⅴ) in 2016 built a Excel database to make a textual analysis of the 1981 version of Kuai Le Wang Zi Ji in a systematic manner from lexical, syntactical and discourse levels. Their study on Ba Jin's translation of Oscar Wilde’s works provide guidance for this thesis and the future studies.

It is indisputable that Oscar Wilde’s fairy tales read like poetry. Since Ba Jin's translation is one of the most favored translation editions in China, it must have rendered similar aesthetic beauty to its Chinese readers. Therefore, a question arises: how did he convey the same aesthetic effect in his translation? Translation aesthetics provides an appropriate angle for studying this issue.

In this thesis there are three chapters. Chapter One introduces the definition and development of translation aesthetics. Because Liu Miqing systematically expounded a series of issues of translation aesthetics and raised translation aesthetics to a new height, Chapter One also introduces his theory about translation aesthetics so as to provide theoretical support for the discussion in this thesis. Meanwhile, the author also wishes that the introduction of translation aesthetics could interest more people in the study of this field. In Chapter Two, the author discussed from the translator himself what aesthetic conditions he had to transfer the beauty of the original text. In Chapter Three, the author analyzed from four levels including sound, diction, image and style to appreciate Ba Jin's transfer of beauty in Wilde Oscar’s fairy tales.

===Chapter 1 Translation Aesthetics===

In order to better analyze Ba Jin's translation work from the perspective of translation aesthetics, in the following part, the author introduces the definition and development of translation aesthetics and Liu Miqing's theory about translation aesthetics.

====The Definition of Translation Aesthetics====

In A Dictionary of Translation Studies, Fang Mengzhi's defines translation aesthetics as follows: to discuss the special influence of aesthetics on translation; to explore translation’s aesthetic origin; to apply an aesthetic view to learn about the scientific and artistic attributes of translation; applying basic principles of aesthetics to set up different aesthetical criteria for different text styles in translation, and to analyze, interpret and solve the problems concerning aesthetics in the process of transferring language. (Fang Mengzhi, 2004, 296)

====The Development of Translation Aesthetics====

Translation aesthetics is fundamentally related to traditional Chinese translation theories. Meanwhile it makes efforts to turn them into modern translation theories by absorption of western translation studies and application of theories of aesthetics. After tens of years of contribution made by the scholars, it has become one of the main frameworks of China’s translation theory, with interdisciplinary features and distinctive Chinese characteristics.

Nearly all of the traditional Chinese translation theories are rooted in philosophy-aesthetics. Zhi Qian, the ancient famous Buddhist scripture translator, held that rhetoric was not needed, which was influenced by Lao Zi's aesthetic idea “Truthful word may not be beautiful, while beautiful words may not be truthful.”(信言不美，美言不信) “Truthful words” and “beautiful words” are actually corresponding to “zhi”(质) and “wen”(文) respectively, the oldest and longest-lasting aesthetic proposition in China. Although in Zhi Qian’s time, “zhi” defeated “wen” as the winner, “zhi” and “wen” were coordinated in the later history. Most of the scholars came to agreement that an excellent prose or poem shouldn’t ignore neither content or diction. Influenced by traditional aesthetics, keeping balance between “wen” and “zhi” became the mainstream of Chinese traditional translation theory. When the modern times began, other important translation theories emerged. Yan Fu put forward “faithfulness, expressiveness and elegance”. Fu Lei’ set forth “being alike in spirit”. Qian Zhongshu came up with “sublimation”.

In 1960s and 1970s, however, the progress of traditional Chinese translation theories went to a grinding halt. In 1980s, Chinese translation studies began to learn from western translation theories, such as skopos theory, deconstructive translation theory, feminist translation theory and so on and so forth. Some of them contributed directly to translation practice and others attempted to interpret the hidden factors influencing or manipulating the translation activities. As the focus of Chinese translation studies is mostly on the western translation theories, some scholars stressed that Chinese translation studies might lose our own voice in the field of international translation studies. They advocated turning back to traditional translation theories and put forward a new translation theory with distinctive Chinese characteristics.

In this context, an increasingly number of scholars bend their mind to translation aesthetics.

Comparative Aesthetics of Literary Translation by Xi Yongji in 1992 is the embryo of translation aesthetics. Following the artistic rule, Xi Yongji showed a positive attitude to the artistic and aesthetic value of the original and target text. He used plentiful examples of comparative literature to make an analysis of the influence of aesthetic factors of literary works on the choice of the translators.

Aesthetic Linguistics by Qian Guanlian in 1993 lays a linguistic foundation for translation aesthetics. Aesthetic linguistics applies aesthetic approach to study language and endeavors to provide a theoretical explanation for the aesthetic issues in language.
An Introduction to Translation Aesthetics by Liu Miqing in 2005 built a theoretical framework of translation aesthetics. His theories will be elaborated in the next section.

Jiang Qiuxia's Aesthetics Progression in Literary Translation: Image-G Actualization in 2002 is an important theoretical achievement. Jiang in her book explored the influence and aesthetic effect of Gestalt image had on literary translation from an aesthetic perspective.

Mao Ronggui's Translation Aesthetics in 2005 is the first book that directly uses “translation aesthetics” as its title. The book made an aesthetic comparison of sounds, forms, meanings, sentences and words, and put forward different methods in translation practice. An aesthetic view permeated his discussion.

Comparative Aesthetics of Literary Translation by Xi Yongji in 1992 is the embryo of translation aesthetics. Following the artistic rule, Xi Yongji showed a positive attitude to the artistic and aesthetic value of the original and target text. He used plentiful examples of comparative literature to make an analysis of the influence of aesthetic factors of literary works on the choice of the translators.
Aesthetic Linguistics by Qian Guanlian in 1993 lays a linguistic foundation for translation aesthetics. Aesthetic linguistics applies aesthetic approach to study language and endeavors to provide a theoretical explanation for the aesthetic issues in language.
An Introduction to Translation Aesthetics by Liu Miqing in 2005 built a theoretical framework of translation aesthetics. His theories will be elaborated in the next section.

====Liu Miqing's Theory about Translation Aesthetics====

Liu Miqing's theory about translation aesthetics stands as a milestone in the development of translation aesthetics. Because of his dedication to this field, translation aesthetics becomes one of the main frameworks of China’s translation theory, making China’s translation theory distinctive from the model of western translation theory. (Mao Ronggui, 2005, 9) The following part will introduce his main ideas on translation aesthetics.

In his book An Introduction to Translation Aesthetics published in 2005, his views on translation aesthetics are elaborated systematically.
It explores the aesthetic origin of translation. The writer introduces the history of western and Chinese translation theory. It could be concluded from his book that firstly both of the Chinese and western translation studies are linked to aesthetics from their very beginning; secondly, aesthetics has played a much more active role in the history of Chinese translation theories than it has done in western translation theories.
Two notions in aesthetic translations are put forward. One is translation aesthetic object (TAO) and the other is translation aesthetic subject (TAS). TAO is the original text. Its beauty depends on its aesthetic value. The aesthetic value is analyzed from aesthetic constituents. Liu Miqing divides aesthetic constituents into two systems. The sound beauty, character beauty, word beauty and sentence beauty are included in the formal system. The mood and tone of the original text and the images and symbols in it are incorporated in the informal system. The latter system is also called the fuzzy sets. Correspondingly, TAS refers to the translator. Two basic attributes of TAS are the original text’s objective conditioning on it and more importantly its own subjective dynamics. TAS is constrained by the translatability of the original text’s formal and informal beauty, the cultural differences of two languages and the time-space difference of art appreciation. The subjective dynamics of TAS includes the translator’s capability, aesthetic feeling, knowledge, and tenacity.

The writer also explores the system of aesthetic consciousness in translation. The cognitive schema of aesthetic translation is put forward. It includes four levels, which are perception, imagination, understanding and representation. And the general rule of representation is followed as comprehension, transformation, improvement and representation. “Imagination” and “empathy” are regarded to be important for the representation.

===Chapter 2 Ba Jin as Translation Aesthetic Subject of Oscar Wide’s Fairy Tales===

As it has been discussed in the Chapter One, translation aesthetic subject is the translator. According to Liu Miqing, a beautiful translation depends on two factors, which are the aesthetic constituents of the TAO and the aesthetic conditions of the TAS. Only when the two factors interact with each other, can the translation work fully reproduce the beauty of the original work. (Liu Miqing, 1986, 20) Hence, the aesthetic conditions of the TAS are of great importance. Without it, the aesthetic representation would become impossible.

In translation aesthetics, the aesthetic conditions of the TAS incorporated the translator’s cultural literacy as well as his/her aesthetic consciousness and experience. Therefore, the purpose of this chapter is to discuss from the perspective of TAS how Ba Jin's translation fully conveyed beauty of the Oscar Wilde’s fairy tales. The discussion will include two parts: (1) the translator’s cultural literacy and (2) his aesthetic consciousness and experience.

====Ba Jin's Cultural Literacy====

According to Liu Miqing, TAS’ cultural literacy serves as the most basic condition in aesthetic translation activity. It lays foundation for aesthetic consciousness and without it, a translator would become color-blind even though he is in a colorful world of translation. (Liu Miqing, 1986, 21) For translators, cultural literacy is like an indispensable pair of spectacles to survey the beauty of a text. As for Ba Jin, he did possess a pair of very sophisticated glasses.

He was undoubtedly a literary master of the twentieth century, although he often said that “I was no litterateur”. (Ba Jin, 2003, 443) In 1904, he was born in a large gentry family. From his grandfather to his father, they were all government officials. With a well-educated family background, his language learning started early. At the age of five, he was already learning Essence of Classical Chinese (《古文观止》). This childhood experience equipped him with solid language capability of Chinese. From 1920 to 1922, he was a student in Chengdu Foreign Language Specialist School, where he exposed himself to as much western literature and sociological works as possible. It was in this school that Ba Jin learned English and completed his first translation work, the English edition of The Signal. In 1929, he came back from France to China. More excellent work of his came out, such as “Torrents Trilogy” (namely Family, Spring and Autumn) and “Love Trilogy” (namely Fog, Rain and Electricity).

Although his student life came to an end when he returned to China, he didn’t stop learning. Learning was something that accompanied all his life. He learned from books and learned from life. School and book were not the only source of one’s cultural literacy. Going out of campus and being in that chaotic age, he witnessed people’s suffering and he himself went through ups and downs. His understanding of life was deepened and his sympathy for the masses was aroused. The pursuit of truth, goodness and humanitarianism became life of his works.

In conclusion, knowledge acquired from books and life experience together constituted Ba Jin's cultural literacy. A good command of Chinese and English and his rich life experience enabled him to have abundant cultural literacy, which played a fundamental role in his comprehension and reproduction of the beauty in Oscar Wilde’s works.

====Ba Jin's Aesthetic Consciousness and Experience====

Before Ba Jin's aesthetic consciousness and experience are discussed, it is of necessity to clarify the definition of aesthetic consciousness and experience. In translation aesthetics, aesthetic consciousness refers to the translator’s sensitivity to beauty in the original text. It is usually got from intuition, but for a translator with a high level of cultural literacy, this sensitivity can be deepened. As for aesthetic experience, it refers to accumulated aesthetic sensation acquired from repetitive aesthetic activities. (Liu Miqing, 1986, 21)

Ba Jin's translation thoughts were scattered in the postscript, prologue or epilogue to his translation work. In this Chapter, his aesthetic consciousness and experience will be discussed based on the above sources.

Among Ba Jin's translation works, the most favored are his Russian translation works and his translation of Oscar Wilde’s fairy tales. Why did these translation works possess high quality and receive widespread popularity? In the author’s opinion, it has something to do with Ba Jin's choice of works to translate. In his epilogue to Collection of Ba Jin's Translation Works he said, “I only introduce the work I like.” In fact, one common theme of his translation of Russian works and Oscar Wilde’s fairy tales was that they both accused the capitalists of oppressing the proletariat, which was exactly what Ba Jin would like to criticize. Most people are sensitive to words, pictures, or music that could resonate with them. In this aspect, Ba Jin was no exception. He showed great sensitivity to the words that had deep sympathy for ordinary people. “In my first novel Perishing （《灭亡》）, I quoted conversations from Signal. Thirty years later, I translated it with the same excitement. I love it more than I love my own works. In it, I find my own thoughts and feelings.” (Ba Jin, 2003, 445) For Ba Jin, he was sensitive to the words in the original work as he was to his own works. Hence, he had the aesthetic consciousness he needed to translate others’ works. He was ready for them.

Most people know Ba Jin as a marvelous writer. What is less well-known is that he is also an outstanding translator. Cao Ying, a famous translator of Russian literary works, commented, “Ba Jin's translation was vivid and loyal to the original text. No one can top him in translation of Gorky’s short stories.” Gao Mang also said that Ba Jin’s language was beautiful and conveyed the lingering charm of the original text. (Wang Zhanbin, 2007, 20) In fact, the quality of Ba Jin's translation works was no inferior to his original works and the characters of the foreign works he translated amounted to over three million characters. He translated novels, fairy tales, prose writings and etc. Through a lot of translation practices, Ba Jin accumulated rich aesthetic experience, which could be found in his epilogues or prologues. One piece of aesthetic experience of his could be concluded as comprehension. “When I like an article, I always try to have a deeper understanding of it. I read it over and over again and constantly think about it. After I understand it, I want to use my words to express the writer’s ideas.” (Ba Jin, 2003, 443) One characteristic of Ba Jin's translation was his loyalty to the original work, which must benefit a lot from his effort to fully comprehend the original work. It is worth mentioning here that Ba Jin's comprehension was more than the understanding the aesthetic constituents of the TAO, he endeavored to empathize. When he translated Chekhov’s works, he said “The difficulty is to properly show the truly benevolent heart of the writer. If the translator couldn’t understand that heart and fails to show it to the reader, what’s the point of the translation?” (Ba Jin, 1991, 3) When faced with the issue of literal translation or free translation, Ba Jin held that a good translator shouldn’t be constrained by the question of choosing only one method of the two, but to consider which one could better help himself/herself to reproduce the artistic conception. Artistic conception was highly valued be Ba Jin. In his postscript to Stories on the Prairie (《草原集》), he (Ba Jin, 2003, 248) mentioned twice that “I fear that I would ruin the whole artistic conception.” From above, it could be concluded that in Ba Jin's aesthetic experience, faithfulness and artistic conception were worth much attention. The latter is exactly corresponding to the fuzzy sets of TAO in translation aesthetics.

===Chapter 3 Aesthetic Features in Ba Jin's Translation===

Chapter Two has talked about from the perspective of TAS how Ba Jin's translation fully conveyed beauty of the Oscar Wilde’s fairy tales. It made an analysis of the aesthetic conditions Ba Jin possessed. Thus, in this chapter, the author is going to look at the result of Ba Jin's translation to appreciate his transfer of beauty from Oscar Wilde’s fairy tales.

In Chapter One, it has been mentioned that whether an original text is beautiful depends on its aesthetic value. And the aesthetic value of an article was analyzed from its aesthetic constituents which covered goodness in the levels of sound, diction and tone of the text and the images and symbols in it. In this chapter, we will appreciate the beauty of Ba Jin's translation by comparing it from four aspects with Oscar Wilde’s fairy tales, which are sound, diction, imagery, and style. The beauty of sound and diction can be classified into the formal system. The beauty of imagery and style belongs to the informal system, i.e. the fuzzy sets.

====Beauty in Sound====

Oscar Wilde has a bond with music. Anyone who has read his The Happy and Prince and Other Stories would be touched by its sad and beautiful stories, which could be partly attributed to the melodious words in the book. The forceful rhythm in Wilde’s fairy tales could easily lead his readers into a pure and melancholy world created by him. After the reader finishes reading, the moving plots together with the bright beats echo in their mind.

Eg1- “Swallow, Swallow, little Swallow,” said the Prince, “far away across the city I see a young man in a garret. He is leaning over a desk covered with papers, and in a tumbler by his side there is a bunch of withered violets. His hair is brown and crisp, and his lips are red as a pomegranate, and he has large and dreamy eyes. He is trying to finish a play for the Director of the Theatre, but he is too cold to write anymore. There is no fire in the grate, and hunger has made him faint.” (Oscar Wilde, 2015, 6)

Here in the Wilde’s language, we can clearly feel what Ba Jin called “his musical tone”. In the beginning of the conversation, Wilde wrote three “swallow” as the Prince’s salutation to the swallow. The repetition slows down the speed of the language and also the thoughts of the readers. During this deceleration, he/she will put their attention to the following part. Besides, the repetition shows the gentleness of the Prince and his sincerity of request. Parallel structure was also used in this paragraph. For example, “his hair is” and “his lips are”; “he is trying to” and “but he is too cold to”. The use of parallelism adds a bright beat to the language. When Wilde was describing the appearance of the young man, he also used short paratactic sentences, which leaves the whole sentence well-proportioned and rhythmic to read. In the last sentence of this paragraph, assonance was used, for example “grate” and “faint”, which perfectly ends the conversation, depicting the plight which the young man is in.

Eg1- “燕子，燕子,小燕子，”王子说，“远远的，在城的那一边，我看见一个年轻人住在顶楼里面。他埋着头在一张堆满稿纸的书桌上写字，手边一个大玻璃杯里放着一束枯萎的紫罗兰。他的头发是棕色的，乱蓬蓬的，他的嘴唇象石榴一样地红，他还有一对朦胧的大眼睛。他在写一个戏，预备写给戏院经理送去，可是他太冷了，不能够再写一个字。炉子里没有火，他又饿得头昏眼花了。”（Ba Jin, 1981, 11）

The above paragraph was Ba Jin's version. From his translation, we can see his endeavor to imitate the beauty of sound in the original work. As for the three “swallow”, he didn’t change the repetition and just translated them directly. The same was with the short sentences and parallel structure. He didn’t change the stop of the sentence and began the description of the young man in every short sentence with a “他”. Here, you may think imitation is easy and without too much brain work. But it isn’t true. Vivid imitation requires creation, which is especially seen in somewhere seems to be untranslatable. The translation of “there is no fire in the grate, and hunger has made him faint.” to “炉子里没有火，他又饿得头昏眼花了。”is an excellent example. Ba Jin managed to maintain the beauty of sound to the largest extent. “火” , “昏” , “花” all begins with the initial consonant of the Chinese syllable “h”, which contains the same meaning of the original text and at the same time created similar musical beauty.

Here is another excerpt of musical beauty in Wilde’s fairy tales:

Eg2-Bitter, bitter was the pain, and wilder and wilder grew her song, for she sang of the Love that is perfected by Death, of the Love that dies not in the tomb. (Oscar Wilde, 2015, 16)

This sentence is taken from The Nightingale and the Rose. It depicted the melancholy and moving scene when the nightingale pressed her heart against the thorn as she was singing. Wilde here used repetition and parallelism to strengthen the musical tone of the language, which made the sentence itself sound like a song. The moving effect of the nightingale’s sacrifice was strengthened be the melody of repetition and parallelism, helping the reader feel a kind of emotional advance when reading it. Let’s look at how Ba Jin transferred the musical tone:

Eg2-她痛得越厉害，越厉害，她的歌声也唱得越激昂，越激昂，因为她唱到了由死来完成的爱，在坟墓里永远不朽的爱。（Ba Jin，2010, 25）
Wilde’s repetition in the translation was rendered as “越…越…” and the parallel structure was kept as “…的爱；…的爱”. When one is reading the translation, he/she could feel the same emotional up and down which climbs up to the summit when one reads the last “激昂” and then goes down as “因为” begins the next sentence.

From the above example, it can be seen that Ba Jin adopted the approach of imitation to convey the beauty of sound in the original text. But imitation is not easy, it requires a clever mind to create similar aesthetic effects.

====Beauty in Diction====

The language in Oscar Wilde’s fairy tale was not only delightful to the ear, but also pleasant to the eye. One will first be enchanted in his melodious rhythm and then be amazed by his choice of words. Every word is like a pearl woven in a net. No one can replace it with another word, for it will then despoil its beauty of integrality. Here is an excerpt from The Happy Prince.

Eg3-Then the snow came, and after the snow came the frost. The streets looked as if they were made of silver, they were so bright and glistening; long icicles like crystal daggers hung down from the eaves of the houses, everybody went about in furs, and the little boys wore scarlet caps and skated on the ice. (Oscar Wilde, 2015, 9)

This paragraph depicted the street scene after the little swallow gave away all the fine gold off the Prince. The snow and frost fell down. Everything became crystal. Men, women and little boys were all wrapped in warm clothes and went out to enjoy the beautiful snow scene. The sparkling natural scenery and people’s joyful activities constituted a harmonious picture of a snowy day. When describing the tranquil view, Wilde used simile to make the scenery more visually sensible, such as “looked as if” and “long icicles like crystal daggers”. The metaphorical objects he chose added vividness to the snowy view. Apart from the figure of speech he used, the adjectives in the article were also accurate and appropriate. “Bright”, “glistening” and “crystal” were very proper words to portray the sparkling snowy scene.
This picture also impressed Ba Jin and he vividly rendered it in his translation:

Eg3-“随后雪来了，严寒也到了。街道好像是银子筑成的，它们是那么亮，那么光辉；长长的冰柱象水晶的短剑似的悬挂在檐前，每个行人都穿着皮衣，小孩子们也戴上红帽子溜冰取乐。”（Ba Jin，1981, 16）

Faithfulness is one obvious characteristic in the translation of this paragraph. Ba Jin kept loyal to the figures of speech in Wilde’s stories. The forms of personification and simile didn’t take any change to maintain the original beauty to the largest extent. For example, the translation of “came” to “到了” and “来了”, and “as if” and “like” respectively to “好像是” and “ 像……似的”. Only two places were slightly different from the original work, which were the translation of preposition “in” to the verb “穿” and addition of “取乐” to modify “skating”. The first change he made was necessary, because in Chinese one would not use the collocation of a preposition plus a noun of a certain clothes to describe one’s dressing. The second change was made to emphasize the boys’ happiness hidden between lines of the original text, making it easier for young readers to perceive the contrast the writer used in the story.

One distinctive language feature of the fairy tale is that it is full of personifications. In the third example, we will see how the translation successfully transferred the vividness of the personifications in the original text.

First, we will look at the original text:

Eg4-The Snow covered up the grass with her great white cloak, and the Frost painted all the trees silver. Then they invited the North Wind to stay with them, and he came. He was wrapped in furs, and he roared all day about the garden, and blew the chimney-pots down. “This is a delightful spot,” he said, “we must ask the Hail on a visit.” So the Hail came. Every day for three hours he rattled on the roof of the castle till he broke most of the slates, and then he ran round and round the garden as fast as he could go. He was dressed in grey, and his breath was like ice. (Oscar Wilde, 2015, 9)

The following is Ba Jin's translation:

Eg4-雪用她的白色大氅盖着草，霜把所有的树枝涂成了银色。她们还请北风来同住，他果然来了。他身上裹着皮衣，整天在园子里四处叫吼，把烟囱管帽也吹倒了。他说：“这是一个适意的地方，我们一定要请雹来玩一趟。”于是雹来了。他每天总要在这府邸屋顶上闹三个钟头，把瓦片弄坏了大半才停止。然后他又在花园里绕着圈子用力跑。他穿一身的灰色衣服，他的气息就像冰一样。（Ba Jin，1981, 22）

In the original text we can see that in Wilde’s description, “Snow”, “Frost”, “North Wind” and “Hail” were all personified by endowing them with the speaking ability like human’s and several lively verb phrases, such as “roared about”, “blew down”, “rattled on”, “broke” and “ran around and around”. These verbs vividly shaped the four naughty and mischievous winter weather characters. If a translation aims to transfer the same aesthetic effect, the translator must render these verbs as lively as they were in the original text. Ba Jin did this. When one is reading his translation, he/she cannot help being amused by these winter weather characters. As for “roared about”, “blew down” and “broke”, Ba Jin directly translated their corresponding Chinese meaning to “四处叫吼”, “吹到了” and “弄坏了”, keeping the figure of speech of personification. When dealing with “rattled on” and “ran around and around …as fast as he could go”, he made some changes. “Rattled on” was translated to “闹”. “Rattle” in the original text was a description of the noises that “Hail” made. The translation of it to “闹” kept the sound of rattling and meanwhile highlight the mischief of the “Hail”. If “rattled on” is directly translated to “咔嗒咔嗒响了”, the effect of the personification will definitely weakened. Therefore, the single character of “闹” was vivid and concise. As for translation of the running of the Hail, Ba Jin changed the description of running speed in the original text to the portraying of the Hail’s running manner, which was appropriate given that it conveyed effect of the personification.

From the above analysis, the author finds that at the level of diction, Ba Jin attached importance to faithfulness, the idiomaticity of the target language and the conveyance of the same aesthetic effect.

====Beauty in Imagery====

Before we conduct analysis of the beauty in imagery in the original work and the translation, it is necessary to clarify what “imagery” is involved in this thesis. In Oxford English Dictionary, the word “imagery” has two meanings: a. language that produces pictures in minds of people reading or listening; b. pictures, photographs, etc. In this thesis, the imagery refers to the first meaning.

The tragic beauty of The Nightingale and the Rose often brings its readers to tears. Oscar Wilde, using his musical language and pearl-like words, evoked mental pictures of ethereal beauty in this fairy tale. Here is an excerpt from it.

Eg5- She sang first of the birth of love in the heart of a boy and a girl. And on the top-most spray of the Rose-tree there blossomed a marvelous rose, petal following petal, as song followed song. Pale was it, at first, as the mist that hangs over the river- pale as the feet of morning, and silver as the wings of the dawn. As the shadow of a rose in a mirror of silver, as the shadow of a rose in a water-pool, so was the rose that blossomed on the topmost spray of the Tree. (Oscar Wilde, 2015, 15)

The above excerpt was Wilde’s delicate description of the rose’s blooming with the nightingale’s song. In his description, there was direct portraying, such as “petal following petal”, which added dynamic beauty to the whole imagery. In addition, he adopted association to describe color of the rose. He associated paleness of the flower with “mist that hangs over the river” and “the feet of morning”, and its silver with “the wings of the dawn”. The mist and light of the dawn were pale-white, just as the budding rose. At the end of this paragraph, Wilde used the same technique of speech to describe the delicacy and tenderness of the blossom bathed in the moonlight. This association not only described the color and appearance of the rose, but also enlarged the version and cloaked the whole scene with a kind of ethereal beauty.

The following excerpt shows how Ba Jin reproduced the beautiful imagery:

Eg5- 她起初唱着一对小儿女心里的爱情。在蔷薇树的最高枝上开出了一朵奇异的蔷薇，歌一首一首地唱下去，花瓣也跟着一片一片地开放了。花起初是浅白的，就像罩在河上的雾，浅白色像晨光的脚，银白色像黎明的翅膀。最高枝上开花的那朵蔷薇，就像一朵在银镜中映出的蔷薇花影，就像一朵在水池中映出的蔷薇花影。（Ba Jin，2010, 25）

“Rose”, “petal”, “mist”, “shadow”, “mirror of silver” and “water pool” were all visualized in his mind. The images appeared one by one before his eyes when he was reading the original work, and mixed together as a whole in his mind. After fully comprehended beauty of the imagery, he used his own words to reproduce the imagery. He used reduplicative words “一首一首” and “一片一片” to depict the continuous melodious singing and the slow blooming of the rose. Through the context and visualization, he knew that morning cannot be simply translated to “早晨”, since the adoption of association was to depict the color of the petal. “晨光” would be an appropriate choice, because only “光(light)” could have a specific color. But “黎明” is different from “早晨” given that the word itself emphasizes the light of daybreak when the sun rises above the horizon. Therefore, he didn’t make any change to it. As for other images that could be directly translated without confusing the reader, Ba Jin translate them according to the original text.

From the above analysis, the author finds that the image conveyed by Ba Jin was a harmonious whole. The beauty of image in the original text was reproduced vividly in Ba Jin's words. It could be speculated that when rendering the image of beauty in translation, Ba Jin used visualization to revive the image in the original text. And at the same time, he tried to comprehend the emotions in the original text. The combination of pictures and emotions aroused his aesthetic feeling and then he transferred it with his own words in the translation. This kind of empathy is very important in translation aesthetics when a translator attempted to reproduce the beauty of image. In fact, the speculation of Ba Jin's psychological activities when he was doing translation could be partly verified though the epilogue to his 1947 edition fairy tales. “Here I woke up very early in the morning, and I would take a walk along the road. I would go to the foot of the mountain near the field to listen to the singing of the birds. After the walk, I came back to the room in the hotel. The sunlight was so bright so I didn’t want to let it go and do nothing. I sat before the window and translated one of Wilde’s fairy tales entitled The Selfish Giant.” Ba Jin realized the importance of empathy, and his vivid translation of The Selfish Giant also proved the magic of empathy in aesthetic representation. In order to reproduce the beauty of the original text, Ba Jin would put himself in a similar situation with the scene in the original text. Though it is not always feasible or necessary to put oneself in a situation that is physically identical with the scene in a text, Ba Jin's endeavor and his successful translation told us the importance of empathy in transferring the beauty of imagery in an original text.

====Beauty in Style====

Oscar Wilde, as one of the leading figures of the Aesthetic Movement, held that “Art for art’s sake”. In his fairy tales, every word and sentence exhibited his pursuit of aestheticism. His words were ornate and of musical tone. His narration was rather quiet and objective. But for some reason, readers would feel a dull pain in the heart when reading these stories.

Here are three excerpts from Oscar’s fairy tales, which depicted the good-hearted characters’ scene of death.

Eg6- “What a strange thing!” said the overseer of the workmen at the foundry. “This broken lead heart will not melt in the furnace. We must throw it away.” So they threw it on a dust-heap where the dead Swallow was also lying. (Oscar Wilde, 2015, 10)

Eg7- “Look, look!” cried the Tree, “the rose is finished now”, but the Nightingale made no answer, for she was lying dead in the long grass, with the thorn in her heart. (Oscar Wilde, 2015, 16)

Eg6- “What a strange thing!” said the overseer of the workmen at the foundry. “This broken lead heart will not melt in the furnace. We must throw it away.” So they threw it on a dust-heap where the dead Swallow was also lying. (Oscar Wilde, 2015, 10)

Eg7- “Look, look!” cried the Tree, “the rose is finished now”, but the Nightingale made no answer, for she was lying dead in the long grass, with the thorn in her heart. (Oscar Wilde, 2015, 16)--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 14:30, 19 December 2020 (UTC)Zou Xinyu

Eg8- “…and there poor little Hans was drowned. His body was found the next day by some goatherds, floating in a great pool of water…” (Oscar Wilde, 2015, 34)

The four dead characters in the above excerpts were all very good-hearted ones who sacrificed their life for love. But when Wilde’s was depicting their death, his words were very simple and objective, without mixing his own feelings. This unemotional narration was very common in his fairy tales. But the more indifferent his tone was, the more shock and sadness he brought to people. How did Ba Jin transfer this style of narration to the readers? Let’s have a look of his translation.

Eg6- “真是一件古怪的事，”铸造厂的监工说。“这块破裂的铅心在炉里熔化不了。我们一定得把它扔掉。”他们便把它扔在一个垃圾堆上，那只死燕子也躺在那里。（Ba Jin, 2010, 17）

Eg7- “看啊，看啊！”树叫起来，“现在蔷薇完成了。”可是夜莺并不回答，因为她已经死在长得高高的青草丛中了，心上还带着那根蔷薇刺。（Ba Jin, 2010, 26）

Eg8- “……可怜的小汉斯就淹死在这儿了。第二天他的尸首被几个牧羊人找到了，正浮在一个大池塘的水面上……”（Ba Jin,2010, 48）

From the above translation it can be found that Ba Jin didn’t add his own feelings in the translation just because he felt sympathetic for these characters or because he sensed the writer’s implied sorrow and therefore presumptuously thought that this sorrow should be explicitly expressed in the text. He fully comprehended the original text, from the word, rhythm to the writer’s feelings. His conveyance of beauty of the style in the original text was established on his understanding of the whole text. Thus, his translation was accurate, natural and smooth, reproducing the same style without trace of translation. When one is reading his translation, he/she could enjoy the same aesthetic beauty of the original text. The following is an example of his transfer of Oscar Wilde’s irony in The devoted friend.

Eg9- “‘There is no good in my going to see little Hans as long as the snow lasts’, the Miller used to say to his wife, ‘for when people are in trouble they should be left alone, and not be bothered by visitors. That at least is my idea about friendship, and I am sure I am right. So I shall wait till the spring comes, and then I shall pay him a visit, and he will be able to give me a large basket of primroses and that will make him so happy.” (Oscar Wilde, 2015, 25)

Eg9- “磨面师常常对他妻子说：‘雪花没有化的时候，我去看看小汉斯，是没有好处的，因为人在困难的时候，应该让他安静，不应当有客人去打扰他。这至少是我对于友谊的看法，我相信我是对的。所以我要等到春天来，才去探望他，那时他便可以送我一大篮樱草，这会使他非常高兴。’”（Ba Jin, 2010, 38）

The Miller in The Devoted Friend was a greedy, selfish and shameless figure. He always asked poor little Hans for a favor as a return for his generous present, a broken wheelbarrow, which he didn’t give to Hans even when Hans was dead. Even though he was rich, he always tried to extort some benefit from Hans. He was one of those who only ask but never give. The above excerpt was Wilde’s satirical description of the Miller’s noble idea of friendship. The words and sentences “should be”, “at least”, and “I am sure I am right” in the original text vividly showed the Miller’s arrogant tone. In Ba Jin's translation, they were translated as “应该”, “至少”, and “我相信我是对的”, which was in accordance with the original text. In the original text, the Miller seemed to be a very considerate friend since whatever he would do, he always put others before himself. He didn’t visit Hans in a snowy day because one should be left alone when he was in trouble, not because he himself feared the biting cold on the way to visit. His extortion of “a large basket of primroses” was because it would make Hans happy, not because he himself coveted the beautiful flowers. This kind of satire in Wilde’s writing was fully reproduced in Ba Jin's translation. The words “他便可以” told the readers what a privilege little Hans would have when the Miller visited him in spring. He would save the trouble of going all the way to the Miller’s home and how happy he would be when he gave the present to the Miller.

It can be seen from the above analysis that Ba Jin highly respected the original writer’s writing style. In fact, when it comes to translation of style, he said, “Translation should firstly be loyal to the original work. The style of translation should be based upon that of the original work. The tone and lingering charm should be remained as much as possible so as to reproduce the original style.” It is his translation attitude of faithfulness, fully comprehension of the whole text and his own natural and smooth expression that lead the readers back to Oscar Wilde’s fairy tales to appreciate the beauty of style in the original work.

===Conclusion===

Oscar Wilde had an erudite way with words and is often quoted to this day. His collection of short stories is imbued with a timeless quality. The tales possess such romantic charm and moral charge that they read like traditional fables crafted and refined by generations of storytellers over one hundred of years.

It was Ba Jin who brought those wonderful stories to Chinese readers at large. In his translation, readers could feel the same aesthetic effect. As a literary giant in China, Ba Jin created dozens of marvelous novels and translation works. Learning and practice helped him accumulate rich aesthetic experience and deepened his aesthetic consciousness. The sufficient aesthetic conditions laid solid foundation for his transfer of beauty in Oscar Wilde’s fairy tales.

On sound level, he mainly used imitation to convey beauty in the original work. Repetition, parallelism and assonance in the original text largely remained in his translation. But his imitation was not rigid. It was a kind of creative imitation in order to better reproduce the sound beauty in the original work.

On diction level, he thought highly of faithfulness and the idiomaticity of the target language. He tried to choose the most appropriate and vivid word in Chinese to translate the word in the original text so as to being faithful to the aesthetic effect in the original text.

On image level, he used visualization and empathy to reproduce the beauty in the original text.

On style level, he stressed the importance of faithfulness and endeavored to maintain the tone and lingering charm as much as possible to reproduce the style of the original work.

Therefore, Ba Jin's translation of Oscar Wilde’s fairy tales is natural, smooth and beautiful, leading the readers back to the wonderful world Wilde created. One obvious feature of Ba Jin's translation is that he put an emphasis on faithfulness. But his faithfulness transcended only being faithful to the logical information in the original text, being loyal to the aesthetic information was also incorporated in his faithfulness to the original text. This provides us with much enlightenment on translating a literary work. Thanks to Oscar Wilde, it was him who presented us with such beautiful fairy tales. And thanks to Ba Jin, it was him that reproduced the beauty of the original work.

===References===

[1] Bloom, H edit. (2011). Bloom’s Modern Critical Views: Oscar Wilde—New Edition. New York: Infobase Publishing.

[2] Jiang, Q X. (2002). Aesthetic Progression in Literary Translation: Image-G Actualization. Beijing: The Commercial Press.

[3] Wilde, O. (2015). The Happy Prince and Other Stories. London: HaperCollinsPublishers.

in 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: Huadong Normal University 华东师范大学.

[4] Ba Jin 巴金译, Oscar Wilde 王尔德著. (1981). 快乐王子 [The Happy Prince and Other Stories]. Shanghai上海：Juvenile & Children's Publishing House 少年儿童出版社

[5] Ba Jin 巴金. (2003). 巴金译文选集 [Collection of Ba Jin's Translation Works]. Beijing 北京: SDX Joint Publishing Company 生活·读书·新知三联书店

[6] Ba Jin 巴金译, Oscar Wilde 王尔德著. (2010). 快乐王子 [The Happy Prince and Other Stories]. Shanghai 上海: Shanghai Translation Publishing House上海译文出版社

[7] Fang Mengzhi 方梦之. (2004). 译学辞典 [A Dictionary of Translation Studies]. Shanghai 上海: Shanghai Foreing Languages Education Press上海外语教育出版社

[8] Liu Miqing 刘宓庆. (1986).翻译美学概述 [A Survey of Translation Aesthetics].外国语(上海外国语学报) Journal of Foreign Languages, (02):48-53.

[9] Liu Miqing 刘宓庆. (1986). 翻译美学基本理论构想 [A Basic Theoretical Supposition of Translation Aesthetics].中国翻译 Chinese Translators Journal, (04):19-24.

[10] Liu Miqing 刘宓庆. (2005). 翻译美学导论 [An Introduction to Translation Aesthetics]. Bei Jing 北京: 中国对外翻译出版公司China Translation & Publishing Corporation

[11] Lin Lin 林琳. (2007). 从美学视角看巴金译《快乐王子及其他故事》[An Aesthetic Perspective of Ba Jin's Translation of The Happy Prince and Other Stories]. Shanghai International Studies University 上海外国语大学.

[12] Liu Xiaoyin 刘孝银. (2012). 从翻译美学析巴金译王尔德童话 [Translation Aesthetics Study on Ba Jin's Translation of Oscar Wilde's Fairy Tales]. Shanxi Normal University 山西师范大学.

[13] Mao Ronggui毛荣贵. (2005). 翻译美学 [Translation Aesthetics]. Shanghai上海: Shanghai Jiao Tong University Press上海交通大学出版社

[14] Wang Zhanbin 王占斌. (2007).巴金翻译思想探析 [An Exploration and Analysis of Ba Jin's Translation Theories].English Studies英语研究, 5(03):19-22.

[15] Wu Jinhua 吴金华. (1999). 试析奥斯卡·王尔德作品的语言特色 [An Analysis of Linguistic Features of Oscar Wilde's works].Journal of Ningxia University(Philosophy and Social Sciences)宁夏大学学报(哲学社会科学版), (02):107-109+128.

[16] Xiang Hongquan 向洪全. (2016). 翻译家巴金研究 [An Research on the Translator Ba Jin]. Shanghai 上海：Fudan University Press 复旦大学出版社.

[17] Yang Liqiu 杨立秋. (2016). 巴金翻译美学特征探析 [On Ba Jin's Aesthetic Features in Translation: A Case Study of The Fairy Tales of Oscar Wilde].Beijing Foreign Studies University 北京外国语大学.

20201215 cultexam 3

2020-12-21T13:22:55Z

Yang Hairong: /* B. Nature and Humanities */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please 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.
*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: Huadong 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.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Historical Figures, The Four Talented Women of Ancient China- Shi Haiyao 石海瑶 202070080605 英语笔译==
The Four Talented Women of Ancient China
(中国古代四大才女)

===Cai Wenji 蔡文姬===

Cai Wenji, also known as Cai Yan, was a female writer in the Eastern Han Dynasty. As the daughter of the great writer Cai Yong, Cai Wenji had received good education since childhood and got high attainments in terms of calligraphy, music and literature. Although her works are not in plenty, she is recognized as a talented woman in the late Eastern Han Dynasty.Her father, Cai Yong, was a master of calligraphy, and wenji passed it on from her father. Unfortunately, only one piece of calligraphy written by Wenji has been kept so far, and it only has 14 characters, which is a great loss in the history of Chinese calligraphy.(Wu Chanshen,2011,45)

About Wenji’s gift in Guqin, Fan Ye described her in ''The History of the Later Han Dynasty'' as "knowledgeable, talented , and excellent in melody." ''The Three Character Classic'' directly mentioned: "Cai Wenji is adept in distinguishing the sound of different qin." It is said that ''Eighteen Songs of a Nomad Flute Song'' was written by her. This famous Chinese guqin song is one of the ten famous ancient Chinese songs. " ''Eighteen Songs of a Nomad Flute Song'' " includes 18 chapters and 1,297 words in total, reflecting the theme of "Wenji returns to Han".''Eighteen Songs of a Nomad Flute Song'' tells the story of Cai Wenji's sufferings in her whole life in a touching tone. It reflects the deep disaster brought by the war, and expresses the strong feeling of missing the motherland and the countryside and of the unbearable family separation. (Wu Chanshen,2011,48)

After Cai Wenji returned to the Han Dynasty, she wrote two ''Indignant Poems'', one of which was five-character verse and another was Sao Style. The poem of five-character verse, which focuses on "sadness and disharmony", is a narrative poem based on feelings and facts, it is the first autobiographical narrative poem in the history of Chinese poetry. ''Indignant Poems'' with Sao style emphasizes on expressing emotions, descriptions of diversified natural landscapes express Wenji's sadness of leaving her hometown.In these depiction of scenery and people, Wenji has enlarged the difference between them and her hometown, so as to describe her grief and anger.(Wu Chanshen,2011,84)

Her life, immersed in the chaotic life, suffering all the trick of fates. She never gave in, even when the chaos caused by war crushed her dignity and pride. Her life force like a weed , and it is this tenacity that makes her become a miracle in troubled times.

===Zhuo Wenjun 卓文君===
Zhuo Wenjun was born beautiful, gifted and clever as well as adept at poetry and lyrics. The talented but poor Sima Xiangru and Zhuo Wenjun fell in love at first sight. Wenjun broke through the secular concept, regardless of family's obstruction, leaving behind the life of luxury and pursuing love resolutely.

With the support of Zhuo Wenjun, Sima Xiangru was able to make his way to the top, but he shifted his love to another person and had the intention of taking a concubine.In ancient China,a husband can legally marry many wife.Instead of being submissive like a cowardly woman, or being hurt and losing her mind, she wrote poetry to warn her husband and to redeem his love. Her Poem of ''Discontent and Letter of Farewell'' persuaded her husband to change his mind. After reading, her husband retrieved his original intention. Zhuo Wenjun's bold pursuit of love was a deviant act in feudal society(Lin Jing,2016:41).

In addition, Zhuo Wenjun's experience set an example of free love for later generations. Her poem of ''Bai Tou Yin'' is called a classic of love poetry.

The following is the original poem:

白头吟

皑如山上雪, 皎如云间月。

闻君有两意, 故来相决绝。

今日斗酒会, 明旦沟水头;

躞蹀御沟上, 沟水东西流。

愿得一心人，白头不相离。

竹竿何袅袅，鱼尾何簁簁。

男儿重意气，何用钱刀为？

The translated version by Xu Yuanchong is as follows:

Bai Tou Yin

Our love like snow on mountains proud,

Was bright like the moonmid the cloud.

I’m told you’ll leave the old for new;

I come to say goodbye to you.

We drink a cup of wine today;

Tomorrow we’ll go each our way.

By royal moat we’ll walk and go,

Like waters which east or west flow.

Why should I fell so sad and drear,

And like a bride shed tear on tear?

If I’d wed one with single heart,

Even white-haired, we would not part.

Long,long may be your fishing lines,

You cannot catch fishtail while shines.

If your love were constant and true,

Why so much money to go through? (Xu Yuanchong,2012:17)

===Li Qingzhao 李清照===
Li Qingzhao, also known as Yi An Jushi, was a female lyricist in Song dynasty as well as representative of graceful and restrained song lyrics. She was considered "the first talented woman through the ages". Her father, Li Gefei collected numerous books, which laid her literary foundation when she was young. After marrying, she and her husband, Zhao Mingcheng, devoted to collecting and arranging calligraphy, painting, gold and stones. When the Jin soldiers entered the Central Plains, she fled to the south with loneliness. In the early part of his works, she mostly wrote about his leisurely life, but in the later part, she mostly lamented his life and became sentimental. ''Yi An Jushi Anthology'' and ''Yi An Lyrics'' have been idle, thus, later people compile her text into ''Shuyu Lyrics''. Her lyrics emphasize the concordance, advocating elegance, opposed to the method of making words for poetry. Her poem, not many of which have survived, is partly sentimental, and partly generous, but different from the style of its lyrics.(Song Shidao,2011,18）

As a female writer in the history of ancient Chinese literature, Li Qingzhao's patriotic thought embodied in his works has positive social significance. From the historical perspective, Li Qingzhao's patriotic thought represents the ancient Chinese women's pursuit of equality between men and women, concern for state affairs and love for the motherland, so that later generations can get to know the emotional world of ancient Chinese women. From a realistic perspective, Li Qingzhao's patriotic thoughts can make people feel the important role of women in national unity and social progress.

===Ban Zhao 班昭===
Ban Zhao is a brilliant woman of great learning and virtue,she is a historian, a writer and a politician.Ban Zhao's achievements are highlighted in her research in history, continuing to complete the compilation of the Book of Han after the death of his father, Ban Biao, and his brother, Ban Gu.''The Book of Han'' is a historical masterpiece,enjoying a high reputation of the first chronicle of China's dynastic history(Jin Lulu,2009:122).

Ban Zhao came from a Confucian family, and his father, Ban Biao, was a well-known scholar at that time. Influenced by his father, Ban Zhao was very knowledgeable and talented.At the age of fourteen, Ban Zhao married Cao Shishu. After her husband died in his early years, Ban Zhaog obeyed the rules of women, behaved in with etiquette, and had very good conduct. Compared with Zhuo Wenjun, Ban Zhao's view of love is full of bondage without personal freedom(Jin Lulu,2009:105).

In her later years, Ban Zhao suffered from illness. When her daughters were just about to get married, Ban Zhao was worried that they would humiliate the clansman if they did not know women's etiquette. so she composed seven chapters of ''The Commandments for Women'' in her spare time,which,then, spread widely among the people.The concepts advocated by Ban Zhao in the book became the code of conduct for ancient Chinese women.This book confined women's thoughts and freedoms, but it also served as a guide for women's behavior at the time.

===Terms and Expressions===
Cai Wenj 蔡文姬

Cai Yong 蔡邕

Fan Ye 范晔

''The History of the Later Han Dynasty'' 《后汉书》

''Three Character Classic'' 《三字经》

''Eighteen Songs of a Nomad Flute Song'' 《胡笳十八拍》

''Indignant Poems'' 《悲愤诗》

''five-character verse'' 五言体

Sao style 骚体

autobiographical narrative poem 自传体长篇叙事诗

Li Qingzhao 李清照

''Yi An Jushi Anthology''《易安居士文集》

''Yi An Lyrics''《易安词》

''Shuyu Lyrics''《漱玉词》

Zhuo Wenjun 卓文君

''Poem of Discontent''《怨郎诗》

''Letter of Farewell''《诀别书》

''Bai Tou Yin'' 《白头吟》

''The Book of Han'' 《汉书》

''The Commandments for Women''《女诫》

===References===
[1]金璐璐.班昭及其著述研究[D].首都师范大学.2009

[2]林菁.最是人间留不住[M].北京：民主与建设出版社,2016

[3]宋师道.四大才女之李清照传[M].北京：中国华侨出版社,2011

[4]武昌盛.四大才女之蔡文姬传[M].北京：中国华侨出版社,2011

[5]许渊冲.许渊冲经典英译汉魏六朝诗[M].北京：海豚出版社,2017:17

[6]赵明哲.四大才女之卓文君传[M].北京：中国华侨出版社,2011

===Questions===
1. Who are the four talented women of ancient China?

2. Do you know any representative works written by Cai Wenji?

3. Who is Zhuo Wenjun's husband?

4. What did ZhuoWenjun do to save her marriage?

5. Who is considered "the first talented woman through the ages"?

6. Who is the writer of ''The Commandments for Women''?

7. What are the influences about ''The Commandments for Women''?

===Answers===
1. They are Cai Wenji, Zhuo Wenjun, Li Qingzhao and BanZhao.

2. ''Eighteen Songs of a Nomad Flute Song'' and ''Indignant Poems'' .

3. Sima Xiangru.

4. She wrote ''Poem of Discontent'' and ''Letter of Farewell'' to save her marriage.

5. Li Qigzhao.

6. Ban Zhao.

7. This book confined women's thoughts and freedoms, but it also served as a guide for women's behavior at the time.

==Habits, Ways of Contacting - Si Yu 司妤 Student No.202070080606 MTI笔译==

Ancient and Contemporary Ways of Contacting--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 13:27, 22 November 2020 (UTC)

===Ancient and Contemporary Ways of Contacting===

====1.Pigeon post====
Pigeon post is a method of communication among ancient people, where letters are tied to the feet of pigeons and delivered to the person who wants to deliver them. In movies, we see people in western countries using crows to deliver letters, but in China, crows are seen as an inauspicious symbol, so people used to use pigeons to deliver letters. Pigeons can fly and fly faster, can recognize directions, have a good sense of the earth's magnetic field, and are particularly home-loving, so they are used to improve the speed of delivering mail.

In order to get the ideal pigeon, besides careful selection of good breed and scientific feeding management, the most important thing is training. All three complement each other and are indispensable. The basic principle of training is based on the biological characteristics and physiological features of pigeons and the principle of "conditioned reflex".

The fundamental purpose of training is to cultivate, exercise and improve the quality of pigeons, to bring into play their inherent biological characteristics and specialties, so that they have the basic elements and conditions to complete various communication and competition tasks. The basic content of training includes: basic training, flight training, competition training, adaptation training and application training. In principle, the training should start from young pigeons, from simple to complicated, from near to far, from day to night, from basic training to professional training, in short, from easy to difficult.(Baidu Encyclopedia 百度百科：Pigeon Post,飞鸽传书）

Historically, Genghis Khan used pigeon posts to keep in touch with distant parts of his empire, and even in ancient Greece, carrier pigeons were used to announce major events, such as the Olympic Games! In the 12th century, a fairly extensive network of homing pigeons was established between Syria and Baghdad. One of the last active carrier pigeon posts was in India, but the carrier pigeon was officially retired in 2002. During the war years, carrier pigeons also played a role that could not be ignored. They were able to cross enemy lines more easily than men on horseback. This earned them the name "war pigeon". People continued to use carrier pigeons to deliver letters even up to the time of World War II.
(scienceabc 19 Oct2019)

====2.Paper Letters====

The letter is a kind of application document that transmits information and exchanges thoughts and feelings to a specific object. “Letter" in the ancient text with the meaning of audio, news, in addition, "Letter" also has a trustworthy meaning of the words transmitted by the trustee, whether it is a message sent to a person, or through the letter carrier by letter to the specific object of language and writing to convey information and exchange of ideas and feelings of the letter, there must be three elements: one is the ability to express their thoughts and feelings; two is to have the appropriate writing tools; three is someone to deliver.

Written letters to relatives and friends, not only can convey their thoughts and feelings, but also can give the recipient of the letter a feeling of intimacy; technology continues to progress, and the emergence of the telephone, telegraph, postal tape, video tape, e-mail and other means of exchange of information, it can be expected e-mail will be used by more and more people, which has actually been proven.

With the development of society, the relationship between people and society is also being reconstructed. In addition to the traditional use of correspondence, i.e., official letters and private letters, a new development is the use of personal letters to government agencies, enterprises and institutions, famous scholars, and other individuals for personal needs, and the use of this type of correspondence is gradually increasing and noteworthy. We call them personal correspondence.(Baidu Encyclopedia 百度百科：Written Letters,手写信件）

====3.E-mails====

E-mail is a way of communication that provides information exchange by electronic means and is the most widely used service of the Internet. Through the network's e-mail system, users can contact network users in any corner of the world at a very low price (no matter where they send it, they only have to pay for the network fee) and in a very fast way (it can be sent to any specified destination in the world within a few seconds).

E-mail can be in many forms such as text, images, sound, etc. At the same time, users can get a large number of free news and feature emails and easily achieve information search. The existence of e-mail greatly facilitates communication and exchange between people and promotes the development of society.

However, there are many drawbacks in using e-mail. For example, there is a risk of information being stolen and there is a lot of spam on the network. To address these two problems, the following solutions are available. Firstly, from the perspective of network security of the website itself, using hardware firewall devices is definitely the best solution. Second, a full-time network administrator should be assigned to regularly maintain the website. Thirdly, when applying for mailbox, choose a more protective username, such as a combination of English and numbers, which can be less harassed by spam. Fourth, avoid disclosing your email address. Fifth, use good mail management and screening function. outlook express, foxmail and qqmail all have good mail management function, users can screen mails by setting rules of mail domain, mail subject, source, length and so on.

The format of an e-mail address consists of three parts. The first part "USER" represents the account number of user mailbox, which must be unique for the same mail receiving server; the second part "@" is the separator; the third part is the domain name of mail receiving server of user mailbox, to mark its location.

According to Internet Week, the world's first email was a short message sent by computer scientist Professor Leonard K. to his colleagues (in October 1969, I believe), which consisted of only two letters: "LO". Professor Leonard K. explained, "Back then I was trying to communicate with a computer at the University of California and another computer at the Stanford Research Center near San Francisco. What we were doing was logging in from one computer to the other. The way to log in at that time was to type L-O-G. So we typed L and asked, 'Do you get L?' The other side replied, 'Yes.' Before we received a confirmation that the other party had received G, the system went down. So the first online message was 'LO', which means 'Hello!'"

The first e-mail from China on September 20, 1987 was sent by Werner Zorn, the "Father of the German Internet," and Wang Yunfeng at the Institute of Applied Computer Technology in Beijing to the University of Karlsruhe in Germany, in English.
Original text: Across the Great Wall we can reach every corner in the world.

It means “跨越长城，走向世界。” This is the first email sent from China to the Global Science Network through the network connection between Beijing and the University of Karlsruhe in Germany.(Baidu Encyclopedia 百度百科：E-mail 电子邮件）

===References===
1.Baidu Encyclopedia 百度百科：Pigeon Post,飞鸽传书 https://baike.baidu.com/item/%E9%A3%9E%E9%B8%BD%E4%BC%A0%E4%B9%A6/7009129?fr=aladdin

2.Baidu Encyclopedia 百度百科：Written Letters,手写信件 https://baike.baidu.com/item/%E4%B9%A6%E4%BF%A1/1095625?fr=aladdin

3.Baidu Encyclopedia 百度百科：E-mail 电子邮件 https://baike.baidu.com/item/%E7%94%B5%E5%AD%90%E9%82%AE%E4%BB%B6/111106?fr=aladdin

4.scienceabc.How Did the Pigeon Post Work?. https://www.scienceabc.com/19 Oct2019.

===Terms and Expressions===

条件反射conditioned reflex

成吉思汗 Genghis Khan

信鸽驿站pigeon post station

战鸽war pigeon

分隔符separator

服务器域名domain name

互联网周刊Internet Week

===Questions===

1.What part of pigeon is the letter tied to when you want to send a letter?

2.What animals do the western countries use to send letters in spite of pigeons?

3.Why pigeons can be used to send letters?

4.What are the three elements in writing and sending letters?

5.When did the world's first emails appear?

6.How to translate China’s first e-mail “Across the Great Wall we can reach every corner in the world.”

===Answers===

1.Letters are tied to the feet of pigeons.

2.Ravens.

3.Pigeons can fly and fly faster, can recognize directions, have a good sense of the earth's magnetic field,
and are particularly home-loving, so they are used to improve the speed of delivering mail.

4.One is the ability to express their thoughts and feelings; two is to have the appropriate writing tools; three is someone to deliver.

5.October 1969

6.跨越长城，连接世界

==Landscape, Five Famous Mountains - Tan Yuanyuan 谭媛媛 202070080642 MTI==

Wuyue (五岳) is the general name of the five famous mountains in Chinese Han culture and is the product of the combination of ancient folk mountain god reverence, the concept of the Five Elements and imperial excursions and meditation in ancient times.
The “Five Sacred Mountains” (or Wuyue – 五岳), also referred to as the Five Great Mountains, began with Emperor Wu of the Han Dynasty (157 BC – 87 BC). “Yue” in Wuyue means high mountains. During the Wei, Jin and Southern and Northern Dynasties, Buddhism and Taoism began to build temples and carry out religious activities on the Five Sacred Mountains.
Emperors of ancient China would perform excursions to the mountain peaks and offer non-human sacrifices on a regular basis. This tradition became a ritual of the state according to Confucianism and was one of the must-do activities upon becoming emperor. This tradition continued right up until the fall of the last dynasty in 1911.
While the Five Great mountains are not denoted as sacred mountains of either Buddhism or Taoism, they do have a strong Taoist presence and many Buddhist temples.
The Five Great Mountains remain places of pilgrimage to this day with many young people having the goal of climbing all five and retracing the footsteps of the ancient emperors during Imperial China. The mountains are popular tourist attractions and are well developed featuring good tourist and transport services and several are national AAAAA rated scenic sites.(Anastasiia Ilina,2017)

===Mount Tai (泰山) – Wuyue East Great Mountain===
Province: Shandong | Height: 1,533 metres (5,030 ft)
Mount Tai, or Taishan, is a mountain of historical and cultural significance located north of the city of Tai’an, in Shandong province, China. Mount Tai has been a place of worship for at least 3,000 years and is a National AAAAA level tourist attraction.
Mount Tai has been worshipped since the time of Shang culture, roughly 3,000 years ago. Emperors of China would come to this mountain to meditate and offer sacrifices, similar to writers and artists who for centuries have visited Mount Tai for inspiration. Given its long-running history of worship, the mountain has been preserved with little alteration. It is also considered one of the most climbed mountains in China. The hike is not an easy one and may take most of the day to reach the top.(Rodney,2019)

Province: Shandong | Height: 1,533 metres (5,030 ft)
Mount Tai, or Taishan, is a mountain of historical and cultural significance located north of the city of Tai’an, in Shandong province, China. Mount Tai has been a place of worship for at least 3,000 years and is a National AAAAA level tourist attraction.
Mount Tai has been worshipped since the time of Shang culture, roughly 3,000 years ago. Emperors of China would come to this mountain to meditate and offer sacrifices, similar to writers and artists who for centuries have visited Mount Tai for inspiration. Given its long-running history of worship, the mountain has been preserved with little alteration. It is also considered one of the most climbed mountains in China. The hike is not an easy one and may take most of the day to reach the top.(Rodney,2019)

===Mount Heng (Hunan) (衡山) – Wuye South Great Mountain===
Province: Hunan | Height: 1,300 metres (4,265 ft)
Hengshan, is a mountain in southcentral China’s Hunan Province known as the southern mountain of the Five Great Mountains of China. Heng Shan is a mountain range 150 kilometres (93 mi) long with 72 peaks. The Huiyan Peak is the south end of the peaks, Yuelu Mountain in Changsha City is the north end, and the Zhurong Peak is the highest at 1,300 metres (4,300 ft) above sea level. At the foot of the mountain stands the largest temple in southern China, the Grand Temple of Mount Heng (Nanyue Damiao), which is the largest group of ancient buildings in Hunan Province.
Mount Heng in the south has a total of 72 peaks all of which are covered in trees, some of which are centuries-old. It is a beautiful spot to hike in the summer to admire the blooming greenery. Among the mountain peaks, a number of Buddhist temples are scattered. Of note is the Grand Temple of Mount Heng located at the foot of the mountain. The temple has survived many dynasties, with the earliest records of its existence dating back to the 8th century AD. Although the temple was severely damaged during the Cultural Revolution, it retains its religious significance to many believers.(Anastasiia Ilina,2017)

===Mount Hua (华山) – Wuyue West Great Mountain===
Province: Shaanxi | Height: 2,160 metres (7,087 ft)
Mount Hua, or Huashan, is located near the city of Huayin in Shaanxi province, about 120 kilometres (75 mi) east of Xi’an. It is the western mountain of the Five Great Mountains of China, and has a long history of religious significance. It is a National AAAAA level scenic spot featuring skywalk, temples, stone formations, caves, waterfall etc.Mount Hua is a popular destination for those staying in the ancient capital of Xi’an. The mountain complex consists of five major peaks, all of which are accessible for hiking. Nevertheless, a number of narrow paths and rugged steps make it a challenging climb, and at the south peak, the narrow plank walk running along the side of the mountain will challenge anybody’s relationship with heights. While walking along two narrow planks (attached with a harness to the edge of the mountain), you can move along the mountain. The trick is that it’s not a one-way path, and your balance will be tested when handling traffic coming from the other direction.(Rodney,2019)

===Mount Heng (Shanxi) (恒山) – Wuyue North Great Mountain===
Province: Shanxi | Height: 2,017 metres (6,617 ft)
Mount Heng, or Hengshan, is located in north-central China’s Shanxi Province, known as the northern mountain of the Five Great Mountains of China. Heng Shan in Shanxi Province is sometimes known as the Northern Heng Shan, and the one in Hunan Province as Southern Heng Shan. Both mountains have the same pronunciation in Chinese, and the Southern Heng Shan is also one of the Five Sacred Mountains.
Similar to many other revered mountains in China, Mount Heng holds meaning for the followers of the Taoist faith. The mountain may not be as popular as the other four, given its northern location, but that can be seen as advantage for a hiker seeking peace and isolation. Located at the foot of the mountain is the Hanging Monastery (Xuankong Si) running along the side of the mountain. The wooden structure is supported by dozens of wooden pillars, and despite its feeble appearance welcomes many visitors every year.(Rodney,2019)

===Mount Song (嵩山) – Wuyue Center Great Mountain===
Province: Henan | Height: 1,500 metres (4,921 ft)
Mount Song, or Songshan, is a mountain in central China’s Henan Province, along the southern bank of the Yellow River, that is known as the central mountain of the Five Great Mountains of China. It is a National AAAAA level tourist attraction and world heritage listed site. It is noted for its rich cultural heritage as the birthplace of Zen, the Taoist holy land, and the origin of kung fu.
One of China’s central mountains, Mount Song is located on the bank of the Yellow River, close to the ancient capital of Luoyang. Mount Song is best known as the location of the Shaolin Temple, the birthplace of Chan Buddhism, and thus retains religious significance to followers of both Buddhism and Taoism. The Shaolin Temple attracts curious visitors who want to observe the practitioners of martial arts demonstrating superb strength and coordination. The area around the mountain peaks has a number of other Taoist and Buddhist monasteries.(Anastasiia Ilina,2017)

===References===
Anastasiia Ilina. The Five Great Mountains of China. https://theculturetrip.com/asia/china/articles/the-five-great-mountains-of-china/.2017

Rodney. The Five Great Mountains of China (Wuyue 五岳). https://welcometochina.com.au/.2019

===Terms and Expressions===

Taoism 道教

cultural revolution 文化大革命

plank 厚木板

Hanging Monastery 悬空寺

Zen 禅宗

Shaolin Temple 少林寺

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

practitioners of martial arts 习武之人

monastery 寺庙

===Questions===

1. What does “Wuyue（五岳）” mean？

2. Do you know any famous Chinese lyrics related to Mount Tai?

3. What is the largest temple in southern China?

4. What are the features of Mount Hua?

5. What is the structure of the Hanging Monastery?

6. What is the famous site in Mount Song?

===Answers===

1.Wuyue (五岳) is the general name of the five famous mountains in Chinese Han culture and is the product of the combination of ancient folk mountain god reverence, the concept of the Five Elements and imperial excursions and meditation in ancient times.

2.会当凌绝顶，一览众山小。——杜甫

四月上泰山，石屏御道开。——李白

泰山不要欺毫末，颜子无心羡老彭。——白居易

3. Grand Temple of Mount Heng (Nanyue Damiao).

4. It features skywalk, temples, stone formations, caves, waterfall etc.

5. It has a feeble appearance with wooden structure supported by dozens of wooden pillars.

6. The Shaolin Temple, the birthplace of Chan Buddhism.

--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:36, 9 December 2020 (UTC)

==Ancient Chinese Education - Tang Bei 汤蓓 Student No. 202070080607 英语笔译==

===Ancient Chinese Education===

====History====
China’s ancient education was one of the most splendid components of ancient Chinese culture. Chinese education had a long history dating from the Xia, Shang and Zhou Dynasties 3000/4000 years ago.(Baidu Encyclopedia: Chinese Ancient Education) In the Shang Dynasty (16th-11th century BC), formal schools emerged with the names like “Xiao” (school), “Xue”(study) and “Daxue”(higher school). Teachers then were all government officials and students were all children of the nobility, so that was the earliest “Guan Xue”(Government School/Education). Education became more popular by the Spring Autumn/Warring States period. Confucius became the earliest founder for “Private Education”. This type of private school education is often known as “Si Xue” (private institution).(Zhu Hanming, 2010,342)

From Han till Qing Dynasty, the formation of government institution had been well-established. All the teaching materials and educational training were geared towards the preparation for Imperial examination. After receiving a title in the Imperial examination, one might receive a post in the state bureaucracy. At the same time, private schools were also developing. Most of the famous philosophers and scientists were originated from private schools. Apart from schooling, “Family education” began to play an important role. Many of the famous historical figures grew up under the education and strict ‘teaching’ by their parents or other senior family members, and they studied hard in order to become successful. For instance, it was well documented that Mencius’s mother had moved three times with her son before she eventually found a proper neighborhood for the son’s education. After the Han dynasty, because of the increased status of Confucianism and its influence, the teaching of “poetry and rites” became the basic content for family education. Loyalty, Filial Piety, Benevolence and Righteousness were core values taught in family education.(Baidu Encyclopedia: Chinese Ancient Education)

In ancient Chinese education, there was another form of education system known as “Xue Shu Jiao Yu”. This belongs to neither an institute education nor a family education. These are generally “primary school for the folks”. Sometimes, they were called “Meng Guan”(primary education hall), “Si Shu ” (private school), “Zu Xue” (extended family school) , etc. Most students will first learn how to read characters, then they will learn The Three Character Classic ”, The Hundred Family Surnames, The Thousand Character Classic. Then they will learn the “Four Books”. In addition, they will also learn Chinese calligraphy and character pairing. In this type of school, the rules and regulations are especially strict. There are other methods such as Shuyuan and Guozijian, etc. They all formed a unique way of knowledge teaching and became important system for the development on “study of knowledge”, “teaching method”, etc. All of these formed the basis for today's Chinese education.(Zhu Hanming, 2010, 345)
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)

====Confucian Educational Theory====

The historical importance of education in Chinese culture is derived from the teachings of Confucius. The connection between Confucius and the official Chinese educational system thus became permanently linked right into the present time. Confucius broke the rule of “Xue Zai Guan Fu”
(learning at the government hall. He encouraged “learning for all hierarchical levels and for all ages”, and opened the door of education to the commoners. He established his own school and started to spread his teaching, thoughts and views. He became the earliest founder for “Private Education”.

In ancient Chinese education, whether they were government or private school, they all placed a great emphasis on humanities and cultural education, which focused on the teaching of morality and the development of wisdom. It covered philosophy, language, literature and other cultural subjects. The curriculum at the Great Academy was based on the Confucian Five Classics.(Chinasage:Imperial Examination）

Confucius taught his students morality, proper speech, government, and the refined arts. While he also emphasized the “Six Arts” — ritual, music, archery , chariot- riding , calligraphy , and computation — it is clear that he regarded morality as the most important subject.(Biography: Confucius) Confucius had been regarded as the pioneer founder of family education. According to The Analects of Confucius, Confucius wanted his son to learn both poetry and rites. He said, “if one does not learn poetry, one will not be able to talk properly”, “if one does not learn rites, one will never be well footed in the society.” Other than placing a strong emphasis on morality education, Chinese education also emphasized greatly on learning/teaching method and principles. Below are some common Confucian educational philosophies:
Revise the old in order to deduce new things.
Learning and Thinking are equally important.
Learn in a systematic and progressive way, from a beginner’s level to the advanced.
Inspiration and Guidance.
Teach according to students’ ability; use appropriate materials for teaching.(Baidu Encyclopedia: Confucius)

Confucius’s goal was to create gentlemen who carry themselves with grace, speak correctly, and demonstrate integrity in all things. The long The Master said in The Analects that:
“Is it not delightful to acquire knowledge and put it into practice from time to time？“Learning without thought is labor lost; thought without learning is perilous.” (Kong qiu, 2016)
Confucius’s main educational thoughts were to teach students according to their aptitude, to treat students equally and to inspire thinking. His pedagogical methods were striking. He posed questions, cited passages from the classics, or used apt analogies, and waited for his students to arrive at the right answers.

The status of education remained high in Confucian heritage cultures in East Asia. Beyond that, translations of Confucian texts influenced European thinkers of the period as well, particularly among the philosophical groups of the Enlightenment who were interested by the integration of the system of morality of Confucius into Western civilization. The French philosopher Voltaire was also influenced by Confucius, seeing the concept of Confucian rationalism as an alternative to Christian dogma. He praised Confucian ethics and politics, portraying China as a model for Europe.(Baidu Encyclopedia: Confucius)
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)

====Chinese Imperial Examination====

The Chinese Imperial Examination was an examination system in Imperial China designed to select talented people for future positions in civil service. This system had a huge influence on both society and culture in Imperial China. It was established in 605 during the Sui Dynasty and lasted more than 1,300 years until the last examination in 1904 when the last Chinese feudal kingdom—the Qing Dynasty—was coming to an end. Somehow the modern examination system for selecting civil service staff also indirectly evolved from the imperial one. It was part of the process by which candidates who passed the exams could receive a title called jinshi, or some other degree, which in turn would generally be followed by appointments to government offices.（Newworldencyclopedia: Imperial Examination）

The first three of Jinshi were ranked Zhuangyuan, Bangyan and Tanhua respectively. The examinations consisted of a battery of tests administered at the district, provincial, and imperial levels. Only three-hundred candidates could pass the imperial examinations, which would be supervised by the Emperor himself. Candidate scholars often took the examinations several times before earning a degree. Each exam taker spent three days and two nights writing “eight-legged essays” — literary compositions with eight distinct sections — in a tiny room with a makeshift bed, a desk, and a bench. There were no interruptions in those three days, nor were candidates’ allowed any communication. Since the pressure to succeed was intense, cheating and corruption were rampant. In order to obtain objectivity in evaluation, candidates were identified by number rather than name, and examination answers were recopied by a third person before being evaluated to prevent the candidate’s handwriting from being recognized. In the ancient society, class consciousness was strong and many people from lower classes would have had little chance to reach high office, not to mention having any position in the official court.（Jin zheng, 1990）

However, once the imperial examination system was introduced, any male adult in China, regardless of his wealth or social status, could become a high-ranking government official by passing the imperial examination and thus realize their self-development. In this sense, passing the imperial examination was also called “carps jumping across the dragon’s gate” . The dragon had always been regarded as the symbol of mighty power and especially that of the rights exercised by the emperor, consequently the success of examination candidates was proudly called “jumping across the dragon’s gate.”(Baidu Encyclopedia: carps jumping across the dragon’s gate)

In late imperial China, the examination system and associated methods of recruitment to the central bureaucracy were major mechanisms by which the central government captured and held the loyalty of local-level elites. The examination system also served to maintain cultural unity and consensus on basic values. The uniformity of the content of the examinations meant that the local elites and ambitious would-be members of those elites across China were taught with the same values. Despite the significant effect of promoting Confucian culture and education, it also influenced education systems in many other countries like Korea, Japan, and Vietnam, and similarities can be found in the personnel selection methods employed in France, America and Britain. Today’s education system is surely its successor.（Newworldencyclopedia: The Imperial Examination）
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)

===References===
1.1.Zhu Hanmin 朱汉民.(2010)''中国传统文化导论''[Introduction to Chinese traditional culture]. Hunan:Hunan University Press 湖南大学出版社.

2.Jing Zheng金铮.(1990)''科举制度与中国文化''[Imperial examination system and Chinese culture]. Shanghai:Shanghai People's Publishing Press 上海人民出版社.

3.Kong Qiu& Chen Dian孔丘&陈典.(2016)''论语''[The Analects of Confucius]. Jiangxi：Jiangxi People's Publishing Press 江西人民出版社.

4.Wanghui王惠.(2016)''中国社会与文化翻译教程''[A Coursebook on China’s Society and Culture Translation]. Beijing：Tsinghua University Press 清华大学出版社.

5.Baidu Encyclopedia''百度百科''：Chinese Ancient Education,中国古代教育

6.Baidu Encyclopedia''百度百科''： Confucius,孔子

7.Baidu Encyclopedia''百度百科''： The Imperial Examination,科举制度

8.https://www.biography.com/scholar/confucius

9.https://www.chinasage.info/examinations.htm

10.https://www.newworldencyclopedia.org/entry/Imperial_Examinations_(Keju)
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 11:59, 13 December 2020 (UTC)

===Terms and Expressions===
Spring Autumn/Warring States period 春秋战国时期

Loyalty 忠

Filial Piety 孝

Benevolence 仁

Righteousness 义

poetry and rites 诗礼

Xue Shu Jiao Yu 学塾教育

Meng Guan 蒙馆

Zu Xue 族学

archery 射

chariot- riding 御

calligraphy 书

computation 数

state bureaucracy 政府机构

The Three Character Classic 《三字经》

The Hundred Family Surnames 《百家姓》

The Thousand Character Classic 《千字文》

Four Books 四书

Shuyuan 书院

Guozijian 国子监

Confucian Five Classics 五经

Six Arts 六艺

Jinshi 进士

Zhuangyuan 状元

Bangyan 榜眼

Tanhua 探花--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 14:31, 7 December 2020 (UTC)

===Questions===
1.What’s Confucius educational goal?

2.What are Confucius main educational thoughts?

3.What became permanently linked right into present time?

4.Before private educationa began, only who could be taught in government schools?

What are the forms of the Chinese Imperial Examination?

6.How did examiners evaluate the examination?

7.What are the functions of the the Chinese Imperial Examination?

8.What kind of far-reaching influence does the Chinese Imperial Examination have?--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 14:31, 7 December 2020 (UTC)

===Answers===
1.Confucius’s goal was to creat gentlemen who carry themselves with grace, speak correctly, and demonstrate integrity in all things.

2.Confucius’s main educational thoughts were to teach students according to their aptitude, to treat students equally and to inspire thinking.

3.The connection between Confucius and the official Chinese educational system.

4.Noblemen’s children

5.The examinations consisted of a battery of tests administered at the district, provincial, and imperial levels. Only three-hundred candidates could pass the imperial examinations, which would be supervised by the Emperor himself. Candidate scholars often took the examinations several times before earning a degree.

6.In order to obtain objectivity in evaluation, candidates were identified by number rather than name, and examination answers were recopied by a third person before being evaluated to prevent the candidate’s handwriting from being recognized.

7.In late imperial China, the examination system and associated methods of recruitment to the central bureaucracy were major mechanisms by which the central government captured and held the loyalty of local-level elites.The examination system also served to maintain cultural unity and consensus on basic values.

8.Despite the significant effect of promoting Confucian culture and education, it also influenced education systems in many other countries like Korea, Japan, and Vietnam, and similarities can be found in the personnel selection methods employed in France, America and Britain. Today’s education system is surely its successor.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 14:31, 7 December 2020 (UTC)

==Cuisine, Chinese Dining Etiquette - Tang Yiran 汤伊然 202070080643 英语口译==

===Chinese Dining Etiquette===

China is a country with a long history of rituals and etiquette, and eating is a highly important feature of China’s culture, so naturally, dining etiquette has developed to a high degree. Dining etiquette is said to have its beginnings in the Zhou Dynasty (1045-256 BC). Through thousands of years of evolution, it has developed into a set of generally accepted dining rituals and practices. (Edward L.Davis 2005, 306)

[[File: A Chinese Dining Table.jpg|400px|thumb||Diagram of A Chinese Dining Table. Click [https://cn.bing.com/images/search?view=detailV2&ccid=NirSI%2bVR&id=F71307AA9E3664A2B8373E6E88E02E5D05C49E65&thid=OIP.NirSI-VRq1BPyCrjxboLtQHaE3&mediaurl=http%3a%2f%2fwww.hwaoconsulting.com%2fwp-content%2fuploads%2f2013%2f10%2fresize-of img_3335b.jpg&exph=567&expw=863&q=chinese+dining+etiquette&simid=608033216312313291&ck=DCAFE6250D3ADA26FE11D0CF34A4591D&selectedIndex=12&FORM=IRPRST&ajaxhist=0/File:A Chinese Dining Table.jpg] for original source.]]

====Attendance====

As a guest at a meal, one should be careful about his or her appearance and determine whether to bring small gifts or good wine, according to the degree of relationship with the master of the banquet. It is important to attend and be punctual. (Gavin Van Hinsbergh, 2020)

On arrival, one should first introduce himself or herself, or let the master of the banquet do the introduction if unknown to others, and then take a seat following the master of the banquet’s arrangement. (Gavin Van Hinsbergh, 2020)

====Seating Arrangements for a Chinese Banquet====

Dining etiquette in ancient times was enacted according to four-tier social strata (Edward L.Davis 2005, 306) :

1. the imperial court

2. local authorities

3. trade associations and

4. farmers and workers

In modern dining, seating arrangements have been simplified to:

1. master of the banquet

2. honored guest(s)

3. other guests.

The seat of honor, reserved for the master of the banquet or the guest with the highest status, is the one in the center facing east or facing the entrance. Those of higher position sit closer to the master of the banquet. The guests of the lowest position sit furthest from the seat of honor. When a family holds a banquet, the seat of honor is for the guest with the highest status and the head of the house takes the least prominent seat. (Ruru Zhou, 2018)

If the guest of honor or most senior member is not seated, other people are not allowed to be seated. If he hasn’t eaten, others should not begin to eat. When making toasts, the first toast is made from the seat of honor and continuing down the order of prominence. (Ruru Zhou, 2018)

'''A. Round Table'''

If round tables are used, the seat facing the entrance is the seat of honor. The seats on the left-hand side of the seat of honor are second, fourth, sixth, etc in importance, while those on the right rank at third, fifth, seventh, and so on. In the end, they will join together. (Ruru Zhou, 2018)

'''B. Square Table'''

In ancient times there was a piece of furniture known as an Eight Immortals table, a big square table with benches for two people on each side. If there was a seat facing the entrance, then the right-hand seat when facing the entrance was for the guest of honor. If there was no seat facing the entrance door (presumably if the meal was outside or there were two or more doors of equal importance), then the right-hand seat when facing east was the seat of honor. The seats on the left-hand side of the seat of honor were, in order of importance, second, fourth, sixth, and eighth and those on the right were third, fifth, and seventh. (Ruru Zhou, 2018)

'''C. In Grand Banquet'''

In a grand banquet of many tables, the table of honor is the one furthest from the entrance (or facing east in the event of no clear main entrance). The tables on the left-hand side of the tables of honor are, in order of importance, second, fourth, sixth, and so on, and those on the right are third, fifth, and seventh. Guests are seated according to their status and degree of relationship to the host of the banquet. (Ruru Zhou 2018)

[[File: Seating Arrangements in A Chinese Banquet.jpg|450px|thumb||Diagram of Seating Arrangements for A Chinese Banquet. Click [https://tse3-mm.cn.bing.net/th/id/OIP.qJkC9LsUyfYKOzLWkbS5JwHaGI?w=214&h=180&c=7&o=5&dpr=1.25&pid=1.7/File:Seating Arrangements in A Chinese Banquet.jpg] for original source.]]

====Chinese Table Manners====

Most table manners in China are similar to in the West. Don't be deceived by what you might see in a local restaurant on the streets. Chinese manners are more than slurping food down as quickly as possible, and shouting loudly! When eating a meal in China, people are expected to behave in a civilized manner (according to Chinese customs), pay attention to table manners, and practice good dining habits. In order to avoid offense, diners should pay attention to the following points (Gavin Van Hinsbergh, 2020):

'''A. Considering Others'''

1) Let older people eat first, or you can start to eat if you hear an elder say "let's eat". You should not steal a march on the elders. (Gavin Van Hinsbergh, 2020)

2) When helping yourself to the dishes, you should take food first from the plates in front of you rather than those in the middle of the table or in front of others. It's bad manners to use your chopsticks to burrow through the food and "dig for treasure" and keep your eyes glued to the plates. (Gavin Van Hinsbergh, 2020)

3) Even if you find your favorite dish, you should not gobble it up as quickly as possible or put the plate in front of yourself and proceed to eat like a horse. You should consider others at the table. If there is not much left on a plate and you want to finish it, you should consult others. If they say they don’t want anymore, then you can eat proceed. (Gavin Van Hinsbergh, 2020)

4) Concentrate on the meal and your companions. Watching television, using your phone, or carrying on some other activity while having a meal is considered a bad habit. (Gavin Van Hinsbergh, 2020)

4) You should try to refill your bowl with rice yourself and take the initiative to fill the bowls of elders with rice and food from the dishes. If elders fill your bowl or add food to your bowl, you should express your thanks. (Gavin Van Hinsbergh, 2020)

'''B. "Thank you" Gesture'''

Tea usually is served as soon as you have a seat in a restaurant. A waiter/waitress serves you tea while you read the menu and decide what to order. The teapot is left with you on the table after everyone around the table's cup is filled with tea. Guests then serve themselves. When someone pours tea into your cup, you can tap the table with your first two fingers two or three times, showing thanks to the pourer for the service and for being enough tea. The pourer will stop pouring when seeing the gesture. (Gavin Van Hinsbergh, 2020)

'''C. Elegance'''

1) You should pick up your bowl with your thumb on the mouth of the bowl, first finger, middle finger the third finger supporting the bottom of the bowl, and palm empty. If you don't pick up your bowl, bend over the table, and eat facing your bowl, it will be regarded as bad table manners. Moreover, it will have the consequence of compressing the stomach and restricting digestion. (Gavin Van Hinsbergh, 2020)

2) It is not good to pick up too much food at a time. You should behave elegantly. When taking food, don’t nudge or push against your neighbor. Don’t let the food splash or let soup or sauce drip onto the table. (Gavin Van Hinsbergh, 2020)

3) When eating, you should close your mouth to chew food well before you swallow it, which is not only a requirement of etiquette but also better for digestion. You should by no means open your mouth wide, fill it with large pieces of food, and eat up greedily. Don’t put too much food into your mouth at once to avoid leaving a gluttonous impression. Neither should you stretch your neck, open your mouth wide, and extend your tongue to catch food you are lifting to your mouth. (Gavin Van Hinsbergh, 2020)

4) When removing bones or other inedible parts of the meal from your mouth, use chopsticks or a hand to take them and put them on a side plate (or the table) in front of you, instead of spitting them directly onto the table or the ground. (Gavin Van Hinsbergh, 2020)

5) If there is food around your mouth, use a tissue or a napkin to wipe it, instead of licking it with your tongue. When chewing food, don't make noises. (Gavin Van Hinsbergh, 2020)

6) It is best not to talk with others with your mouth full. Be temperate in laughing lest you spew your food or the food goes down your windpipe and causes choking. If you need to talk, you should speak a little and quietly. (Gavin Van Hinsbergh, 2020)

7) If you want to cough or sneeze, use your hand or a handkerchief to cover your mouth and turn away. If you find something unpleasant in your mouth when chewing or phlegm in the throat, you should leave the dinner table to spit it out. (Gavin Van Hinsbergh, 2020)

====Rules and Conventions Relating to Chopsticks====

1) Do not stick chopsticks vertically into your food when not using them, especially not into rice, as this will make Chinese people think of funerals. At funerals, joss sticks (sticks of incense) are stuck into a pot by the rice that is put onto the ancestor altar. (Liao Huaying, 2008: 170)

2) Do not wave your chopsticks around in the air too much or play with them. (Liao Huaying, 2008: 170)

3) Do not stab or skewer food with your chopsticks. (Liao Huaying, 2008: 170)

4) Pick food up by exerting sufficient inward pressure on the chopsticks to grasp the food securely and move it smoothly to your mouth or bowl. It is considered a bad manner to drop food, so ensure it is gripped securely before carrying it. Holding one’s bowl close to the dish when serving oneself or close to the mouth when eating helps. (Liao Huaying, 2008: 170)

5) To separate a piece of food into two pieces, exert controlled pressure on the chopsticks while moving them apart from each other. This needs much practice. (Liao Huaying, 2008: 170)

6) Some consider it unhygienic to use the chopsticks that have been near (or in) one’s mouth to pick food from the central dishes. Serving spoons or chopsticks can be provided, and in this case, you will need to remember to alternate between using the serving chopsticks to move food to your bowl and your personal chopsticks for transferring the food to your mouth. (Liao Huaying, 2008: 170)

7) Knives are traditionally seen as violent in China, and breakers of the harmony, so are not provided at the table. Some restaurants in China have forks available and all of them will have spoons. If you are not good at using chopsticks, ask the restaurant staff to provide you with a fork or spoon. (Liao Huaying, 2008: 170)

[[File: Diagram of Using Chopsticks in a Bad Manner in China.jpg|700px|thumb||Diagram of Using Chopsticks in a Bad Manner in China. Click [https://tse3-mm.cn.bing.net/th/id/OIP.Mm8fEFD8whyIbD1-UdrJEwHaEn?pid=Api&rs=1/File: Diagram of Using Chopsticks in a Bad Manner in China.jpg] for original source.]]

===References===
1. Edward L. Davis. ''Encyclopedia of Contemporary Chinese Culture'' [M]. Taylor & Francis e-Library, 2005.

2. Guo Shangxing, Sheng Xingqing, ''A History of Chinese Culture'', Kaifeng: Henan Uni. Press, 1993.

3. Morton, W. Scott, & Lewis, C. M., ''China: its History and Culture'', New York: MacGraw Hill, Inc., 2005.

4. Sun Xiaoyu, ''A Chinese History Reader'', Singapore: Cengage Learning Asia Pte Ld., 2010.

5. Gavin Van Hinsbergh. How to Eat in China—Chinese Dining Etiquette. https://www.chinahighlights.com/travelguide/chinese-food/dining-etiquette.htm, 2020.

6. Ruru Zhou. Seating Arrangements for a Chinese Banquet. https://www.chinahighlights.com/travelguide/chinese-food/seating-arrangement.htm, 2018.

7. Liao Huayin廖华英主编.(2008). 《中国文化概况》 [An Glimpse of Chinese Culture] Foreign Language Teaching and Research Press 外语教学与研究出版社. 160-180.

===Terms and Expressions===

seat of honor 上座/尊位

Eight Immortals table 八仙桌

burrow through the food 乱翻食物

“dig for pleasure” 挖宝藏

side plate 小菜碟

napkin 餐巾纸

handkerchief 手帕

phlegm 痰

windpipe 气管

joss sticks （中国祭祀用的）香

ancestor altar 祖先祭坛

skewer 刺穿/串肉扦子

serving chopsticks 公筷

===Questions===

1. What do you know about the history of Chinese dining etiquette?

2. What does the “Seat of Honor” mean? Are there any commons of “Seat of Honor” in different dining situation?

3. How should we deal with our favorite food in a meal？

4. What is the way to show gratitude to the tear pourer?

5. How should we pick up the bowl when eating?

6. What manners of using chopsticks are considered bad in China?

===Answers===

1. Dining etiquette is said to have its beginnings in the Zhou Dynasty (1045-256 BC).

2. The seat of honor is reserved for the master of the banquet or the guest with the highest status. It is commonly the one in the center facing east or facing the entrance.

3. When finding your favorite dish, you should not gobble it up as quickly as possible or put the plate in front of yourself and proceed to eat like a horse. Instead, you should consider others at the table. If there is not much left on a plate and you want to finish it, you should consult others. If they say they don’t want anymore, then you can eat proceed.

4. We can tap the table with our first two fingers two or three times, showing thanks to the pourer for the service and for being enough tea. The pourer will stop pouring when seeing the gesture.

5. You should pick up your bowl with your thumb on the mouth of the bowl, first finger, middle finger the third finger supporting the bottom of the bowl and palm empty.

6. Rummaging through the food in a dish with chopsticks and searching for choice pieces, sticking chopsticks vertically into a bowl of rice, or pointing at people with them are all considered bad table manners.

==Wang Meiling 王美玲 202070080608==

===Three Giant Home Appliance Enterprises In China===

===A.Midea===

Midea is a technology group of consumer electronics, HVAC, robotics and automation systems, and smart supply chain (logistics).Founded in Shunde, China in 1968, Midea officially entered the household appliance industry in 1980. In 1981, Midea registered its brand. The group employs a total of 130000 people, whose headquarter is locate in Shunde, Guangdong Province. Midea Group has about 200 subsidiaries, more than 60 overseas branches and 10 strategic business units worldwide, and is the main shareholder of KUKA group (about 95%) in Germany . Midea now has more than ten brands such as Midea and Little Swan. and has 15 and 6 production bases separately home and abroad.( Midea Co., Ltd, 2020)

Midea's diversified development strategy can reflect its wide range of business : consumer electrical appliances mainly including kitchen appliances, refrigerators, washing machines and all kinds of small household appliances; HVAC business focusing on heating and ventilation systems such as household air conditioning and central air conditioning; robot and industrial automation system business with German KUKA group and Midea robot company as the core.Up to July 2020, Midea ranked 22nd in the list of China's Top 100 Most Valuable Brands in 2020.(Baidu Encyclopedia: Midea)

To some extent, enterprises seems like a person. Generally speaking, the style and personality of an enterprise are greatly affected by the values and behavior styles of enterprise leaders. Enterprise style and characters can determine the fate and future itself.（Liu Buchen，2016:3）

Midea focus on sound operation. If Haier and Gree went to two "extremes", Midea would choose the "middle road", which is neither extreme left nor right. It will not suddenly break the original management framework and organizational structure,which, otherwise, would place the enterprise in high risk. Midea Group’s New Vision, mission,values and business principles are not only rooted in the achievements of historical accumulation, but also the strategic blueprint for the future. The New Vision,“the perfection of science and technology lead to the perfection of life”, continues the Midea’s emphasis on science and technology and human-oriented spirit; The new mission,“connecting people and things, enlightening the world of Midea” reflects its strategic thinking on the development trend of technology, industrial chain and global layout, and makes the linkage between people and things in different scenes more advanced, thus stimulating the leapfrog development of people’s lives and production; Through the value“dare to know the future”, Midea could continue carrying forward its spirits of future orientation and embracing changes.

Midea focuses on sound operation.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 12:50, 19 December 2020 (UTC)

In the light of the wide range of its business, we can see that Midea is actively promoting diversified development（Liu Buchen，2016:2-3）: in the area of air-conditioning, Midea，since 1998，has made a series of acquisitions and mergers, expanding its air-conditioning capacity and entering the field of air-conditioning compressors. Moreover, it has produced the core components of air conditioning, increased research and development and cooperation in air conditioning, then begun to produce the core components of air conditioning compressor, increased research and development in the core components; as for small household appliances, since 2001, Midea has mastered the core components of microwave oven and become one of the three largest production bases in the world. Subsequently, the Group has reorganized the small appliance business under direct control and developed professionally on the basis of diversification.

Diversification has the advantage of spreading risk, that is the theory of “don’t put all your eggs in one basket” , and its disadvantage lies in the difficulty for firms to concentrate and, relatively speaking, to establish absolute competitive advantage in one or more specific areas.

Midea's business strategy can be described as "two-pronged approach". On the one hand, Midea relies on its own enterprise strength to continuously optimize the performance of its core products and has made earnest efforts to improve the quality of its core products.

On the other hand, through a series of acquisitions and mergers on home appliance brand，Midea has furthered its market penetration, and enhanced the market share, expanded the user group, leading to its accomplishment of “Extension Expansion” strategy. In fact, the strategy is not limited to mergers and acquisitions, but also includes the continuous paces into new industrial fields. Midea is building its own "Second Runway", that is “New Product Incubation Platform”, which is not limited to the field of home appliances. As long as meeting Midea's standards for "innovative products", any products can enter the incubation platform.

In 2020, affected by the COVID-19, the rising leverage ratio of the residential sector, the rising food prices, as well as the continuing low marriage and birth rates, the pace of further expansion of the household appliance market has been hindered. As one of the three giants in China's home appliance market, Midea is naturally deeply aware of the weakness of the home appliance market, which is reflected specifically in the decline of market demand for color TV sets, air conditioners, kitchen appliances and household appliances.

Midea will unswervingly increase R&D investment, maintain high-quality development direction, and adhere to inclusive growth and sustained and effective growth. Midea has further expanded its online market scale which has continuously diverted offline market scale. It has been developing an integrated sales channel with both online and offline, which has been promoted orderly on Suning, Gome, Jingdong, Tmall and other platforms. Facing the domestic market, Midea has been consolidated its basic system and established a unified business language and rules.

In 2020, the global trade friction continues to escalate, tariff barriers increases Midea’s risk of overseas market expansion, and the exchange rate between countries continues fluctuating. All of these factors mentioned above has increased Midea’s risk to engage in product export and to exchange loss.

Facing the overseas market, Midea will adhere to the consumer-oriented and product-leading strategy, give full play to its network advantages in global R&D and user research, grasp the differentiated needs of foreign consumer groups, improve the construction of multi-brand operation system, leading to further open-up of the foreign market and the improvement of market share.

===B.Haier===

Haier, formerly known as Haier Qingdao, is a leading global provider of solutions for a better life. Founded in 1980 and headquartered in Qingdao, Shandong Province, it was listed on the Shanghai Stock Exchange (600690) and the Frankfurt Stock Exchange (690D) in 1993 and 2018, respectively. Relentlessly centered on user experience and geared to the beat of the times, Haier has developed from an insolvent collective small factory on the verge of closure into an ecological enterprise leading the Internet of Things era. It has been the world's only IoT ecological brand for two consecutive years in the BrandZ 100 most valuable global brands. In the Internet of Things era, Haier is leading the world in terms of its ecological brand and single-unit model. Moreover, it boasts the world's largest market share in white goods R&D, production and sales, as well as in the integrated channel business of large appliances.( Haier Co., Ltd, 2020)

Haier adopts Diversification Product strategy, but it differs from Midea's in that the former has broader fields. Its business scope mainly includes the R&D, production and sales of and smart home scene solutions and smart home appliances such as refrigerators, washing machines, air conditioners, water heaters, kitchen appliances, small home appliances. It also engages in IT industry such as digital technology, intelligent technology, software technology, enterprise management services and consulting, information technology services, etc. Through a rich combination of products, brands and solutions, Haier creates a whole scene of intelligent life experience to meet users' pursuit of the good life.(Baidu Encyclopedia: Haier)

Corporate culture is the soul and gene of an enterprise. Haier's corporate culture is one of change, always following the times and continuous innovation and development, which can be summed up in four words: self-righteousness. It means everyone is constantly challenging themselves, overcoming themselves, reinventing themselves, and changing themselves according to external changes. So it can be said that Haier's corporate style is "paradigm change".

Haier has its own core values: the concept of right and wrong of "always take the user as yes, take oneself as no" is Haier's motivation to create users; the concept of development of "everyone is the creator, chain group becomes self-driven" is Haier's way of looking at sustainable development; the concept of "win-win" is the guarantee for Haier's sustainable operation. Haier's corporate spirit is "ecological integrity, win-win evolution". In the process of continuous entrepreneurship and innovation, the Haier Group always adheres to the development main line of "human value first".
Haier has formed a perfect innovation culture which is dynamic and constantly optimized. Zhang Ruimin once said, "There exist no successful enterprises, only enterprises geared to the times."

From 1992, Haier has begun to expand from one product to a variety of products, and comprehensively implemented a diversification strategy. Through mergers, acquisitions, joint ventures, and cooperation, Haier has rapidly entered the field of white goods such as freezes, air conditioners, and washing machines from a single product refrigerator.

In 1997, with the production of digital color TVs as a symbol, Haier entered the field of black home appliances from the field of white goods; in 1998, Haier ventured into the computer industry, which was known abroad as the field of beige home appliances. In 1998, Haier ventured into the computer industry, which is known abroad as the beige home appliance industry. In the process of expansion, Haier has engaged in capital operation in the way of eating "shock fish" and insisted on revitalizing tangible assets with intangible assets, which ensured the success rate of capital operation and the low-cost expansion. In this way, the goal of making Haier bigger and stronger in the shortest period of time was achieved. Haier still takes home appliance industry as its main industry, with sales accounting for about 40-70% of Haier's total sales.

Haier has adopted a parallel strategy：on the one hand: Haier will set self-innovation as the core of corporate culture, the implementation of strategic innovation to establish the corporate brand, focus on making refrigerators upgrade, adhere to the Internet of Things smart home ecological brand strategic direction; on the other hand, Haier is undergoing a large-scale enterprise change, and we can hardly continue to classify Haier as "home appliance enterprises". "After the change in the business model, Haier's many micro and small companies can decide their own development prospects, and the Haier Group does not limit or intervene in the their fields to entry. So the path of extensive expansion Haier takes is very broad.(Huang Xu,2017:2)

During the epidemic, Haier's 3Q report achieved high quality growth, which is closely related to the future layout of Haier since more than 10 years. Haier has been exploring the transformation from "selling products" to "selling scenes" to adapt to the consumption trend of experiential scenes. When realizing differentiated competition, Haier brings user experience and industry development into a new dimension. With a forward-looking strategic layout and strong landing capabilities, Haier has formed industry differentiation advantages in smart package, experience cloud and mass customization, and promoted the company's transition to a smart home ecological brand. Haier is currently the leader in the domestic Internet market, but will face challenges from crossover competitors such as Xiaomi and Huawei, and needs to focus the company's resources to win the battle.

Among the home appliance enterprises, Haier is the first to go abroad, and is also the enterprise with the highest market share in overseas markets. In 2016, Haier also acquired the American General Electric Company at a sky-high price of $5.58 billion, which is the largest overseas merger and acquisition in China's home appliance industry, making Haier leap from a Qingdao local enterprise to a multinational white goods leader, and also marking the acceleration of Haier's internationalization process again. At the same time, Haier has been ranked first in the global home appliance market share for many years, with over 10% of the global home appliance market share.According to Euromonitor, Haier has kept its leading position in the Asia-Pacific and North American markets (the two markets together account for 63.5% of global retail sales). Taking the advantage of the concerted efforts of Candy, Haier merged recently, Haier is expected to achieve its market share among the top five in the European market and to become a true leader in the home appliance industry worldwide.

===C.Gree===

Gree, founded in 1991, is an international home appliance company integrating R&D, production, sales and service, with three brands: Gree, TOSOT and Jinghong, headquartered in Zhuhai, Guangdong Province. Dong Mingzhu Gree's chairman, president and legal representative. In 1996, Gree was listed on the Shenzhen Stock Exchange. Gree has more than 90,000 employees, among whom there are 15,000 R&D personnel and 30,000 technical workers. It has 15 production bases and 15 research institutes at home and abroad. Gree has been on the Fortune Magazine's list of "China's Top 100 Listed Companies" for 9 consecutive years. The "Gree" brand of air conditioners is a "world famous brand" in China's air conditioning industry, with business in more than 100 countries and regions around the world.( Gree Co., Ltd, 2020)

Gree, founded in 1991, is an international home appliance company integrating R&D, production, sales and service, with three brands: Gree, TOSOT and Jinghong, headquartered in Zhuhai, Guangdong Province. Dong Mingzhu is Gree's chairman, president and legal representative. In 1996, Gree was listed on the Shenzhen Stock Exchange. Gree has more than 90,000 employees, among whom there are 15,000 R&D personnel and 30,000 technical workers. It has 15 production bases and 15 research institutes at home and abroad. Gree has been on the Fortune Magazine's list of "China's Top 100 Listed Companies" for 9 consecutive years. The "Gree" brand of air conditioners is a "world famous brand" in China's air conditioning industry, with business in more than 100 countries and regions around the world.( Gree Co., Ltd, 2020)--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:38, 19 December 2020 (UTC)

Its business mainly includes: sales, installation and maintenance of central air conditioning, refrigeration, air conditioning equipment, clean air conditioning, heating equipment, ventilation equipment; kitchen utensils, stainless steel products, daily-use hardware; household refrigeration appliances, household air conditioners and related parts; machinery and equipment, and wholesale of electronic products. Unlike Haier and Midea, Gree adopts a specialized product strategy and has been focusing on the research and development of various types of air conditioners. As a large appliance manufacturer focusing on air conditioning products, Gree has established itself as the leader in the domestic air conditioning market, and its brand culture is deeply rooted in the people's hearts, and is well known in the domestic air conditioning market with slogans such as "Fine air conditioning that Gree creates" and "Buy good-quality, choose Gree". Since 2005, Gree has been the global leader in the production and sales of air conditioners for 7 consecutive years.(Baidu Encyclopedia: Gree)

In implementing the strategy of creating a famous brand, Gree prioritizes the construction of corporate culture and strive for corporate culture as a unified goal: the corporate spirit of "Loyalty, Friendliness, Diligence and Progress" fully reflects Gree’s requirements to its employees; the business philosophy of "making the best air conditioners for consumers" accurately and clearly shows Gree’s commitment to the society and consumers, as well as its determination to stick to the road of specialization and its confidence in the pursuit of excellence in product quality; the service concept of "Every little thing you do is a big thing for Gree!" demonstrates that Gree puts service throughout the entire production and operation activities of the enterprise, emphasizing pre-sales, in-sales and after-sales services; the management concept of "Innovation has no limitations" enables Gree to achieve high efficiency and low cost in the production process.

Gree has delivered outstanding performance in air conditioning largely due to the fact that Gree has been focusing on air conditioning for the past few decades without any distractions. Gree have several large production bases around the world, and its research scope includes twenty major categories, more than 400 series, which can meet the various needs of consumers. Gree have so far owned thousands of technical patents of air conditioners, and decades of quality improvement work have made Gree air conditioners achieve a qualitative leap in quality, from "Made in China" to "Created in China".

On the one hand, Gree belongs to the typical intensive growth model, where the driving force for development basically comes from within the enterprise and rarely relies on external forces, such as M&A. Gree takes the path of training talents independently, and has 12 research institutes and more than 30,000 technical developers. Gree sets various series of air conditioners its main business，whose entire production chain of production, processing, sales and marketing channels are operated internally.

On the other hand, compared to Haier and Midea, Gree's outward expansion has been smaller. One of Gree's large-scale mergers and acquisitions of significance was the industrial industry integration that began in early 2004 and was completed in the same year. Gree successfully acquired the Group's shares of Lingda Compressor, Gree Small Appliances, Gree Electric and other companies, contributing to forming an industrial advantage, improving its core competitiveness and seizing the industry high ground.(Duan Qiang,2013:49)Interestingly, Gree announced its intention to enter the new energy vehicle industry by acquiring Zhuhai Yinlong New Energy, which was a huge breakthrough in Gree's long-held intensive growth model in these years.

In 2020, as air conditioners enter the era of saturation, Gree faces difficulty before market opportunities and challenges. In recent years, Gree is obviously increasing the diversification of the layout, in order to disperse the risk that the air conditioning industry may continue to slump in the next few years, Dong Mingzhu hopes to find new growth points through diversification of the layout, which is the reason why Gree cell phones, Gree (Yinlong) new energy vehicle projects have been showed in the market. If new growth points were not cultivated in time, the possibility of continued stagnation of Gree Appliances in the coming years couldn’t be ruled out.

Gree's business is expected to be a high-end intelligent manufacturing equipment in Gree's diversified business. Gree, which has diversified genes and the courage to experiment with various businesses, opened a medical equipment company during the epidemic, and product masks and air purifiers that can kill COVID-19. The enthusiasm for diversified business exploration is closely related to Dong's energetic and aggressive style. But the deeper reason lies in that Gree needs more opportunities to grab the market in areas other than white home appliances, especially air conditioners.

Gree’s air conditioners have gained international recognition for their technology, quality and price advantages,which have been exported to more than 100 countries and regions around the world. Gree's trademark has been applied for international registration in 77 countries around the world, laying a brand foundation for the internationalization of Gree's products. At the same time, Gree is extending its production lines to foreign countries to enhance the confidence of foreign dealers and consumers in Gree and improve its international image.

===Terms and Expressions===

HVAC 暖通空调 Shunde （广东）顺德

Smart supply chain 智能供应链 Intensive Growth 内生式增长

leverage ratio 杠杆率 Second Runway 第二跑道

air conditioning compressor 空调压缩机 Tmall 天猫

Qingdao （山东）青岛 Shock Fish 休克鱼

3Q report 三季报 IoT 物联网

Experience cloud 体验云 Ren Dan He Yi 人单合一

chain group 链群 Euromonitor 欧睿信息咨询公司

Candy （意大利）卡迪集团

TOSOT 大松电器公司 Jinghong 晶弘电器公司

Gree Electric 格力电工 Shenzhen Stock Exchange 深圳证券交易所

Created in China 中国创造 General Electric Company 格力电工

Zhuhai Yinlong New Energy 珠海银隆新能源有限公司 COVID-19 新型冠状病毒

Lingda Compressor 凌达压缩机

HVAC 暖通空调

Shunde （广东）顺德

Smart supply chain 智能供应链

Intensive Growth 内生式增长

leverage ratio 杠杆率

Second Runway 第二跑道

air conditioning compressor 空调压缩机

Tmall 天猫

Qingdao （山东）青岛

Shock Fish 休克鱼

3Q report 三季报

IoT 物联网

Experience cloud 体验云

Ren Dan He Yi 人单合一

chain group 链群

Euromonitor 欧睿信息咨询公司

Candy （意大利）卡迪集团

TOSOT 大松电器公司

Jinghong 晶弘电器公司

Gree Electric 格力电工

Shenzhen Stock Exchange 深圳证券交易所

Created in China 中国创造

General Electric Company 格力电工

Zhuhai Yinlong New Energy 珠海银隆新能源有限公司

COVID-19 新型冠状病毒

Lingda Compressor 凌达压缩机--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:50, 19 December 2020 (UTC)

===Questions===

1.Why does Midea implement diversified development strategy?

2.what development strategy does Midea adopt?

3.How does Midea differ from Haier and Gree in terms of its style?

4.How will Midea deal with the weakness of home appliance market?

5.What kind of home appliances does Haier focus on the most?

6.What is the difference between Haier and Midea's diversified product strategy?

7.What is Haier's "Ren Dan He Yi" model?

8. The pros and cons of Haier's extensive expansion strategy.

9. Why did Haier transform to a smart home eco-brand?

10. Why has Gree expanded its diversified layout in recent years?

11. Do you think whether Gree should acquire Zhuhai Yinlong New Energy ?

12.What is the impact of Dong Mingzhu's style of work on Gree's development?

===Answers===

1.Diversification has the advantage of spreading risk, that is the theory of “don’t put all your eggs in one basket".

2.Diversified product layout and Intensive growth model and Exclusive expansion model.

3.Midea will unswervingly increase R&D investment on such emerging home appliances, maintain high-quality development direction, and adhere to inclusive growth and sustained and effective growth.

4.Midea focus more on moderate operation.

5.White home appliances.

6.Haier’s diversified product strategy is more wide-ranging.

7.It is a business mode which refers to every employee should face users directly, create user value, and realize their own value sharing when creating value for users.

8.Pros:to expand its business scope and spreading business risk.

Cons:to have difficulty concentrating itself and, relatively speaking, to establish absolute competitive advantage in one or more specific areas.

9. To win the favor of consumers who are in the pursuit of high-quality life and become more and more dissatisfied with household appliances which can only passively follow instructions and complete tasks.

10.(1)To disperse the risk that the air conditioning industry may continue to slump in the next few years.

(2) to find new growth points through diversification of the layout.

(3)to avoid the possibility of continued stagnation of Gree in the coming years.

11.No,because air conditioning and automobile are totally different. Gree's air conditioning technology is not helpful for new energy vehicles. Gree's familiar products and sales processes are also different from those of the automobile industry. Therefore, it is rather risky to enter the automotive field.

12.Dong Mingzhu's energetic and aggressive style will put forward Gree’s diversified business exploration which will create more opportunities and possibilities and also high risks.

===References===

1.Baidu Encyclopedia百度百科：Gree,格力

2.Baidu Encyclopedia百度百科：Haier,海尔

3.Baidu Encyclopedia百度百科：Midea,美的

4.Duan Qiang段强.(2013)格力电器营销战略研究[Research on Marketing Strategy of Gree Electric Appliance]. Huazhong University of Science and Technology 华中科技大学.

5.Huang Xu黄旭.(2017)海尔产品的品牌效应和营销策略[Brand Effect and Marketing Strategy of Haier Products].Industry and Technology Forum 产业与科技论坛.

6.Liu Buchen刘步尘.(2016)中国家电三巨头,谁与争锋[Who is the Top among Three Home Appliance Enterprises in China].Chinese and Foreign Management 中外管理.

7.Haier Co., Ltd,https://www.haier.com/

8.Gree Co., Ltd,https://www.gree.com/

9.Midea Co., Ltd,https://www.midea.com/cn/

[1] Baidu Encyclopedia百度百科：Gree,格力

[2] Baidu Encyclopedia百度百科：Haier,海尔

[3] Baidu Encyclopedia百度百科：Midea,美的

[4] Duan Qiang段强.(2013)格力电器营销战略研究[Research on Marketing Strategy of Gree Electric Appliance]. Huazhong University of Science and Technology 华中科技大学.

[5] Huang Xu黄旭.(2017)海尔产品的品牌效应和营销策略[Brand Effect and Marketing Strategy of Haier Products].Industry and Technology Forum 产业与科技论坛.

[6] Liu Buchen刘步尘.(2016)中国家电三巨头,谁与争锋[Who is the Top among Three Home Appliance Enterprises in China].Chinese and Foreign Management 中外管理.

[7] Haier Co., Ltd,https://www.haier.com/

[8] Gree Co., Ltd,https://www.gree.com/

[9] Midea Co., Ltd,https://www.midea.com/cn/--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:53, 19 December 2020 (UTC)

==Wang Xuan 王轩==
===National Flag of the People’s Republic of China===
===A A brief introduction of National Flag of the People's Republic of China===
The national flag of the people's Republic of China is a five-star red flag, the symbol of the country. Zeng Liansong is the designer of the national flag. Red and rectangular, its length and height are three to two. Five yellow five pointed stars are decorated on the top left of the flag. One star is larger, and its circumscribed circle diameter is three tenths of the flag height, which is on the left; the four stars are smaller, and their circumscribed circle diameter is one tenth of the flag height, and the ring is arched to the right of the big star.
The national flag of the people's Republic of China began to solicit the design of the national flag from July 14 to August 15, 1949. On August 20, 1949, the national flag and national emblem Selection Committee received 2992 (3012) national flag designs. On September 27, 1949, deputies to the first plenary session of the National Committee of the Chinese people's Political Consultative Conference (CPPCC) passed a motion to use the five-star red flag as the national flag. On October 1, 1949, the first national flag was first raised by Mao Zedong in Tiananmen Square.
The red flag of the people's Republic of China symbolizes revolution. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party. The five pointed stars are used in yellow to show light on the red ground. Each of the four small five pointed stars faces the center of the big star, indicating unity around a center.

===B Establishment process===

===1. Solicit comments from the public===

On June 15, 1949, the Preparatory Committee for the National Committee of the Chinese people's Political Consultative Conference (CPPCC) was formally established in Peiping, shortly after Liberation. The preparatory work undertaken by this committee included the important task of formulating the national flag of new China, and designated the sixth group of the Preparatory Committee to be responsible for it.
On 4 July 1949, the sixth group held its first meeting. The meeting decided to publish newspapers to solicit the patterns of the national flag and the national emblem, and to set up a selection committee for the national flag and the national emblem pattern and the national lyrics score. In addition to the group members participating in the selection, Xu Beihong, Liang Sicheng, Ai Qing and other experts were invited to participate.
From July 14 to August 15, 1949, people's daily, Jiefang Daily, Xinhua daily and other newspapers and periodicals published the notice of the preparatory meeting of the Chinese people's Political Consultative Conference asking for the design of the national flag. The news of asking for the design of the national flag quickly spread to the whole country and overseas. Many people in their spare time, spread out the paper and began the design work. They carefully designed and drew one pattern after another with their own characteristics, marked with detailed instructions, and sent them to Beijing. They regard the design and drawing of the national flag as a glorious and noble thing to pour their boundless love for new China.

===2. Collect drafts from all walks of life===

On August 20, 1949, the national flag and national emblem Selection Committee received 2992 pieces of national flag patterns. Guo Moruo, Chen Jiageng and other members of the preparatory committee also submitted their sample designs. These designs were displayed in the temporary reading room. The selection committee selected 38 draft plans from them and incorporated them into the reference materials for the design of the national flag and submitted them to the newly established Chinese people's Political Consultative Conference for discussion.

===3. Pass a resolution===

The design of the national flag of the Chinese people's Political Consultative Conference (CPPCC) was approved in the 32nd session of the Chinese people's Political Consultative Conference. In the pattern of five-star red flag before this, there are sickles and axes in the big stars. Before the adoption of the resolution, the national flag and national emblem review group made partial modifications to the design pattern, and made a unified explanation on the significance of the national flag pattern.
On September 27, 1949, the resolution on the capital, chronology, national anthem and national flag of the people's Republic of China, adopted at the first plenary session of the CPPCC National Committee, stipulates in the fourth point that "it is unanimously adopted: the national flag of the people's Republic of China is a five-star red earth flag, which symbolizes the great unity of the revolutionary people of China." The resolution of the Chinese people's Political Consultative Conference on the capital, chronology, national anthem and national flag of the people's Republic of China and the measures for flag making adopted by the presidium of the Chinese people's Political Consultative Conference stipulate that the national flag of the people's Republic of China is a five-star red flag, which is rectangular, and symbolizes revolution.

Its length and height are three to two, and five yellow five pointed stars are on the top left of the flag, symbolizing the revolutionary unity under the leadership of the Communist Party of China The star symbolizes red with yellow, and the earth is bright. One star is larger, its circumscribed circle diameter is 3 / 10 of the flag height, which is on the left; the four stars are smaller, and their circumscribed circle diameter is 1 / 10 of the flag height, and they are circled on the right side of the big star, and each has an angle point facing the center of the big star, which expresses the aspiration of hundreds of millions of people to the great Communist Party of China, just like the northern star. The flagpole cover is white to distinguish it from the red flag.
On September 29, 1949, the people's Daily published the pattern of the new national flag and the explanation of its making method, which were provided to all walks of life for making and using.
On October 1, 1949, the first national flag of the people's Republic of China was first raised by Mao Zedong in Tiananmen Square.

===C Symbolism of the flag===
The red flag of the people's Republic of China symbolizes revolution. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party. Yellow is used to show light on the red ground. Yellow is brighter and more beautiful than white. Each of the four small Pentagram stars has a point facing the center of the big star, which means that they are united around a center and are compact and beautiful in form.

=== Terms and expressions ===

五星红旗 five-star red flag

中国共产党 the Communist Party of China(CPC)

全国政治协商会议 the Chinese People's Political Consultative Conference(CPPCC)

《人民日报》 People's Daily

《解放日报》 Jiefang Daily

《新华日报》 xinhua Daily

=== Questions ===

1. Who designed the national flag of the people's republic of China?

2. When did the national flag of the people's republic of China come into being?

3. What does the red color mean on the national flag of the people's republic of China?

4. Is there any profound meaning of the five stars on the national flag of the people's republic of China?

5. Is there any symbol meaning of the people's repuclic of China?

=== Answers ===

1. Zeng Liansong is the designer of the national flag.

2. On September 27, 1949

3. The red color of the people's Republic of China symbolizes revolution.

4. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party.

5. The red flag of the people's Republic of China symbolizes revolution. Each of the four small Pentagram stars has a point facing the center of the big star, which means that they are united around a center and are compact and beautiful in form.

=== References ===

[1] Barnabas Cristóbal. Constitution of the People's Republic of China[J]. 2011.

[2] Surhone L M , Timpledon M T , Marseken S F , et al. National Emblem of the People's Republic of Chcina[J]. 2010.

[3] Surhone L M , Timpledon M T , Marseken S F , et al. National Emblem of the People's Republic of China[J]. 2010.

[4] 高军. 中华人民共和国国旗的符号学浅析[J]. 美术教育研究, 2012, 000(011):46-47.

[5] 王哉. 五星红旗是怎样设计出来的——曾联松设计中华人民共和国国旗始末[J]. 山东农机化, 2016, 000(005):49-50.

[6] 霞飞. 中华人民共和国国旗诞生始末[J]. 党史文苑(7期):4-11.

[7] 中央档案馆. 中华人民共和国国旗国徽国歌档案[M]. 中国文史出版社, 2014.

==China's Four New Inventions -Wu Qiong 吴琼 202070080644 MTI 英语口译==

Most people must have known about China's Four Inventions: gunpowder, paper-making, compass, and printing. Those represented how wise the Chinese was and how brilliant history China had. Today, China still holds the places and influence in technology and inventions. In May,2017, teenagers from 20 nations along the Belt and Road selected China's four new inventions: high speed railway, QR code payment, sharing bikes and online shopping. Though these new inventions are not first invented by China, but it is China that makes full use of them, and introduces them to the rest of the world. The four new inventions bring incredible changes and convenience into people's life. China, at the same time, makes contributions to the development of the human beings. World's future will be bright and prosper due to more technologies and inventions such as China's Four New Inventions.

===A. High-speed railway ===

High-speed railway is a railway system with advanced design and high-speed rails run on it. The world's first official high-speed rail system is the Tokaido Shinkansen line and it goes into public in 1964, connecting the three major metropolitan circles of Japan: Tokyo, Nagoya and Osaka. The high speed railway has promoted the rapid development of Japan. Its designed speed is 200km/h, which then becomes the initial speed standard of high-speed rail. Later, with the advancement of technology, the speed of trains became faster. Different countries have different definitions of high-speed railways in different eras. According to statistics, the length of high-speed railways in operation in China has reached to more than 6,800 kilometers. China has become the country with the most comprehensive high-speed railway system technology, the strongest integration capability, the longest operating mileage, the highest operating speed, and the largest scale of construction in the world.(东海道新干线のバイパス[J].中央新干线委员会 [[File:Tokaido Shinkansen line.JPEG|600px|thumb|right|Tokaido Shinkansen line]]

====Features====

1. High-speed railways are very smooth to keep safety and comfort. With all seamless steel tracks, and a speed of more than 300 kilometers per hour，they use ballastless tracks, that is, a monolithic track bed without stones to maintain smoothness.

2. The high-speed railway has few bends, as the bend is of long radius, and the turnouts are all moveable high-speed turnouts.

3. Use a large number of viaducts and tunnels to ensure ride comfort and shorten the distance.

4. The catenary of the high-speed railway suspends the wires on the top of the train and is also different from that of ordinary railways to keep stability and durability of the high-speed EMUs

5. The signal control system of high-speed railways is higher than that of ordinary railways, because of the frequent departure and high speed of rails, it should be of high safety. (科普中国,2020)

====Merits====

1. Large passenger capacity. Generally, high speed rails can accommodate 600 people. Compared to other public tools such as bus, boat or airplane, high speed rails have more seats.

2. Less time-consuming. In addition to the maximum operating speed, passengers are more concerned about travel time. High speed rails will not operate in late night, so passengers can get off the rails almost in daytime, thus to finish their business or other private matters which helps save a lot of time.

3. Good safety. Due to the automatic operation of high-speed rails in a fully enclosed environment and a series of complete safety guarantee systems, thus no other transportation means can be matched with it. Since the advent of high-speed railway 35 years ago, Japan, Germany, and France have already transported 5 billion passengers. Although there have been major traffic accidents on high-speed railways, the accident rate is much lower than that of civil aviation and is almost negligible. It is still the safest transportation system.

4. High punctuality. All high-speed railways adopt automatic control and can operate around the clock unless there is an earthquake.

5. Comfortable and convenient. High speed rails have spacious and comfortable seats, stable operation, shock absorption, sound insulation, and quiet environment.

6. Low energy consumption. High-speed trains use electric traction, do not consume precious petroleum and other liquid fuels, and use various forms of energy, which is not a wasteful transportation mean.(Kang Tianchi 2018)

'''Terms and Expressions'''

High speed railways高速铁路 the Tokaido Shinkansen line东海道新干线[[File:highspeedrail.JPEG|600px|thumb|right|High speed rail]]

the three major metropolitan circles of Japan: Tokyo, Nagoya and Osaka.日本三大都市圈: 东京、名古屋和大阪

integration capability整合能力 operating mileage运营里程.

seamless steel tracks无缝钢轨 ballastless track无砟轨道

a monolithic track bed整体式道床 moveable high-speed turnouts.可动心高速道岔

viaducts and tunnels高架桥梁和隧道 high-speed EMUs.高速动车组

shock absorption and sound insulation减震隔音 petroleum and other liquid fuels石油等液体燃料

'''Questions'''

1. Where does the first high speed railway come from?

2. What is the name of the first high speed railway?

3. What is the advantages of high speed railway?

4. What are the features of high speed railway?

5. Which transportation carries more passengers, high speed rails or trains?

6. From Changsha to Shanghai, which transportation means will you choose?

'''Answers'''

1. The first high speed railway come from Japan

2.The name of the first high speed railway is Tokaido Shinkansen line.

3.The advantages of high speed railways are fast, smooth, safe and comfort.

4. The features of high speed railway viaducts and tunnels and signal control system.

5. High-speed rails carries more passengers.

6. High-speed rails.

===B. QR code payment===

The QR code payment model is based on the concept of mobile payment, and the first batch of payments made by mobile devices occurred in Finland in 1997. Finnish local media reported that Finland Telecom has enabled the service of operating jukeboxes and beverage vending machines by dialing a pay phone number. This service allows you to buy Coca-Cola at Helsinki Airport. The QR code, also known as "two-dimensional code" was invented in 1994 by the Japanese company DW. and nowadays, we usually use Alipay or WeChat pay to finish the process of payment.

====Background====

The rise of QR code payment methods in China is not occasionally. It is mainly related to the rapid development of IT technology and the rapid advancement of e-commerce. The maturity of IT technology has promoted the birth of mobile terminals such as smart phones and tablet computers, which makes people's mobile life more colorful. At the same time, domestic e-commerce is also closely related to "mobile", especially the development of O2O. With a large number of mobile devices and a large amount of mobile consumption, payment costs have become particularly critical. Therefore, QR code payment solutions came into being. (China's Four New Inventions 2018)

====Characteristics====

At the end of 2010, QR codes and related technologies were widely circulated on the Internet, marking the beginning of the widespread popularity of QR codes in China. The popularity of any thing must have its reasons, and so is QR code payment. [[File:Alipay.JPEG|500px|thumb|right|Alipay]]

1. Mature technology
QR code payment already has mature technical means in developed areas abroad, which has laid the foundation for the development of domestic QR code technology, and it is believed that it will quickly become popular.
2. Easy to use
After the user installs the QR code recognition software, the transaction can be completed by simply swiping the place where the QR code is posted.
3. Convenient payment
With the QR code payment method, merchants do not have to bear high cost payments such as cash on delivery, and consumers can also make real-time payments anytime, anywhere.
4. Lower cost
Due to the maturity of technology and the popularization of mobile devices, the cost of QR code payment has become very low. (科普中国，2020）

'''Terms and Expressions'''

QR code (Quick Response code)快速反应码

Finland芬兰 Telecom电信

jukebox点唱机 beverage vending machine饮料自动售货机

Helsinki Airport 赫尔辛基机场

'''Questions'''

1. What advanced the birth of QR code?

2. When did the QR code become popular in China?

3. Why does QR code cost lower?

4. When was the QR code invented?

'''Answers'''

1. The maturity of IT technology advanced the birth of QR code.

2. At the end of 2010, QR code become popular in China.

3. Merchants do not have to bear high cost payments such as cash on delivery.

4. QR code invented in 1997.

===C. Shared bikes===

As early as 1965, the Municipal Government of Amsterdam in the Netherlands proposed the "White Plan". According to the plan, the government purchased 50 bicycles and painted them with white paint as a sign and scattered them around the city for people to use. This was the earliest in the world. The unmanned shared bicycle system is invented by the Netherlands. In 2007, France also had free cycling, and it was only later that China became popular and innovative models developed and promoted overseas.

====Function and Using Steps ====

By providing services on campuses, subway stations, bus stations, residential areas, commercial districts, public service areas, etc., bicycle-sharing (bicycle) companies complete the ”last mile“ in the transportation industry and drive residents' enthusiasm for using other public transportation. Produce synergy with other public transportation methods. Shared bicycles are a time-sharing lease model and a new type of green and environmentally friendly sharing economy. (Du Yuheng, Han Wei, Kou Jingli, China Statistics 2018)

1. Find a free shared bike, download the bike sharing app, pay a deposit, and enter your password to use the bike.[[File:shared bike.JPEG|500px|thumb|right|Shared bike]]

2. Use the app to find the nearest shared bike, click on the "Use Bike Now" button and enter a set of numbers on the bike to use the bike.

3.Download the bike sharing app, find the vacant bikes, click the "Use Bike Now" button, get a set of numbers, and enter a set of numbers on the bike to use the bike.

====Development====

China's bike-sharing market has gone through three stages of development. The first phase is from 2007 to 2010. The public bicycle model that has emerged from abroad is introduced into the country, and the government will lead the management in different cities, mostly with piled bicycles. 2010-2014 is the second stage. Companies specializing in the bicycle market began to appear, but public bicycles are still dominated by piled bicycles. The third phase is from 2014 to 2018. With the rapid development of the mobile Internet, Internet shared bicycles led by Mobike came into being, and more convenient dockless bicycles began to replace docked bicycles. (Du Yuheng, Han Wei, Kou Jingli 2018)

'''Terms and Expressions'''

Amsterdam阿姆斯特丹 the unmanned shared bicycle system 无人管理的共享单车系统

free cycling 单车自由行 residential areas 居民区

last mile ”最后一公里“ green and environmentally friendly economy 绿色和环境友好型经济

the first phase第一阶段 dockless bicycles无桩单车

'''Questions'''

1. Which country invented the shared bike?

2. What is the main purpose for the invention of shared bike?

3. How many phases at present have the shared bikes experienced?

4. How's the prospect of the shared bikes?

'''Answers'''

1. Netherlands invented the shared bike.

2.To complete the ”last mile“ in the transportation industry and drive residents' enthusiasm for using other public transportation

3. There are three phases at present have the shared bikes experienced

4. With the development of the four new inventions, the shared bikes will be more and more developed.

===D. Online shopping===

Online shopping belongs to the category of e-commerce. In 1979, the British Michael Aldrich invented the concept of online shopping. Aldrich used a technology called Videotex to connect an ordinary TV set to the computer of a local retailer through a telephone line. By the 1990s, after Amazon and eBay launched their websites in 1995, e-commerce became popular around the world.

====Definition====

Retrieve product information through the Internet, and send a shopping request through an electronic order form, and then fill in a personal checking account or credit card number. The manufacturer will ship the goods by mail order or deliver the goods to the door through a courier company. For online shopping in China, the general payment method is cash on delivery (direct bank transfer, online remittance) and cash on delivery for secured transactions. (科普中国 2019） [[File:Online Shopping.JPEG|600px|thumb|right|Online Shopping]]

====Development====

As early as 1999, Chinese Internet prophets began to build B2C websites, dedicated to promoting online shopping in China. But this approach was generally questioned by the economics community at that time. (Will there be enough consumers shopping online? Can online shopping solve the problem of logistics and distribution? Can online shopping solve the problem of online payment?) However, in the future, these doubts will all go away. They have been solved by large shopping websites, courier companies other than postal services, and many third-party online payments that connect with major banks.

With the development of the economy, online shopping has gradually reappeared. In 2005, Dangdang achieved annual sales of 440 million yuan, a figure that greatly exceeded the expectations of most investment institutions two or three years ago. This number proves the success of the Amazon (famous e-commerce website) model in China, as well as the over-pessimism of economists and the greatness of market forces.

With the popularity of the Internet, the advantages of online shopping have become more prominent, and it has increasingly become an important form of shopping. The 29th Statistical Report on Internet Development in China released by the China Internet Network Information Center (CNNIC) in January 2012 shows that as of the end of December 2011, the number of Internet users in China reached 513 million, with 55.8 million new Internet users throughout the year; The penetration rate increased by 4 percentage points from the end of last year, reaching 38.3%. The number of mobile Internet users in China reached 356 million, a year-on-year increase of 17.5%. Compared with previous years, the growth of China's overall Internet users has entered a platform period.（Han Yuanjia 2017）

'''Terms and Expressions'''

retrieve product information检索商品信息 a courier company快递公司

direct bank transfer直接银行转账 online remittance在线汇款

secured transactions担保交易 cash on delivery货到付款 logistics and distribution 物流配

'''Questions'''

1. What are people concerning about before the online shopping came true?

2. How could people pay online?

3. How was the situation in the previous economic field?

'''Answers'''

1. Will there be enough consumers shopping online? Can online shopping solve the problem of logistics and distribution? Can online shopping solve the problem of online payment?

2. the general payment method is cash on delivery (direct bank transfer, online remittance) and cash on delivery for secured transactions.

3. The manufacturer will ship the goods by mail order or deliver the goods to the door through a courier company.

===References===

中国“新四大发明”(2018).时代英语. English Times.

Wu Fangyi 吴方意.(2019).浅谈中国古代四大发明与大一统性[An Introduction to the Four Great Inventions of Ancient China and Grand Uniformity].西部学刊, Western Journal (16):133-136.

Kang Tianchi 康天驰.(2018).中国“新四大发明”“走出去”研究[Research on China's "Four New Inventions" and "Going Global].知识文库,Knowledge Library (11):244.

Du Yuheng, Han Wei, Kou Jingli 杜禹珩,韩伟,寇京丽.(2018).中国新四大发明之共享单车[China's New Four Inventions of Bicycle Sharing].中国统计,China Statistics.(03):77.

Han Yuanjia 韩元佳.(2017). 看“新四大发明”如何讲述中国奇迹?[See how the "Four New Inventions" tell the story of China's miracle?].创新时代,The Age of Innovation. (12):28-29.

Wanying Xie,Zeshui Xu,Zhiliang Ren. An Analysis on the Influence of Chinese “New Four Inventions” Under the Incomplete Hybrid Probabilistic Linguistic Environment[J]. International Journal of Fuzzy Systems,2019,21(5).

Zhou Yixiang 周一翔.(2017).The “New Four Great Inventions” of China Impact on the World.校园英语,Campus English(52):255.

Deborah Strumsky,José Lobo. Identifying the sources of technological novelty in the process of invention[J]. Research Policy,2015,44(8).

东海道新干线のバイパス[J].中央新干线委员会

==Wu Yilu 吴一露 202070080610==
===Four Domestic Mobile Phones===

===A.Huawei===

Huawei is probably the name that needs no introduction among all the Chinese phone manufacturers. “It's the world's second largest smartphone company, and it's at the center of an international battle for technological dominance between Beijing and Washington.” (Sareena Dayaram, 2020)

Founded in 1987, Huawei focuses on providing information and communications technology (ICT) infrastructure and smart devices. With more than 194,000 employees, this company operates in more than 170 countries and regions, serving more than three billion people around the world. Huawei is a private company wholly owned by its employees. It means no government agency or outside organization holds shares in Huawei. (Huawei Device Co., Ltd, 2020)

Their vision and mission is to bring digital to every person, home and organization for a fully connected, intelligent world. (Huawei Device Co., Ltd, 2020) The benefits of digital technology shouldn't just be available to those who can afford it. Huawei's mission is to expand the benefits of technology to everyone, everywhere. To achieve this, they've developed a digital inclusion strategy that focuses on three areas: technology, applications, and skills. For example, three main world-changing technologies built by Huawei are 5G, Huawei cloud and Huawei AI.

"Staying customer-centric and creating value for customers" are the company's common values. (Huawei Device Co., Ltd, 2020) The company has a well-developed internal governance structure, under which all governance bodies have clear and focused authority and responsibility, but operate under checks and balances. This creates a closed cycle of authority and achieves rational and cyclical succession of authority, so as to drive the facilitation and implementation of the company's common values.

[[File:Corporate Governance Structure.jpg|650px|thumb|middle|Diagram of Huawei Corporate Governance. Click [https://www-file.huawei.com/-/media/corporate/images/about-huawei/2020/corporate-governance-structure-18en.png?la=en-us/File:Corporate Governance Structure.jpg] for original source.]]

Huawei is continuing to focus on research and innovation to seize the opportunities and address the challenges of the future intelligent world. There are many innovations and inventions of Huawei to drive the industry forward, including advanced wireless networks, optical networks, intelligent O&M, AI computing, smartphone camera, media CODEC standards, software, trustworthiness and so on. From this we can find that the main business of Huawei is communication stations，while that of Apple is consumer electronics. Today, Huawei have entered the 5G ear and embarked on 6G research. It is exploring new directions for 6G. To this end, they began research into the basic theories of 6G and initiated extensive open collaboration projects with other industry players and pushed the industry to build a consensus on 6G. (Huawei Device Co., Ltd, 2020)

Since the top executive (the daughter of the company's founder) Meng Wangzhou was arrested in Canada for an alleged violation of US sanctions with Iran, this telecommunication giant, which was unknown to most American, appeared frequently in newspapers, especially since the US Commerce Department banned American companies from doing business with Huawei without first obtaining a license. (Sareena Dayaram,2020)

For Huawei, that meant it could lose access to crucial technological parts including semiconductors, which are key components used in its base stations and phones. It also meant Huawei's handsets cannot use Google's Android operating system, which provides several popular apps including the Google Play store, Gmail, Google Maps and apps that rely on Google like Uber and eBay. (Sareena Dayaram,2020) The Mate 30 was Huawei's first major phone to launch without Google's proprietary apps. All people thought this would decrease Huawei’s sale. Of course, it does. But the company reported first-half earnings showing revenue grew more than 13% from a year ago to around $65 billion.

===Terms and Expression===

Huawei cloud 华为云 Intelligent Collaboration 协同管理技术

optical networks 光纤网络 Carrier Network 承载网络

intelligent O&M 智能委托运营 the Kunpeng 920 鲲鹏920

AI computing 人工智能计算 AppGallery 华为应用程序库

information and communications technology (ICT) 信息与通讯技术 Media CODEC standards 编解码标准

===Questions:===

1.When is Huawei founded?

2.How many countries and regions does Huawei operate?

3.Do government agency and outside organization hold shares if Huawei?

4.What is the vision and mission of Huawei? And what do they do to achieve this mission?

5.What are the three main world-changing technologies built by Huawei?

6.What are the innovations and inventions of Huawei?

7.What are the company’s common values?

8.What makes that the telecommunications giant frequently was mentioned across newspapers?

9.Which phone is the first major phone launched without Google’s proprietary apps？

10.What’s your opinion towards these two issues mention above? Will these hinder the development of Huawei?

===Answers:===

1. It is founded in 1987.

2. It operates in more than 170 countries and regions

3. No, no government agency or outside organization holds shares in Huawei.

4. Their vision and mission is to bring digital to every person, home and organization for a fully connected, intelligent world; their mission is to expand the benefits of technology to everyone, everywhere. To achieve this, they've developed a digital inclusion strategy that focuses on three areas: technology, applications, and skills.

5. 5G, Huawei cloud and Huawei AI.

6. Advanced wireless networks, optical networks, intelligent O&M, AI computing, smartphone camera, Media CODEC standards, software, trustworthiness and so on.

7. "Staying customer-centric and creating value for customers" are the company's common values.

8. ①Top executive (and daughter of the company's founder) Meng Wangzhou was arrested in Canada for an alleged violation of US sanctions with Iran.

②the US Commerce Department banned American companies from doing business with Huawei without first obtaining a license.

9. The Mate 30.

10. In my opinion, these are totally unfair to Huawei, as well as China’s companies and economy. The Meng Wanzhou case is a serious political incident orchestrated by the United States to suppress Chinese high-tech companies and Huawei. It is also a kind of protectionism, which is divorced from the trend of globalization. We cannot deny that those actions will hinder the development of Huawei, specially some necessary chips. Although Huawei made preparation in advance, the core products are guaranteed to be available for six months to two years. In addition, Huawei has self-developed a large number of chip designs. But the following three areas are difficult to replace in the short term: manufacturing, semiconductor equipment and EDA software. On the one side, these issues, obviously, will obstruct the development of Huawei, but on the other side, they also promote the process of autonomy of domestic chips.

===References===

Sareena Dayaram, Huawei, OnePlus and beyond: China's biggest smarthone brands you should know about, https://www.cnet.com/news/huawei-oneplus-china-biggest-smartphone-brands-you-should-know-about-lenovo-meizu-xiaomi-oppo-vivo/, 2020.

Huawei Device Co., Ltd, https://consumer.huawei.com/en/about-us/, 2020

===B. Xiaomi===

Xiaomi is one of China's earlier homegrown success companies. It is an internet company with smartphones and smart hardware connected by an IoT platform at its core. Founded in April 2010 and listed on the Main Board of the Hong Kong Stock Exchange on July 9, 2018, Xiaomi has matured into one of China's domestic champions. (Xiaomi, 2020)

With the vision of being friends with its users and being the “coolest company” in the hearts of its users, Xiaomi is committed to continuous innovation, with an unwavering focus on quality and efficiency. Xiaomi is currently the world's fourth-largest smartphone brand, and has established the world's largest consumer IoT platform, with more than 213.2 million smart devices (excluding smartphones and laptops) connected to its platform--- Xiaomi Vela.(Xiaomi, 2020)

[[File:Xiaomi-logo.jpg|100px|thumb|left|Xiaomi-logo. Click [https://https://upload.wikimedia.org/wikipedia/commons/thumb/2/29/Xiaomi_logo.svg/800px-Xiaomi_logo.svg.png/File:Xiaomi-logo.jpg] for original source.]]

Currently, Xiaomi products are present in more than 90 countries and regions around the world and have a leading foothold in many markets. The "MI" in its logo stands for “Mobile Internet”.(Xiaomi,2020) It also has other meanings, including "Mission Impossible", because Xiaomi faced many challenges that had seemed impossible to defy in its early days.

“Just for fans”--- that’s Xiaomi’s belief. Many of their employees were initially fans of Mi products, before they decided to join them. The company relentlessly builds amazing products with honest prices to let everyone in the world enjoy a better life through innovative technology. “This low-margin strategy has helped Xiaomi cultivate a loyal fan base, especially in price-sensitive countries in Asia like India, where its slick Android phones often sell out within hours of release.” (Sareena Dayaram,2020)

Besides selling phones, Xiaomi also generates its revenue from the sale of software and services. It also sells a portfolio of its own smart products including bedside lamps and air purifiers to help build its Mi brand internationally. But, Xiaomi also learns from many of its rivals to sell more expensive phones “This strategy seems to have paid off, with the company reporting nearly 14% revenue growth in the first quarter despite the business challenges of the coronavirus pandemic.” (Sareena Dayaram,2020) While Samsung and Apple have both warned of a challenging year ahead.

“The investment in the world’s fastest-growing mobile market, where over 300,000 people power up their first smartphone every day, has made Xiaomi India’s bestselling smartphone brand for three years running. In 2020 so far, it has sold 29 million phones, 2 million more than in China, to control a full quarter of India’s smartphone market.”(Emon Barrett & Grady Mcgregor, 2000) Another reason for its success is that when Xiaomi offered 4G services，while competitors like Samsung，Microsoft，and Indian brand Micromax were still stuck on 3G. But it does face one strong headwind: Indian consumers’ anti-China sentiment. A border skirmish between Indian and Chinese military forces in June ignited boycotts of Chinese goods. Prime Minister Narendra Modi’s nationalist government keeps stoking the backlash, which means Xiaomi’s trajectory on the subcontinent may depend on whether the roots it planted in India qualify the brand as Indian enough.

===Terms and Expression===

IoT（Internet of Things）物联网 robot vacuums 机器人吸尘器

Xiaomi 小米 powerbank 充电宝

VR glasses 虚拟现实眼镜 UAV(Unmanned Aerial Vehicle) 无人机

electric scooters 电动平衡车 WiFi rooters 无线路由器

===Questions:===

1.When is Xiaomi founded?

2.What is the core of this company？

3.What’s Xiaomi’s ranking in the world’s smartphone brands？And what are the top 4 smartphone brands？

4.What does the "MI" in its logo stand for？

5.What is Xiaomi’s belief？

6.What has helped Xiaomi cultivate a loyal fan base？

7.How does Xiaomi generate its revenue？

8.What problem does Xiaomi confront in India？and Why？

9.What’s your opinion about the future of Xiaomi in Indian market？

===Answers===

1. It is founded in April 2010.

2. The IoT platform.

3. Xiaomi is currently the world's fourth-largest smartphone brand. The top four smartphone brands are Apple, Huawei, Samsung and Xiaomi.

4. Xiaomi Vela.

5. It stands for “Mobile Internet” and "Mission Impossible".

6. “Just for fans”--- that’s Xiaomi’s belief.

7. The low-margin strategy.

8. Xiaomi generates most of its revenue from selling phones, but recurring revenue from the sale of software and services.

9. Indian consumers’ anti-China sentiment. Because a border skirmish between Indian and Chinese military forces in June ignited boycotts of Chinese goods, and then Prime Minister Narendra Modi’s nationalist government keeps stoking the backlash
10.What’s your opinion about the future of Xiaomi in Indian market？
Although we can find that Xiaomi made instant reaction to confront with this boycott by telling local media that Xiaomi was “as Indian as any other company here” , competitors like Samsung, took this chance and began flooding India with phones that could compete with Xiaomi’s features and affordability. So only if the relationship between China and India become better or Xiaomi figures a new way, otherwise, Xiaomi’s market in India will shrink gradually.

===References===

Emon Barrett & Grady Mcgregor,How Chinese phonemaker Xiaomi conquered India—and outperformed Apple, https://fortune.com/2020/12/03/xiaomi-china-phones-apple-mobile-iphone/, 2020.

Sareena Dayaram, Huawei, OnePlus and beyond: China's biggest smarthone brands you should know about, https://www.cnet.com/news/huawei-oneplus-china-biggest-smartphone-brands-you-should-know-about-lenovo-meizu-xiaomi-oppo-vivo/, 2020.

Xiaomi, About Us, https://www.mi.com/global/about/, 2020.

===C. VIVO & OPPO===

Have you ever heard about VIVO? If not, then how about its older and larger sibling OPPO. Although OPPO and VIVO aren't household brands in the West, both have vaulted up the global rankings to place within the top six smartphone manufacturers in a comparatively short period of time, due partially to the popularity of their affordable phones among young consumers. (Sareena Dayaram,2020) These two Chinese phone-makers, with similar marketing strategies like Xiaomi, use high-profile product placement and sponsorships to win over European shoppers. Besides, OPPO and VIVO smartphones are always in eye-catching glossy colors which looks good, but it’s plastic and light.So there is still much room for improvement for these two brands.

Are VIVO and OPPO same? If you didn’t know these two brands, you may say no. But yes, even though OPPO and VIVO stress that they're competitors, both companies were spun out of the same parent company. OPPO and VIVO share the same parent company mainly known as BBK Electronics Corporation (Headquarters at Dongguan, Guangdong – China). BBK Electronics Corporation is a Chinese multinational firm specializing in electronics such as television sets, MP3 players, digital cameras and cell phones too. “BBK Electronics is also considered as the world’s 2nd-largest phone manufacturer company, which manufactures some of the fastest growing smartphones brands in Asia.” (Anchit Sharma, 2019) They recently got popular in developing countries of Asia such as India, Pakistan, Bangladesh and also in developed countries like China itself.

At the 2020 Developer Conference, Color OS 11 launched by OPPO focuses on personalized creation, seamless experience, and sensory invigoration. While the Origin OS launched by VIVO carried out subversive innovations mainly in UI design. The OPPO Developer Conference focuses on the integration of people, equipment and scenes. (OPPO, 2020) VIVO’s mission is to make their consumers’ lives extraordinary through introducing innovative technology and being a trendsetter.(vivo Mobile Communication Co., Ltd. , 2020)

With the development of 5G, the interconnection of everything is the most significant trend. Both OPPO and VIVO have demonstrated cross-device synergy in the OS upgrade, and they also attach great importance to the construction of the IoT ecosystem. There are 6 research and development centers of VIVO working on leading technologies: Beijing, Nanjing, Hangzhou, Dongguan, Shenzhen and San Diego (USA), and 4 global manufacturing bases delivering premium quality products: Dongguan, Chongqing, India and Republic of Indonesia. (vivo Mobile Communication Co., Ltd. , 2020)

===Terms and Expression===

OS 操作系统（operating system） VOOC 闪充

BBK 步步高 Fingerprint unlocking 指纹解锁

accessories 配件 octa-core processor 八核心处理器

===Questions:===

1.What’s the relationship between OPPO and VIVO？

2.What are the characteristics of OPPO and VIVO smartphones？

3.Where is the headquarter of BBK Electronics Corporation？And what is it specializing in？

4.Where are the major markets of BBK Electronics Corporation？

5.Please give a example of products from each brands.

6.What does the OPPO Developer Conference focus on？

7.What’s the mission of VIVO？

8.How many research and development centers does VIVO have？And where are they？

9.How many global manufacturing bases does VIVO have？ And where are they？

--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 15:50, 4 December 2020 (UTC)

===Answers===

1. They're competitors, but they were also spun out of the same parent company.

2. Affordable and eye-catching glossy colors.

3. The headquarters locates at Dongguan, Guangdong, China. It specializing in electronics such as television sets, MP3 players, digital cameras and cell phones too.

4. Developing countries of Asia such as India, Pakistan, Bangladesh and also in developed countries like China itself.

5. OPPO: Color OS 11;VIVO: Origin OS.

6. It focuses on personalized creation, seamless experience, and sensory invigoration.

7. VIVO’s mission is to make their consumers’ lives extraordinary through introducing innovative technology and being a trendsetter.

8. 6 research and development centers. They are in Beijing, Nanjing, Hangzhou, Dongguan, Shenzhen and San Diego (USA).

9. 4 global manufacturing bases. They are in Dongguan, Chongqing, India and Republic of Indonesia.

===References===

Anchit Sharma, The Company behind OPPO, VIVO, OnePlus and Realme Smartphones is same?,https://www.techworm.net/2019/06/company-oppo-vivo-oneplus-realme.html,2019.

vivo Mobile Communication Co., Ltd. , https://www.vivo.com/in/about-vivo/culture, 2020.

OPPO, https://www.oppo.com/en/about/, 2020.

==Chinese Dialects Wu Zijia 吴子佳 202070080645 MTI 英语口译==

===A.Brief introduction of Chines dialects===

The words topolect and hibernation, all comes from Yangxiong (53-18), "Interpretation of Foreign Dialects: Light Xuan“in the Han dynasty. "Dialect" refers to different meanings in different groups, according to the Chinese , "dialect " is both a political concept and a linguistic one, and it is also known as "Vernacular ". "Accent", refers to the difference in the language standard of a certain region, such as relationship between relatives regardless of the language."Dialect",however, is a linguistic concept in Europe, subordinating under the concept of"language" at the beginning of the eighteenth century. Based on the relationship between the language (pronunciation, vocabulary and grammar),it is divided into family, group, branch and language.Considering the special national situation of China, The translation of "Chinese dialects" into English is "Varieties of Chinese".According to the European , dialect is a language that differs from the standarded language and is spoken in only one certain region.( Julie M. Groves 2008,1)

China enjoys a vast field and a long history. In the process of historical development, different divisions and unification inevitably occurred in the society, which led to the gradual emergence of diverse and complex dialects system in Chinese. There are many factors contributing to the evolution of dialect, including social, historical and geographical factors, as well as the language itself.
According to the dialects, Chinese is divided into two categories: the official dialects and the nine local dialects. Official dialects ,namely modern Chinese, are not independent dialects, because they are very similar in pronunciation, vocabulary and grammar to the common language. Other regional dialects differ greatly in pronunciation, vocabulary and grammar, thus forming their own dialect systems. The official dialects include northeast Mandarin, Beijing mandarin, Ji Lu mandarin, Jiao-Liao mandarin, Central Plains mandarin, Lan-Yin mandarin, Southwest Mandarin and Jianghuai mandarin. The nine local dialects include Wu dialect, Cantonese, Fujian dialect, Hunan dialect, Hakka, Gan dialect, Hui dialect, Jin dialect and Pinghua.(Li Rong 1989,241)

===B.Hunan dialect===

Xiangyu , also known as xiang dialect or Hunan dialect, belongs to the sino-tibetan language, and is the main language used by the hunan people who live in xiangjiang river basin and its branches. Xiangyu is divided into two categories: new Xiangyu and The old Xiangyu. The new Xiangyu is represented by Changsha dialect while the old one is represented by Shuangfeng dialect.The core area of ancient Chu language is located in the middle reaches of Yangtze River, and Chu language is the ancestor language of Xiang language. Modern Xiangyu speakers are mainly distributed in a considerable part of Hunan province in Mainland China, including Changsha, Zhuzhou, Xiangtan, Yueyang, Yiyang, Loudi, Hengyang, Shaoyang, Yongzhou and so on. In 2010, the number of Xiangyu-speaker was estimated to be about 45 million. The regional dialects of Hunan province include Hunan, Southwest Official, Gan, Hakka, and Xiangxiang, southern Hunan dialect, which have not yet been classified as belonging to the dialect. Xiangyu is the main dialect of Hunan Province. Hunan province is a region that has diverse dialects. (Peng Jianguo 2006,25)

The chu dialect ,namely Chu Yan (ancient Chu language), is popular in Chu in the pre-Qin period, and it is the most ancient origin of Xiang language. The specific appearance of ancient Chu language cannot be verified today, but it is the earliest language used by the Han people in Hunan and along the Xiangjiang river. The word "Chu Yan" first appeared in Zuo Zhuan, indicating that the Chu Yan had been formed at least in the late Spring and Autumn Period, and was a branch of Chinese language,and was different from the Central Plains Yayin XiaYan at that time.There are 20-35 initials of Xiangyu, 30 to 40 finals, 5-7tones,commonly with 6.(Peng Jianguo 2006,26)

===C. Contonese===

Yueyu ,or Cantonese, Guangdong dialect and Tang dialect, is commonly known as "baihua".It is a Chinese dialect in the Chinese-Tibetan Chinese language family. Cantonese is the mother tongue of the Guangfu nationality, an important carrier of the Guangfu culture of the Han nationality, and one of the basic symbolic cultural identities of the Guangfu nationality. Cantonese has a complete language system consisting of nine tones and six volumes of tones, retaining many characteristics of Middle Ancient Chinese . Besides Putonghua, it is the only Chinese language that has been studied independently by foreign universities. (Julie M. Groves 2008,2)

As for the origin of Cantonese, there are different opinions.Some says that it originated from the Northern Mid-plain dialect and others the Chu language from the State of Chu. Cantonese is one of the southern dialects that retains more middle Ancient Chinese elements than other dialects, among which the most prominent feature is that it relatively retains the universal middle Ancient Chinese "Ru Sheng", and its initials, finals and tones have a good correspondence with the ancient Chinese standard rhymes in"Qu Yun" and "Guang Yun".(Julie M. Groves 2008,25)

Mandarin is a dominant language in Guangdong province, and the most dominant dialect is Cantonese. Hakka dialect and Fujian dialect are the other two major Chinese dialects with great influence in the province. Hakka dialect is mainly concentrated in the northeast and north of Guangdong province, and hakka dialect is also distributed in parts of western Guangdong province. Hakka villages are scattered in most parts of the province, and the number of people using this dialect is about 20 million. (Julie M. Groves 2008,60)

Fujian dialect is mainly distributed in the coastal area of the southwest and southeast of Guangdong province ,including 6 municipalities:Chaozhou, Shantou, Jieyang, Shanwei, Zhanjiang, Maoming ,and it can be divided into to language-speaking areas: they are , Chaoshan and Leizhou .The former shares some similarities with the south Fujian dialect , while the later is close to Hainan dialect.In addition, there are 18.95 million people living in some islets in Zhongshan,Huizhou, Qingyuan, Shaoguan taking Fujian dialect as their official language.(Julie M. Groves 2008,60)

===Question===

1.How many local dialects in China?

2.What are they?

3.What is the origin of the Xiang dialect.
--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 08:23, 9 November 2020 (UTC)Wu Zijia

===Answers===
1.9

2.Wu dialect, Cantonese, Fujian dialect, Hunan dialect, Hakka, Gan dialect, Hui dialect, Jin dialect and Pinghua

3.The Chu language

===References===

* Peng Jianguo 彭建国(2006)．《湘语音韵历史层次研究》.[ A Study on the Historical perspective of Xiang Phonology].”湖南大学出版社”[Hunan University Press]．25-26.

* Li Rong 李荣(1989).汉语方言的分区.[The division of Chinese dialects] (04)：241-259.

* Julie M. Groves (2008).Language or Dialect—or Topolect? A Comparison of the Attitudes of Hong Kongers and Mainland Chinese towards the Status of Cantonese .SINO-PLATONIC PAPERS.1-60.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 14:27, 20 December 2020 (UTC)Wu Zijia

==Xiao Shuangling 肖双玲 202070080611 MTI 英语笔译==

===March of the Volunteers (National Anthem of the People's Republic of China)===

===A. Brief Introduction===

March of the Volunteers is a song composed by Tian Han and Nie Er. It is the theme song of the film Children of Troubled Times, known as the clarion call of the Liberation of the Chinese nation. Since its birth in 1935 which was the critical moment of national crisis, it has played a great role in inspiring the patriotic spirit of the Chinese people, and later became the National Anthem of the People’s Republic of China.

On May 9, 1935, the first version of the song was recorded in the recording studio of EMI Records. In 1951, in order to meet the need of playing the national anthem, the People's Record Factory recorded and published a rough record composed by a brass ensemble and an orchestral ensemble. In 1959, to celebrate the 10th anniversary of the founding of the People’s Republic of China, the China Record Factory recorded and published a full set of standard national anthem special records. In 1978, a special album for collective lyrics was released. In 1983, China Record Shanghai Company recorded and published a special record for the standard national anthem after the original word was restored.

On March 14, 2004, the Second Session of the Tenth National People’s Congress passed a constitutional amendment, officially stipulating that the national anthem of the People’s Republic of China shall be the March of Volunteers.

The National Anthem Law of the People's Republic of China was adopted at the 29th Session of the 12th National People's Congress Standing Committee on September 1st, 2017, and formally went into effect on October 1st.

===B. Creation Background===

March of the Volunteers is the theme song of the film Children of Troubled Times. In the autumn of 1934, Tian Han wrote a long poem for the film, the last verse of which was selected as the lyrics of the theme song March of the Volunteers. Shortly after the lyrics were written, Tian Han was arrested and imprisoned by the Kuomintang authorities. In February 1935, director Xu Xingzhi took over the shooting of Children of Troubled Times.

Soon after, comrades who went to prison to visit Tian Han and brought back the lyrics written by him in prison on the back of cigarette packing paper, that is, the original manuscript of March of the Volunteers. At that time, Nie Er was preparing to go to Japan to seek refuge. He learned that there was a theme song to write in the film children of the wind and cloud. He took the initiative to compose music for the song and promised to send back the song manuscript as soon as possible after he arrived in Japan.

Nie Er completed the first draft of the score soon after receiving the lyrics. On April 18, 1935, after Nie Er arrived in Tokyo, Japan, he completed the final draft of the score, and sent the final draft to Shanghai Dentsu Film Company at the end of April. Afterwards, in order to make the song tune and rhythm more powerful, Nie Er and Sun Shiyi discussed and made three changes to the lyrics, thus completing the song creation.

After the early shooting of the film of Children of Troubled Times was completed, the lyrics of Tian Han's theme song did not determine the name of the song, and Nie Er's lyric composition sent back from Japan only included the word "March". General Zhu Qinglan, as the investor of the film of Children of Troubled Times, added "Volunteers" after the words of "March", thus naming the song March of the Volunteers.

===C. Song Appreciation===

The March of the Volunteers is a very creative song; the composer Nie Er devotes himself to the creation of this song with great passion. First of all, he succeeds in handling the poetic lyrics of Tian Han’s prose in accordance with the laws of music in an extremely vivid, powerful and colloquial way. In terms of melody creation, he not only absorbs the excellent achievements of international revolutionary songs and the style characteristics of Western European march, but also makes it have strong national characteristics, so that the song could be grasped by the broad masses and play its fighting role.

The song begins as a prelude to a six-bar march. It has a sonorous rhythm, bright and majestic melody, among which the magical effect of triplet enhances the fighting atmosphere of the song. Although the prelude is short, it contains the basis for the emotional and melody development of the entire song. The song is interlocked and advanced layer by layer. This process runs through the whole song, and the end of the song is repeated many times, giving people a sense of unwavering and unstoppable.

According to the characteristics of the lyrics clause, Nie Er treated the song into a free body structure formed by six phrases of varying lengths. Although the melody and structure of each phrase are different, the cohesion between the phrases is close, the development is natural, and the singing is ups and downs, and is integrated.

March of the Volunteers, with its soaring, sonorous and powerful melody and inspiring lyrics, expresses the Chinese people's strong resentment and resistance to imperialist aggression, and embodies the heroic spirit of the great Chinese nation that is brave, strong, united as one to go through national disaster when they are facing the foreign aggression.

===D. Chinese and English Lyrics===

起来！不愿做奴隶的人们！

把我们的血肉，筑成我们新的长城！

中华民族到了最危险的时候，

每个人被迫着发出最后的吼声。

起来！起来！起来！

我们万众一心，

冒着敌人的炮火,

前进！

冒着敌人的炮火，

前进！

前进！前进、进！

Arise, you who refuse to be bond slaves!

Let’s stand up and fight for

Liberty and true democracy.

All our world is facing

The chains of the tyrants.

Everyone who works for freedom is now crying:

Arise! Arise! Arise!

With the torch of freedom,

March on!

With the torch of freedom,

March on!

March on! March on, and on!

===Terms and Expressions===

March of the Volunteers 义勇军进行曲

Children of Troubled Times 风云儿女

EMI 百代唱片

National People’s Congress 全国人民代表大会

National People's Congress Standing Committee 全国人大常委

===Questions===
‭
1. Who are the composers of March of the Volunteers?

2.Which movie's theme song does March of the Volunteers belong to?

3.When did the National Anthem Law go into effect?

4.When was the final draft completed?

5.How did the name of this song come from?

===Answers===
1.1.March of the Volunteers is a song composed by Tian Han and Nie Er.

2.It is the theme song of the film Children of Troubled Times.

3.The National Anthem Law of the People's Republic of China formally went into effect on October 1st, 2017.

4.On April 18, 1935, after Nie Er arrived in Tokyo, Japan, he completed the final draft.

5.After the early shooting of the film Children of Troubled Times was completed, the lyrics of Tian Han's theme song did not determine the name of the song, while Nie Er's lyric composition sent back from Japan only included the word "March". General Zhu Qinglan, as the investor of the film Children of Troubled Times, added "Volunteers" after the words of "March", thus naming the song March of the Volunteers.

===References===
姜龙飞. 《义勇军进行曲》在这里诞生[J]. 中国档案报, 2020,(003)

《义勇军进行曲》这样成为国歌[J]. 当代兵团，2020（19）

百度百科.义勇军进行曲

--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:26, 20 December 2020 (UTC)Xiao Shuangling

==Xiao Ting 肖婷 202070080612 MIT 英语笔译==
====Zheng He's Voyages ====

From 1405 to 1433, the Chinese imperial eunuch Zheng He led seven expeditions to the coastal territories and islands in and around South China Sea,the Indian Ocean,and beyond for the Ming emperor which is an unprecedented feat in world history.(English Encyclopedia Treasure Voyages)

====Zheng He====
Zheng He was born Ma He to a Muslim family in the far southwest, in today's Yunnan province. It is said that his original surname is Ma,his full name as Ma Sanbao .At ten years old he was captured by soldiers sent there by the first Ming emperor intent on subduing the south.(Baidu Encyclopedia Zheng He)
He was sent to the capital to be trained in military ways. Growing up to be a burly, imposing man, over six feet tall with a chest contemporaries said measured over five feet around, he was also extremely talented and intelligent. He received both literary and military training, then made his way up the military ladder with ease, making important allies at court in the process. Besides Zheng He has a background of both Buddhism and lslam.Thus,he was assumed as the perfect choice to lead the emperor’s splendid armada.(Ye Lang 2008,116)[[File:Zheng He.jpg|500px|thumb|right|Zheng He]]

====Reasons for the voyages====
The Yongle Emperor sent Zheng He to the “Western oceans”, both to demonstrate the might of the Ming Empire and to realize the diplomatic ideal of peace and harmony among all nations. Zheng He's fleet manifested the prosperity ，the imperial power ，its advanced navigation technologies and exquisite ship-building techniques of China at that time , thus many small countries and bribes agreed to recognize China as their superior and its emperor as lord of “all under Heaven”.These countries and bribes regularly gave gifts of tribute in exchange for certain benefits ,like military posts, treaties and licence to trade.(Qian Zhiqian 2005,93)
During the voyages ,Zheng He's fleet did not act as a sea ruler, but appeared in peace all over the world, laden not only with goods exchanged with those countries, but also with the friendship of peoples.(Ye Lang 2008,120)
[[File:The Yongle Emperor.jpg|500px|thumb|right|The Yongle Emperor]]
====The seven expeditions====
These expeditions were astonishing as much for their distance as for their size: during the first one, Zheng He traveled all the way from China to Southeast Asia and then on to India, all the way to major trading sites on India's southwest coast.The first expedition of this mighty armada was in 11th July of 1405, composed of 317ships and perhaps as many as sixty huge Treasure Ships and nearly 28000 men with thousands of soldiers , sailors ,diplomatic specialists ,medical personnel, astronomers and scholars.The fleet stopped in Java and then arrived at Ceylon (today’s Sri Lanka ).Compared to the first one, the second voyage(1407-1409) was smaller with only 68ships sending foreign envoys back home.(Zhen Hesheng,Zhe Yijun 1983,38)

Zheng He led the third voyage (1409-1411) visiting many of the same countries as the first one did, like Champa and Java. When fighting broke out there between his forces and those of a small kingdom, Zheng put down the fighting, captured the king and brought him back to China where he was released by the emperor and then returned home duly impressed.(Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The fourth voyage (1413-15) extended the scope of the expeditions even further. This time in addition to visiting many of the same sites, Zheng He commandeered his 40 ships and over 28,000 men to Hormuz on the Persian Gulf. This trip has 48 ships with doctors , officials ,translators and more than 27000 troops .
The fifth voyage (1417-1419) was primarily a return trip for seventeen heads of state from South Asia. They had made their way to China after Zheng He's visits to their homelands in order to present their tribute at the Ming Court. (Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The sixth voyage began in 1421 and lasted for nearly two years.Then the expeditions were halted due to the death of the Yongle emperor.It sailed to many of the previously visited Southeast Asian and Indian courts and stops in the Persian Gulf, the Red Sea, and the coast of Africa, principally in order to return nineteen ambassadors to their homelands. Zheng He returned to China after less than a year, having sent his fleet onward to pursue several separate itineraries, with some ships going perhaps as far south as Sofala in present day Mozambique.(Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The seventh and final voyage (1431-33) was sent out by the Yongle emperor's successor, his grandson the Xuande emperor.This expedition had more than one hundred large ships and over 27,000 men, and it visited all the important ports in the South China Sea and Indian Ocean as well as Aden and Hormuz. One auxiliary voyage traveled up the Red Sea to Jidda, only a few hundred miles from the holy cities of Mecca and Medina. It was on the return trip in 1433 that Zheng He died and was buried at sea, although his official grave still stands in Nanjing, China. Nearly forgotten in China until recently, he was immortalized among Chinese communities abroad, particularly in Southeast Asia where to this day he is celebrated and revered as a god.(Zhen Hesheng,Zhe Yijun 1983,43)
[[File:Route.jpg|500px|thumb|right|Route]]

====Terms and Expressions====
The Yongle emperor 永乐皇帝（明成祖）

Java 爪哇

Ceylon 锡兰（今斯里兰卡）

Champe 占城（印度支那古国）

Hormuz 霍尔木兹

The Persian Gulf 波斯湾

Medina 麦地那市（沙特阿拉伯西部城市）

Mecca 麦加（穆斯林圣地）

==== Questions====
1.What was Zheng He like?

2. Why did the Yongel Emperor sent the armada to the “Western oceans”?

3.How many people did Zheng He bring at the first voyage ,and what did these people do?

4.Why did the expeditions stopped during the 1423-1430?

5.The last trip was sented by?

===Answers===
1.Growing up to be a burly, imposing man, over six feet tall with a chest contemporaries said measured over five feet around, he was also extremely talented and intelligent.

2.Both to demonstrate the might of the Ming Empire and to realize the diplomatic ideal of peace and harmony among all nations.

3.He brought nearly 28000 men with thousands of soldiers , sailors ,diplomatic specialists ,medical personnel, astronomers and scholars.

4.The expeditions were halted due to the death of the Yongle emperor.

5.By the Yongle emperor's successor, his grandson the Xuande emperor.
===References===
Ye Lang 叶朗. 中国文化读本[A book of Chinese Culture][M].北京,2008,115-123.

Qian Zhiqian 钱志乾. 试论郑和下西洋的主要目的[On the purpose of Zheng He's Voyages to the Western Oceans] [J]. 江西社会科学,2005,(02):90-94.

Zhen Hesheng,Zhe Yijun郑鹤声 ,郑一钧. 郑和下西洋简论[A brief Introduction of Zheng He's Voyages to the Western Oceans] [J]. 吉林大学社会科学学报,1983,(01):36-48.

[Baidu Encyclopedia]百度百科.郑和 [Zheng He]

[Baidu Encyclopedia]百度百科.郑和下西洋 [Zheng He's Voyages to the Western Oceans]

[English Encyclopedia]英语百科.郑和下西洋[Treasure Voyages]
--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:42, 20 December 2020 (UTC)Xiao Ting

==Literature, China's Four Great Classical Novels - Xie Fan 解帆 202070080637 英语口译==

===China's Four Great Classical Novels===

The Four Great Works of Chinese Classical Novels, abbreviated as the Four Great Works, are ''Water Margin'', ''Romance of The Three Kingdoms'', ''Journey to the West'', and ''Dream of the Red Chamber'' (in the order of their completion).The Four Great Classical Novels are some of the classics of Chinese literature and they are considered part of the cultural heritage of the world. The status of these four masterpieces in the history of Chinese literature is difficult to distinguish with their high level of literature and artistic achievements. They are time-honored and unique among Chinese literature works, so that the stories, scenes and characters in these masterpieces have deeply influenced the thoughts and values of the Chinese people. The meticulous portrayal and the profound thoughts contained in these four masterpieces have been praised by readers in history. They can be described as the four great monuments in the history of Chinese literature.(Chen Wenxin 2019,24)

====Water Margin====

''Water Margin'', written by Shi Naian, is a novel based on an ancient peasant uprising. It vividly depicts the whole process from the occurrence, development and failure of the peasant uprising, profoundly reveals the social roots of the uprising, enthusiastically eulogues the resistance struggle of the 'heroes' of the uprising and their social ideals, and specifically reveals the internal historical reasons for the failure of the uprising. (Sun Jiancheng 2008,167)

With the occurrence and development of peasant uprising as its main line, the book describes the whole process of development for grand peasant uprising troop. Individual awakening develops into the small-scale joint resistance with the experience of different heroes, showing an inexorable law of the feudal era, that is, peasants being forced to revolt by the officials, profoundly reflecting the Song dynasty's political condition and social contradictions. Standing on the side of the oppressed, the author praised the righteous acts of the leaders of the peasant uprising, who robbed the rich to the poor and exonerated and affirmed their revolutionary spirit of daring to rebel and struggle.(Liu Keqiang 2014,96)

====Romance of the Three Kingdoms====

''Romance of The Three Kingdoms'' is a novel written by Luo Guanzhong, a novelist in the late Yuan and early Ming Dynasty. It is the first chapter novel , the first novel of historical romance, and also the first long literary novel in the history of Chinese literature. At the end of yuan dynasty and the beginning of Ming Dynasty, social contradictions were acute, peasant uprisings broke out one after another, and dynasties were divided. After years of war, Zhu Yuanzhang destroyed all the departed dynasties, overthrew the Yuan Dynasty, and established the Ming Dynasty. During the period when people were displaced, Luo Guanzhong, as a writer of zaju and stories, lived at the bottom of the society, understood and got familiar with the sufferings of the people, expected social stability and people to live and work in peace and contentment, thought as an intellectual at the bottom, and hoped to end the tragic situation caused by the turbulence. Therefore, he wrote the historical novel ''Romance of The Three Kingdoms'' on the history of the last years of the Eastern Han Dynasty. (Wang Zhiwu 2004,12)

''Romance of The Three Kingdoms'' describes the history of nearly a hundred years from the end of the Eastern Han Dynasty to the beginning of the Western Jin Dynasty. It mainly describes wars and tells the story of the warring states of the eastern Han Dynasty and the political and military struggles among The Three Kingdoms, namely, Wei, Shu and Wu. Finally, Sima Yan unified The Three Kingdoms and established the Jin Dynasty. Besides, it reflects the transformation of various social struggle and contradictions in The Three Kingdoms period, summarizes the historical changes of this era, and shapes a group of powerful heroes of The Three Kingdoms period. (Zhang Zhihe 2000,32)

====Journey to the West====

''Journey to the West'' is the first romanticism chapter novel in China, and its author is WuChenen in the Ming Dynasty. The book mainly tells a story, after the birth and havoc in heaven, Su Wukong met Tang Monk, White Dragon Horse, Zhu Bajie and Sand monk, started their journey to the West, went through 81 hardships and dangers, demons and monsters, finally arrived in the West to see the Buddha. (Chen Dakang 2000,16)

The novel is based on the historical event of Tang Monk going to study scriptures, and through the author's artistic processing, it profoundly depicts the social reality of The Ming Dynasty. The uproar in heaven in the novel reflects the resistance of the Chinese people in the feudal society through the form of fairy tales. Of course, fantasy novels reflect reality with their own characteristics, different from the general direct reflection of real life literature. The rebelin heaven erected the banner of "Monkey King", and put forward the slogan, "emperor take turns, and next is my turn" , hundreds of troops escaped, the heaven started to collapse, so that the jade emperor had to ask for external help. The plot of the fiction and fantasy based on reality of peasant uprising and peasant war. If there had not been many large-scale peasant uprisings and peasant wars that violently impacted the feudal dynasties in history, the plot of "Havoc in Heaven" could not have been so bold and the image of Sun Wukong as a rebel could not have been so brilliant. (Chen Dakang 2000,17)

====Dream of the Red Chamber====

''Dream of the Red Chamber'' was written by Cao Xueqin, a well-known writer in the Qing Dynasty. With the rise and fall of Jia, Shi, Wang as its background, with the love marriage tragedy of Jia Baoyu, Lin Daiyu, and Xue Baochai as its main line, in the perspective of rich childe Jia Baoyu, the book shows the tragic beauty, and female beauty from different angles and the phase of the ancient Chinese society of epic works. (Hu Jingzhu 2019,33)

''Dream of the Red Chamber'' was born at the end of feudal China in the 18th century. At that time, the Qing Government was closed to the outside world and the whole country was immersed in the dream of the Kang-Qian Flourishing Age and the Middle Kingdom. On the surface, the period seemed stable and peaceful, but actually all kinds of social contradictions were intensifying and developing, and the whole dynasty had reached a turning point of prosperity and decline. (Liu Mengxi 1984,41)

===Terms and Expressions===

农民起义 peasant uprising

孙悟空 Monkey King

大闹天宫 Havoc in Heaven

康乾盛世 the Kang-Qian Flourishing Age

天朝上国 the Middle Kingdom

===Questions===

1. What is the influence and status of Chinese Four Great Classical Novels?

2. What dose ''Water Margin'' mainly show?

3. Is ''Dream of the Red Chamber'' the first romanticism chapter novel in China? Which book is the first chapter novel in China?

4. Why has the plot of "Havoc in Heaven" been so bold and the image of Sun Wukong as a rebel been so brilliant?

4. What do you know about ''Dream of the Red Chamber''?

===Answers===

1. The stories, scenes and characters in these masterpieces have deeply influenced the thoughts and values of the Chinese people. They can be described as four great monuments in the history of Chinese literature.

2. It vividly depicts the whole process from the occurrence, development and failure of the peasant uprising, profoundly reveals the social roots of the uprising, enthusiastically eulogues the resistance struggle of the 'heroes' of the uprising and their social ideals, and specifically reveals the internal historical reasons for the failure of the uprising.

3. No, ''Journey to the West'' is the first romanticism chapter novel in China while ''Romance of the Three Kingdoms'' is the first chapter novel in China.

4. Because there had been many large-scale peasant uprisings and peasant wars that violently impacted the feudal dynasties in history.

4. ''Dream of the Red Chamber'' was written by Cao Xueqin, a well-known writer in the Qing Dynasty. With the rise and fall of Jia, Shi, Wang as its background, with the love marriage tragedy of Jia Baoyu, Lin Daiyu, and Xue Baochai as its main line, in the perspective of rich childe Jia Baoyu, the book shows the tragic beauty, and female beauty from different angles and the phase of the ancient Chinese society of epic works.

===References===

*Chen Dakang陈大康.(2000).《西游记》主题说的百年变迁：兼论“主题”概念的理论意义.[The Change of Theme during Hundreds of Years in ''Journey to the West'' - Discussion on the Theoretical Significance of the Theme].华东师范大学学报Journal of East China Normal University

*Chen Wenxin陈文新.(2019).中国文化视野中的“四大名著”.["The Four Great Classical Novels" from the Perspective of Chinese Culture].文化软实力研究Studies On Cultural Soft Power

*Hu Jingzhu胡静姝.(2019).《梦幻与现实的较量——浅析 < 红楼梦 > 中梦的美学意蕴》.[The Contest between Dream and Reality - A Brief Analysis of the Aesthetic Implication of ''Dream of the Red Chamber''].《汉字文化》The Culture of Chinese Characters

*Liu Keqiang刘克强.(2014).《水浒传》翻译大辞典.[The Translated Dictionary of ''Water Margin''].北京：中央编译出版社Beijing:Central Compilation Translation Press

*Liu Mengxi刘梦溪.(1984).红学三十年论文选编．[Selected Papers of Studies of Dream of the Red Chamber in the Past Three Decades].天津: 百花文艺出版社Tianjin:Baihua Literature and Art Publishing House

*Sun Jiancheng 孙建成.(2008).《水浒传》英译的语言与文化.[The Language and Culture of English Translation of ''Water Margin''].上海：复旦大学出版社Shanghai:Fudan University Press

*Wang Zhiwu王志武.(2004).《三国演义》的人物、结构和主题.[The Characters, Structure and Theme of ''Romance of The Three Kingdoms''].西北农林科技大学学报Journal of Northwest A&F University

*Zhang Zhihe张志和.(2000).《三国演义》思想意蕴试论.[Discussion on the Ideological Implication of ''Romance of The Three Kingdoms''].天津外国语学院学报Journal of Tianjin Foreign Studies University

--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:55, 20 December 2020 (UTC)

==Four Folk Stories of Ancient China，Xu Jia 徐佳 202070080613 MTI英语笔译==

Cowherd and Weaving Girl, Meng Jiangnu Crying on the Great Wall, the Story of the White Snake and Butterfly Lovers are the four major folk love stories in ancient China. As the most charming oral traditions and national intangible cultural heritage in China, the earliest of them has been popular for more than 2000 years, having a profound impact on people’s lives.

1. Cowherd and Weaving Girl

2. Meng Jiangnu Crying on the Great Wall

3. The Story of the White Snake

4. Butterfly Lovers

====Cowherd and Weaving Girl====

It is said that the story took place in the Western Zhou Dynasty. Cowherd was an artless and honest young man living in the Xiniu village of Nanyang city. Since his parents died early, he lived a miserable life with an old ox. One day, Weaving Girl, the daughter of the God of Heaven, came down with other fairies from heaven and took a bathe in a river near Cowherd’s house. The old ox told the Cowherd to steal her clothes so that she was unable to return to the heaven and would stay here to be his wife.（Zhong Xiaoting 2020,92)

With the help of the old ox, Weaving Girl married Cowherd and soon they had a son and a daughter. They led a happy life with husband laboring in the field and wife weaving at home. But their marriage didn't last long. It was discovered by the Queen Mother and incurred her wrath. Ignoring tearful Cowherd and two crying children, she broke up the couple and brought Weaving Girl back. It was the old ox that helped him again. It told Cowherd that it would die tonight and he needed to make three pair of shoes with its skin, which could help him go to heaven and find his wife. Cowherd followed. Just as the cowherd was about to catch up with them, however, the Queen Mother took off her golden hairpin and separate them by a large river, which is now called the Milky Way. Hopelessly, the two lovers can only look at each other across the river.（Zhong Xiaoting 2020,92)

Fortunately, touched by their love，hundreds of thousands of magpies flied and formed a bridge over the river. Finally the Queen Mother showed a little mercy, allowing them to meet once a year on the magpie bridge. The day was the seventh day of the seventh lunar month, which later has become the Chinese Valentine’s Day.(Zhao Kuifu 1990,61)

====Meng Jiangnu Crying on the Great Wall====

During the reign of the first emperor of Qin Dynasty, Fan Xilang, a young man living in the surrounding area of Mengjiang mountain in Lizhou County, Hunan Province, had just finished the hard labor and returned to his hometown to get married. But unfortunately, on the night of their wedding, Fan Xilang was sent to the north to build the Great Wall. He toiled away with hunger, cold and fatigue, and soon met a miserable death at the end of his efforts. His body was buried under the Great Wall. （Yao Kangkang 2020,77)

Meng Jiangnu, Fan’s new wife, got the bad news and went through all kinds of hardships to reach the Great Wall. She cried bitterly there for three days and three nights, and finally cried down the Great Wall and found her husband's remains. On her way to take him home, she suffered a lot and finally died of hunger and thirst in Tongguan County, Shaanxi Province. Sympathetic with the couple’s miserable experience and deeply moved by Meng’s spirits, the local people buried their remains and set up ancestral temples to commemorate them.(Huang Ruiqi 2003)

====The Story of the White Snake====

Created in the Southern Song Dynasty and prevailed in the Qing Dynasty, the Story of the White Snake is a model of Chinese folk collective creation. In the book Stories to Warn Man compiled by Feng Menglong, The White Snake under the Leifeng Pagoda has been acknowledged as the first version of this story.

After thousands of years of practice in Emei Mountain, two snake named Bai Suzhen and Xiaoqing translated into two beautiful girls and came to visit Hangzhou. After encountering with a young man named Xu Xian in the rain, Bai Suzhen fell in love with him and soon later they get married. But a monk called Fahai saw through Bai’s disguise and thought that it was an intrigue of the white snake to marry a man. He persuaded Xu Xian to intoxicate his wife with realgar wine on the Dragon Boat Festival. After being drunk, Bai Suzhen couldn’t control herself and showed the shape of a snake, which scared Xu Xian to death. Regardless of her own safety, Bai Suzhen went through many difficulties and got the magical grass, which finally brought Xu Xian back to life.（Zhou Xia 2020）

But Fahai did not give up. He then lured Xu Xian to the Jinshan Temple to separate the couple. Bai Suzhen and Xiao Qing had no choice but to inundate the temple with flood. During the fierce battle, Bai was finally defeated and put into a small bowl under the Leifeng Pagoda.(Wang Yibing 1999)

====Butterfly Lovers====

During the Eastern Jin Dynasty, Zhu Yingtai, a beautiful and intelligent girl born in a rich family in Shangyu County, Zhejiang Province, wanted to go to Hangzhou to study for there was no good teacher at home. Her father, seeing her eagerness to learn and her ability to disguise herself as a man, finally agreed to her request. On the way to Hangzhou, Zhu Yingtai met Liang Shanbo, a young man who had the same destination with her. He was sincere, gentle and knowledgeable and they clicked immediately. During the school years, they often talked about poetry and articles, cared for each other, and slept in the same bed at night. Zhu had gradually fallen in love with Liang, who, though did not know she was a girl, also cherished her and saw her as his best friend.（Lin Liangliang 2020, 57)

Three years passed quickly. The moment when they had to part, Zhu constantly gave delicate indications to Liang that she was a girl and she loved him, but Liang failed to take her hint. Zhu had no choice but to lied to Liang that she had a little sister who was similar to her in appearance and learning and she wondered if Liang was willing to marry her. Liang Shanbo readily consented and promised that he would come to visit soon. A months later, Liang Shanbo went to Zhu's home and he was surprised to see Zhu Yingtai dressed up as a girl. Only then did he know the truth and figured all the things out. They then confessed their love to each other and pledged to marry without the permission of parents. （Lin Liangliang 2020, 58)

But unfortunately, Zhu’s parents didn’t think much of this poor young man. They wanted to marry their daughter to Ma Wencai, the son of the local governor. Zhu Yingtai was unwilling to marry him but her protest was in vain, for her family was in financial crisis and needed Ma’s support. Hopelessly, the two young lovers was forced to part in tears. Since then, Liang slid into a depression. His spirit and health were soon crushed, and he died a few months later. On the wedding day, Zhu asked for a detour to pass by Liang 's tomb so that she could say goodbye to him. Wearing a bright red wedding dress, she knelt in front of his grave and cried bitterly. At that moment, lighting flashed, thunder rolled and the sky went dark. Liang's tomb suddenly cracked open and Ying-tai immediately jumped into it before it closed. Then under the shocked eyes of the onlookers, a pair of beautiful butterflies flied out of the graves and dancing in the sunlight. It is believed that these two butterflies are Liang Shanbo and Zhu Yingtai. They finally get rid of all the shackles and bounds and can stay together forever.(Jin Huiling 2007)

Having been adapted into many films and TV plays, these four stories are well-known in China and the rest of the world. As the crystallization of folk culture, they not only represent the rich imagination of ancient Chinese people, but also show their hatred for evil forces and their pursuit for a free and happy life, which is exactly the positive part of folk literature.

===Terms and Expressions===

Cowherd and Weaving Girl 牛郎织女

Meng Jiangnu Crying on the Great Wall 孟姜女哭长城

Butterfly Lovers 梁山伯与祝英台

the Queen Mother 王母娘娘

Stories to Warn Man 《警世通言》

The White Snake under the Leifeng Pagoda 《白娘子永镇雷峰塔》

===Questions===

1.What led to the death of Meng Jiangnu’s husband?

2.What did Xu Xian give Bai Suzhen to drink that made her reveal her snake form?

3.What did the Cowherd do to make Weaving Girl stay?

4.When did Liang Shanbo realize that Zhu Yingtai is actually a girl?

5.Why did Zhu Yingtai lie to Liang Shanbo that she has a little sister?

===Answers===

1.He was sent to build the Great Wall and died for hunger,cold and fatigue.

2.Realgar wine

3.He stole her clothes while she was taking a shower.

4.The first time Liang Shanbo went to Zhu's home,where he saw Zhu Yingtai dressed up as a girl.

5.The little sister she referred to is actually herself,and in this way she hinted at her love to Liang Shanbo.

===References===

Jin Huiling. Qin Yinan. (2007). 爱支撑的文化天堂——《罗密欧与朱丽叶》和《梁山伯与祝英台》[A Cultural Paradise Supported by Love - Romeo and Juliet and Liang Shanbo and Zhu Yingtai] 社会科学论坛：学术研究卷Social Science Forum: Academic Research Volume(5):194-197.

Wang Yibing. (1999). 白蛇传故事的文化意蕴[The Cultural Implications of the Story of the White Snake].廊坊师专学报 Journal of Langfang Teachers College(4):12-18.

Huang Ruiqi. (2003). 孟姜女故事研究[A Study of the Story of Meng Jiang Nu] 北京：中国人民大学出版社. Beijing: People's University of China Press.

Zhao Kuifu. (1990). 论牛郎织女故事的产生与主题[On the Generation and Theme of the Story of the Cowherd and the Weaver]. 西北师大学报. Northwest Normal University Journal(4):56-63.

Zhong Xiaoting.(2020). 牛郎织女故事漫谈三则Three Rambling Stories of the Cowherd and the Weaving Maiden].美与时代. Beauty and the Times(10);92-94.

Yao Kangkang.(2020). 镇原送寒衣的风俗和孟姜女的传说[The Custom of Sending Cold Clothes to Zhen Yuan and the Legend of Meng Jiang Nu].甘肃政协.Journal of Gansu Political Consultative Committee:77-79.

Zhou Xia.(2020).《白蛇转》：白娘子的前世今生.[The White Snake: The Past Life of Bai Niang Zi].中国电影报.China Film News.

Lin Liangliang. (2020).梁祝传说中的原型及其内涵阐发.The Archetype and Its Connotation in the Legend of Liang Zhu. 名作欣赏. Masterpiece Appreciation(10):56-60.

--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:39, 20 December 2020 (UTC)Xu Jia

==Architecture, Four Great Pavilions-Xu Jing 许静 202070080614 MTI英语笔译==
===Four Great Pavilions===
A pavilion, a building style with great Chinese characteristics, is not only a place for passers-by to rest their feet, but also an important landscape building with garden art. At the foot of the mountains, by the lakeside and deep in the forest, we can always see pavilions that are half-hidden, and half-exposed, subtly adding colour to the landscape scenery. (Qian Long 2009, 50)

Where there are pavilions, there are stories, and there are four famous pavilions in China - the Old Drunkard Pavilion in Chuzhou, the Tao Ran Pavilion in Beijing, the Ai Wan Pavilion in Changsha and the Hu Xin Pavilion in Hangzhou. All of them are famous for their poems and articles written by ancient writers and scholars. (Qian Long 2009, 50)

====The Old Drunkard Pavilion====

Zuiweng Ting, or the Old Drunkard Pavilion is located at the foot of the Langya Mountain in Chuzhou, Anhui Province. The Old Drunkard Pavilion was built in 1046 AD, the sixth year of the Northern Song Dynasty's reign of Emperor Renzong. This pavilion is the subject of a well-known work written by Ouyang Xiu, an essayist of the Song dynasty, called The Story of the Old Drunkard. (Liu Xuan 2012, 21)

It is said that Ouyang Xiu was demoted to Chuzhou to serve as the prefect. Feeling indignant at the time, he devoted his soul into nature. He often came with friends and guests to Langya Mountain for fun, or to Langya Temple to drink wine and express their emotion. In order to give Ouyang Xiu a rest and a drink, the Langya Monastery monk Zhisian built this pavilion halfway up the mountain. The pavilion was named 'the Old Drunkard Pavilion' by Ouyang Xiu, who called himself “ the Old Drunkard”. (Liu Xuan 2012, 21)

The pavilion has a compact layout with small, unique pavilions that are characteristic of the gardens of the south of the Yangtze River, and although the total area of the pavilion is less than 1,000 square metres, there are nine buildings——the Old Drunkard Pavilion, Bao Song Zhai, Feng Gong Ancestral Hall, Ancient Plum Blossom Pavilion, Shadow Fragrance Pavilion, Yi Zai Pavilion, Fear Pavilion, Ancient Plum Blossom Pavilion, and the View Terrace——of different styles, and are known as the “Nine Views of the Old Grunkard Pavilion”. (Liu Xuan 2012, 21)

Although the Old Drunkard pavilion has been plundered many times over the centuries, it still inviting to people. Today, the thousand-year old scenery here is even more spectacular and alluring. (Liu Xuan 2012, 21)

====Tao Ran Pavilion====

The Tao Ran Pavilion in Beijing was built in 1695, the 34th year of Emperor Kangxi's reign in the Qing dynasty, by Jiang Zao, who then served in the Ministry of Public Works. Jiang Zao named the pavilion after Bai Juyi's poem, "Waiting for the chrysanthemum to ripen, we get drunk in blitheness". This small pavilion is quite popular among ancient writers. (Qian Long 2009, 50)

The modern Taoran Pavilion is a new modern urban garden that integrates ancient architecture and modern gardening art, highlighting the Chinese national pavilion culture as its main content. In the garden, there are verdant trees, lush flowers and grasses, jagged buildings and pavilions. On the Mid-lake Island, there are Jinqiu dun, Swallow Head Hill, and Tao Ran pavilion into a tripod. On top of Jinqiu dun there is Jinqiu pavilion, the site of which was the site of the Flower Fairy Shrine. At the southern foot of the pavilion, there is Rose Hill, which is the site of the original incense mound, the parrot mound and the tomb of the golden flower. (Chang Yi 2007, 60)

In the quiet pine forest at the foot of the northern pavilion, there are the tombs of Gao Junyu and Shi Pingmei, which are famous. At the top of Swallow Head Hill, there is the Green View Pavilion, which is opposite the Jinqiu Pavilion, and at the southwest of the pavilion, there is the Chengguang Pavilion, which is the most suitable place to look at the lake and the mountains. (Qian Long 2009, 50)

====Ai Wan Pavilion====

The Ai Wan Pavilion is located in the Qingfeng Gorge at the foot of Mount Yuelu in Hunan Province, and is surrounded by mountains on three sides. The pavilion was built in 1792 by Luo Dian(罗典), Dean of the Yuelu Academy, and was originally called the Red Leaf Pavilion. It was later renamed by Bi Yuan(毕沅), Governor of Hunan and Guangzhou Province, based on a poem by Du Mu(杜牧), a poet of the Tang Dynasty, which reads, "The stone paths of the cold mountains are steep, and there are homes in the depths of the white clouds. Sitting on the Maple Forest in the evening, the frost leaves turn red in the February flowers" ("Mountain Journey"). (Qian Long 2009, 50)

After many major repairs in the reign of Tongzhi, Guangxu, Xuantong, and in Republic of China and after the founding of the People's Republic of China, it comes into its pattern today. The shape of the pavilion is eight columns with heavy eaves, glazed glass and blue tiles, the corner of the pavilion is flying, and it looks like flying from a distance. The inside is pillar in lacquer while the outside are four stone pillars made by granite. (Chang Yi 2007, 60)

Apart from painted caisson ceiling, there are gilt lettering "Ai Wan Pavilion" on a red background on the east and west sides of the pavilion, which was made by handwriting written by Mao Zedong, at the request of Li Da, the then president of Hunan University. The pavilion is surrounded by hills on three sides, and is open to the east, with a flat vertical and horizontal space of more than 33 metres, with purple and lush greenery and uninterrupted flowing springs. There is a pond in front of the pavilion, with rows of peach and willow trees. There are maple trees all around, with red leaves all over the mountains in late autumn. (Chang Yi 2007, 60)

====Hu Xin Pavilion====

Hu Xin Pavilion, or Mid-lake Pavilion is situated in the centre of the West Lake in Hangzhou, Zhejiang. Initially known as "Zhenlu Pavilion", and "Qingxi Pavilion", it was built in the 31st year of Jiajing in the Ming Dynasty (1552 AD) and was renamed “Hu Xin Pavilion” after the Ming Dynasty. (Qian Long 2009, 50)

The pavilion is built looking like a tower and is surrounded by water on all sides. When you look around, not only does the lake ripple, but also the mountains stand like a screen enveloping it. The west side of the pavilion is the south and north peaks of the West Lake, which is very spectacular. (Qian Long 2009, 50)

It is one of the 18 scenes of West Lake in Qing Dynasty. Yongzheng wrote in his Records of the West Lake: the pavilion is in the centre of the lake; in the past there was a temple and outside it were three towers, which both were destroyed in the reign of Ming Xiaozong. County said: outside the temple were three towers, while only the north tower conserved, upon which a pavilion was built, that is the Mid-lake Pavilion; the old base of the temple was rebuilt as De Sheng Hall, a place to release. According to this, the old Hu Xin Temple was the current Release Pond, and the present Hu Xin Pavilion was the base of the north tower among the other three. (Chang Yi 2007, 60)

The Qing emperor Qianlong once inscribed a plaque on the pavilion with the inscription "Quietly observe the world"(“静观万类”) and the couplet "Waves surge and the lake is far away, the mountains prompt the water is deep"(“波涌湖光远，山催水色深”). Besides, the inscription on the pavilion's pillars by Hu Laichao(胡来朝) is worth mentioning: “The four seasons are filled with music and songs, and the poor are still grieving over the moon; the six bridges are filled with flowers and willows, and there is no room for mulberry and hemp.” The meaning is even more profound to the visitor. (Qian Long 2009, 50)

===Terms and Expressions===

The Old Drunkard Pavilion 醉翁亭

Nine Views of the Old Drunkard Pavilion 醉翁九景

Tao Ran Pavilion 陶然亭

glazed glass and blue tiles 琉璃碧瓦

Ai Wan Pavilion 爱晚亭

Mountain Journey 《山行》

Hu Xin Pavilion/ Mid-lake Pavilion 湖心亭

County 《县志》

===Questions===

1. Which pavilion is named by the poem of Du Mu？

2. When Did “Hu Xin Pavilion” well established its name?

3. Which pavilion is located in Beijing?

4. Where can we enjoy maple trees in Autumn among the four pavilions?

5. What do you think is the Old Drunkard Pavilion famous for?

===Answers===
1. Ai Wan Pavilion.

2. After the Ming Dynasty.

3. Tao Ran Pavilion.

4. Ai Wan Pavilion.

5. It is said that Ouyang Xiu was demoted to Chuzhou to do the imperial guard and the Old Drunkard Pavilion was built for him and named after him.

===References===
*千龙.中国四大名亭[J].兵团建设,2009(14):50.

*刘璇.醉翁亭以中国“四大”名亭之一天下第一亭大文学家欧阳修《醉翁亭记》名声享誉中华[J].中国地名,2012(09):20-21.

*常翼.我国的四大名亭[J].新长征,2007(06):60.

*https://mp.weixin.qq.com/s/slU9b2notV9xKekROxCZuw

*https://baike.so.com/doc/6569739-6783501.html

*https://baike.so.com/doc/5632595-5845219.html

--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 00:34, 21 December 2020 (UTC)

==Architecture, Three Great Towers in China, Yang chenting 杨晨婷 No.202070080615 MTI 英语笔译==

===Three Great Towers in China===

1. Yellow Crane Tower

2. Yueyang Tower

3.The Pavilion of Prince Teng

Three great towers in China are Yellow Crane Tower in Wuhan, Hubei Province; Yueyang Tower in Yueyang, Hunan Province; and the Pavilion of Prince Teng in Nanchang, Jiangxi Province. As representatives of traditional Chinese architecture, they are the symbols of splendid culture for over five thousand years.

====Yellow Crane Tower====

The tower today we see in Wuhan is not the original building, and it has a very long and complicated history. Yellow Crane Tower, built in 223 during the Three Kingdoms period (220-280), was embodied with a perfect location. Because of this, the king of Wu, Sun Quan, held it as a watchtower for his troops. For hundreds of years, its military function has gradually been forgotten, which now mainly serves as a scenic spot, attracting millions of tourists at home and abroad. （Chen Xiansong 2018,08）

During the Tang Dynasty, many popular poets, like Cui Hao, Li Bai, and Bai Juyi wrote poems to praise Yellow Crane Tower. It can be said that due to their description and admiration of the tower, it became renowned and made people want to pay a visit. In the following centuries, unfortunately, it was destroyed and rebuilt several times. In the Ming and Qing dynasties alone, the tower was destroyed seven times and rebuilt seven times. In 1884, because of fire, it was completely destroyed and was not rebuilt until 1981. Now, it stands on the banks of the Yangtze River at the top of Snake Hill. (Zhang Chi 2002,02)

Different dynasties have greatly influenced the architectural features of it. However, the one we see today is a one rebuilt in Qing Dynasty. It is 51.4 meters (168 feet) tall, with five floors, which looks the same from any direction. The roof is covered by 100,000 yellow glazed tiles. With the tiles on the top, the design of each floor seems to resemble a yellow crane ready to fly. (English for tour guides 2017)[[File:Yellow Crane Tower.jpg|500px|thumb|right|Yellow Crane Tower]]

====Yueyang Tower====

Yueyang Tower is located at the western gate of Yueyang Ancient City, Hunan Province, overlooking Lake Dongting from its perch on the eastern shore of the lake. On the opposite side of Yueyang Tower flows the mighty Yangtze River. Therefore, it’s no doubt that its military function was important.

In 716, with the governance of Emperor Xuanzong of the Tang Dynasty, Yueyang Tower was reconstructed. Its beauty and its good place overlooking Lake Dongting made it receive a lot of literary praise. For example, in 1045, the governor of Ba Ling County, Teng Zijing, invited his friends, including one familiar with us—Fan Zhongyan, to write an essay in honor of the newly-reconstructed Yueyang Tower. (Gong Qijian 2012,13)

The current 20-meter-high pavilion with its four pillars made of rot-resistant nanmu trees, its three storeys with upturned eaves and its unique construction method stems from a major reconstruction in 1867, during the Qing Dynasty. There are two other pavilions, Sanzui Pavilion and Xianmei Pavilion, on either side of Yueyang Tower. And to the north of Yueyang Tower lies the tomb of Xiaoqiao, the wife of Zhou Yu, the famous military advisor in the Three Kingdoms Period. The splendid scenery of Yueyang Tower attracted the attention of many renowned poets of the Tang Dynasty, such as Li Bai, Du Fu, Bai Juyi and Li Shangyin, who wrote poems to paise it after paying a visit there. These works are preserved and cherished, and are on display in the Corridor of Poems and Calligraphy at Yueyang Tower. Thanks to those poets, they made Yueyang Tower keeps attracting people all the time. （Xiong Shengyuan 2015,06）

Yueyang Tower has long enjoyed the title of being the “First Tower under Heaven”, while Lake Dongting, near it, enjoys the reputation of being known as the “First Water under Heaven”. （Chinese scenery 2010）[[File:Yueyang Tower.jpg|500px|thumb|right|Yueyang Tower]]

====The Pavilion of Prince Teng====

Tengwang Pavilion, located in the northwest of Nanchang, Jiangxi Province, is an imperial building constructed more than 1,300 years ago. It was built in 659 by Li Yuanying, the son of the first emperor of Tang Dynasty and the brother of Li Shimin. Because of missing his hometown—Tengzhou, he built this pavilion. The pavilion was named “Tengwangge” after Yuanying, who was crowned “Prince of Teng” during the Zhenguan reign. Along with the Yellow Crane Tower in Wuhan, Hubei Province, and Yueyang Pavilion in Yueyang, Hunan Province, the pavilion of Prince Teng is famous as the “Three Great Pavilions” in China.（Xie Jianlin 2018,11）

What is rare to see in Chinese history is that the Pavilion of Prince Teng was destroyed and rebuilt 29 times, the same fate as Yellow Crane Tower. In January 2001, the Pavilion was named as one of the first batch of national 4A level tourist attractions and was approved as a national key scenic spot by the State Council of China in 2004. (Yin Minghui 2018,04)

For thousands of years, the Pavilion of Prince Teng, with its beautiful scenery and its abundant culture, has been an ideal place for writers and poets to create works. For thousands of years, many artists, poets and writers have paid a visit to this pavilion to get some inspiration for their works.

The Pavilion of Prince Teng has always been an auspicious building for Nanchang people. The cultural stories that have been passed down reflect people’s good wishes for good things, but also reveal the easy-going nature of the local people. Nanchang locals may not be aware of their attachment to the pavilion except when they are in a foreign land. It is at such times that they are able to feel their own cultural heritage and nostalgia for the pavilion. (Today China 2018)

[[File:The Pavilion of Prince Teng.jpg|500px|thumb|right|The Pavilion of Prince Teng]]

====Terms and Expressions====

Watchtower n. 瞭望塔

The Three King Periods 三国时期

Yangtze River 长江

Upturned eave 飞檐

4A level tourist attractions 4A级旅游景区

State Council of China 中国国务院

Nostalgia n. 怀旧

Storey n. 层

Glazed tile 琉璃瓦

====Questions====

1. What are the three great towers in China?

2. What's the function of the Yellow Crane Tower at the very beginning?

3. What's the cause of the Yellow Crane Tower’s completely destroying?

4. Where can tourists appreciate the beautiful scenery of Lake Dongting?

5. What does the Pavilion of Prince Teng mean to local people?

====Answers====

1. The three great towers are Yellow Crane Tower, Yueyang Tower, and the Pavilion of Prince Teng.

2. It served as a watchtower, i.e., military function.

3. It was because of the fire, which burned it down.

4. Tourists can appreciate the scenery from Yueyang Tower.

5. It has always been an auspicious building for Nanchang people and the story about it reflected people’s good wishes for good things.

====References====

Fang Wenhua 方华文. (2010). ''中国名山名水''[Chinese Scenery]. Anhui: Science and Technology Press 安徽科学技术出版社.

Qiu Huijun邱慧钧. (2002). 江南三大名楼[Three great towers in China]. ''风景名胜''Travel(01).

Wu Zhijun吴志军. (2008).江南三大名楼旅游形象测量与比较[The comparison of the image of three great towers]. ''江西财经大学学报''Journal of Jiangxi University of Finance & Economics (04).

Zhang Ju 张炬. (2017). ''导游英语''[Tourist Guide English]. Beijing: Beijing Institute of Technology北京理工大学.

Zheng Zhangmin 郑张敏. (2011). 关于中华古建筑专用名词翻译风格的思考.[A consideration on the translation of the name of Chinese ancient buildings] ''北京建筑工程学院学报''Journal of Beijing University of Civil Engineering and Architecture (04) 72-75.

--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 12:44, 20 December 2020 (UTC)Yang chenting

==Tourism, Nanjing-An Ancient Capital of Six Dynasties Yang Hairong 杨海容, 202070080616, MTI 英语笔译==

<center>杨海容 Yang Hairong, 202070080616</center>

===Nanjing-An Ancient Capital of Six Dynasties===

===A. Geographical Location, Economy and Military Defence===

Nanjing was also called Jinling, Moling, Jianye and Jiankang in ancient times. In the first year of Huanglong in the Eastern Wu Dynasty (229 years), Emperor Wu, Sun Quan, established the capital here, and the rise of Nanjing since then made China's political center out of the pattern of the Yellow River cultural plate, leading the development of the Yangtze River Basin and the entire southern region of China. Since then, the Song, Qi, Liang, and Chen of the Eastern Jin and Southern Dynasties successively established their capitals here, so Nanjing is known as the "Ancient Capital of the Six Dynasties". Nanjing City in the Six Dynasties has an important position in the history of China's capital city development. (Lu Haiming，2002)

''Feng Shui'' (风水) in Nanjing stands out. According to Feng Shui theory, the base site of Yang House (city, village, housing, yin house refers to tomb) is best to choose a place where ''Yin'' (阴) and ''Yang'' (阳) are embraced, meaning that there is a main mountain behind the base site; There is a crescent-shaped pond or river in front, and there is a mountain on the opposite side of the pond or river, and there is a super mountain on the opposite side of the mountain. (Lu Haiming，2002)

The main mountain of Nanjing is Jilong Mountain and Fuzhou Mountain; there is "a green dragon" on the left and "a white tiger" on the right. A Zhongshan Mountain on the left is "the green dragon", and a stone mountain on the right is "the white tiger". On the opposite, there is the Chaoshan Mountain named Niushou Mountain, and Xuanwu Lake behind Nanjing City (Sun Wu and Dong Jin dynasties called Beihu or Houhu Lake, and the name was changed by the Liu Song Dynasty). (Lu Haiming，2002)

During the Six Dynasties, Yangzhou was regarded as the economic center of the south, and the Sanwu area was the center of gravity. Sun Wu decided to make Nanjing in the early stage of material transportation. Later, a man-made canal was dug to open the waterway between Sanwu and Nanjing. As a result, Sanwu's materials no longer need to detour through the Yangtze River, and Nanjing's status as the capital is consolidated. (Lu Haiming，2002)

The Six Dynasties coexisted with the northern regimes for a long time and had the protective effect of the Yangtze River. However, the Yangtze River was not the first line of defense but the last trench. The natural peripheral military defense line of the Six Dynasties was between the Yellow River and the Yangtze River, including the Yellow River, Qinhuai River and Yangtze River. In addition, there are some important military towns. (Lu Haiming，2002)

====Terms and Expressions====

''Feng Shui'' theory 风水学

Yang House 阳宅

Yin House 阴宅

The main mountain 主山

Xuanwu Lake玄武湖

man-made canal 人工运河

Six Dynasties 六朝

Qinhuai River 秦淮河

the first line of defense 第一防线

trench 天堑

====Questions====

1.Why Feng Shui in Nanjing stands out?

2.During the Six Dynasties, which city was the economic center of the south?

3.What contributions does the man-made canal built between Sanwu and Nanjing make?

4.What kind of role does the Yangtze River play in protection?

5. What were Nanjing's natural peripheral military defense line of the Six Dynasties?

====Answers====

1.The main mountain of Nanjing is Jilong Mountain and Fuzhou Mountain; there is like a green dragon on the left, a white tiger on the right, a Zhongshan Mountain on the left is a green dragon, and a stone mountain on the right is the white tiger. On the opposite side, there is Chaoshan Mountain named Niushou Mountain, and Xuanwu Lake behind Nanjing City.

2.Yangzhou.

3.As a result, Sanwu's materials no longer need to detour through the Yangtze River, and Nanjing’s status as the capital of the country is consolidated.

4.the Yangtze River was not the first line of defense but the last trench.

5.The natural peripheral military defense line of the Six Dynasties was between the Yellow River and the Yangtze River, including the Yellow River, Qinhuai River and Yangtze River.

===B. Nature and Humanities===

The so-called "beauty" refers to the natural environment and cultural landscape in Nanjing. "Jiangnan is a beautiful land and an emperor state", which is a description of Nanjing. Nanjing is known as the metaphor of "the golden powder of the Six Dynasties is the best in the world", and there is also the tale of "Qinhuai and the blue waves reflect the beauty". There are not only beautiful natural sceneries, but also many historical monuments; there are ancient buildings and a large number of modern facilities, so it has become a famous tourist attraction at home and abroad. There are as many as 154 places of historical interests listed as national, provincial and municipal cultural relics protection units. (Zhu Yaoting, 2003)

The natural and cultural landscape here not only reveals the beauty of the south of the Yangtze River, but also maintains the majesty of the North. In Nanjing, the masculine and feminine complement each other. The strong impact of the Yellow River and the Yangtze River basin makes Nanjing unparalleled and embodies the beauty of the blending of north and south. (Zhu Yaoting, 2003)

The main folklore activities in Nanjing include Lantern Festival, Tomb-sweeping Outing, Dragon Boat Festival, Mid-Autumn Festival, Chongyang Festival, Laba Festival, New Year welcoming God of Wealth, etc. The folk customs of Nanjing are sincere and have a long history. "Fancy but not slick" is the essence of Nanjing folk customs. (Zhu Yaoting, 2003)

Nanjing embraces abundant cultures, and is integrated into folk customs; folk customs have enriched cultures, and Nanjing's folk entertainments are full of rich cultural connotations. The traditional folk entertainments including dragon lantern dance, the Huatai Festival, social fire in Lishui area, Fangshan drum in Jiangning area, hand lion dance in Jiangpu area and so on. These entertainments seem simple, but they are deeply loved by local people. Moreover, people live in Naning will have these traditional customs including climbing the Zijin Mountain, eating black rice, holding Jinling Lantern Festival and so on.(Zhu Yaoting, 2003)

====Terms and Expressions====

Lantern Festival Lantern Festival 元宵节

Tomb-sweeping Outing 清明节

Dragon Boat Festival 端午节

Mid-Autumn Festival 中秋节

Chongyang Festival 重阳节

Laba Festival porridge 腊八节

God of Wealth 财神

dragon lantern dance 舞龙灯

Fangshan drum 方山大鼓

the Huatai Festival 花台会

black rice 乌饭

historical interests 名胜古迹

====Questions====

1.How to describe Nanjing?

2.How many places of historical interest listed as national, provincial and municipal cultural relics protection units in Nanjing?

3.What are main folklore activities in Nanjing?

4.What is the essence of Nanjing folk customs?

5.People who live in Jiangning area of Nanjing like what kind of folk entertainment?

====Answer====

1.Nanjing is known as the metaphor of "the golden powder of the Six Dynasties is the best in the world", and there is also the tale of "Qinhuai and the blue waves reflect the beauty".

2.There are as many as 154 places of historical interest listed as national, provincial and municipal cultural relics protection units.

3.The main folklore activities in Nanjing include Lantern Festival Lantern Festival, Tomb-sweeping Outing, Dragon Boat Festival, Mid-Autumn Festival, Chongyang Festival, Laba Festival porridge, New Year welcoming God of Wealth, etc.

4."Fancy but not slick" is the essence of Nanjing folk customs.

5.Fangshan drum.

===C. The Lantern Festival in Nanjing===

The fifteenth day of the first lunar month is the night of the first full moon in the lunar calendar year. The Lantern Festival started as a sacrificial offering and gradually became a grand and enthusiastic entertainment festival. In ancient times, the Lantern Festival included one day. In Tang Dynasty it was 16th to 18th of the first month in the lunar calendar, which involved three days; In Song Dynasty, it was 14th to 18th which involved five days; In Ming Dynasty, as Zhu Yuanzhang became the emperor in Nanjing, the Lantern Festival was extended to ten days, that is, from 8th to 17th of the first month in the lunar calendar, and on 18th the lantern lights turned off. The food has also changed from eating bean porridge to tasting glutinous rice balls (汤圆). (Jiangsu Local Chronicles, Nanjing Culture,2015)

[[File:The Confucius Temple.jpg|300px|thumb|right|The Confucius Temple]]

During Ming and Qing Dynasties, there was a custom of playing dragon lanterns and hanging gauze lanterns. Playing Dragon Lantern is not only played by ordinary people, but also by the soldiers. The length of the lantern is not as long as other places can. The short one is more than ten feet, the long is more than a hundred knots, and it can be played by hundreds of people. Yarn lanterns have satin silk fabrics, and there are celebrities painting on them, the more painting by the masters, the higher the value. Merchants will also hold lantern riddles activities in front of the store, attracting many tourists, and those who guess the prize will be rewarded. (Jiangsu Local Chronicles, Nanjing Culture,2015)

There is a lantern shaped in horse pioneered by Nanjing people. The lantern is covered with candles inside. Using the principle of thermal expansion of the air, the lamp surface is driven to rotate. The lamp surface is painted with various postures of horses galloping like ten thousand horses. British scholar Needham called it an invention of ancient Chinese people. The dragon lanterns are majestic, the gauze lanterns are exquisite, colorful, and vigorous, attracting the long dwelling and entertaining guests out of the city, singing and laughing. In recent decades, the Lantern Festival at the Confucius Temple has become more and more prosperous, using new technology, new materials, sound and light control, and it is colorful, vivid and dazzling. The lantern festival will last for one month starting from the Spring Festival. During this period, it attracted as many as two or three million tourists from all over the world every day.(Jiangsu Local Chronicles, Nanjing Culture,2015)

====Terms and Expressions====

the first month in the lunar calendar 正月

glutinous rice balls 汤圆

satin silk fabrics 楮练纱帛

Yarn lanterns 纱灯

lantern riddles activities 猜灯谜

the Confucius Temple 夫子庙

====Questions====

1.Which day is the night of the first full moon in the lunar calendar year?

2.In Tang Dynasty, what time is the Lantern Festival?

3.In Ming Dynasty, as Zhu Yuanzhang became the emperor in Nanjing, how many days did the Lantern Festival extend to?

4.What kinds of people like playing Dragon Lantern?

5.What is the length of the lantern in Nanjing?

6.What are characteristics of a lantern-shaped in horse?

7.What did Needham call as an invention of ancient Chinese people in Nanjing?

====Answers====

1.The fifteenth day of the first lunar month.

2.In Tang Dynasty it was 16th to 18th of the first month in the lunar calendar, which involved three days.

3.In Ming Dynasty, as Zhu Yuanzhang became the emperor in Nanjing, the Lantern Festival was extended to ten days.

4.Playing Dragon Lantern is not only played by ordinary people, but also by the soldiers.

5.The length of the lantern is not as long as other places can. The short one is more than ten feet, the long is more than a hundred knots, and it can be played by hundreds of people.

6.There is a lantern-shaped in horse pioneered by Nanjing people. The lantern is covered with candles inside. Using the principle of thermal expansion of the air, the lamp surface is driven to rotate. The lamp surface is painted with various postures of horses galloping like ten thousand horses.

7.a lantern-shaped in horse.

===References===

[1]Lu Haiming 卢海鸣. (2002). ''六朝都城'' [Capital of Six Dynasties]. Nanjing: Nanjing Press 南京出版社.

[2]Yao Yifeng 姚亦锋. (2007).从南京城市地理格局研究古都风貌规划 [Research on the Planning of Ancient Capital from the Geographical Pattern of Nanjing].人文地理 Human Geography.(03)92-97.

[3]Zhu Yaoting 朱耀廷.(2003). 定都与迁都——中国七大古都比较研究之一 [Setting and Moving the Capital: One of the Comparative Studies of the Seven Ancient Capitals of China].北京联合大学学报(人文社会科学版) Journal of Beijing Union University（Humanities and Social Sciences). (01) 69-76.

[4]Jiangsu Local Chronicles, Nanjing Culture, (2015).http://jssdfz.jiangsu.gov.cn/

==Chinese Traditional Culture-Five Constant Virtues Yang Hui 阳慧英语口译 202070080646==

Owning over thousands of years of history, the Chinese have created a brilliant history and culture, and at the same time have formed their own moral code that has played an important role in social development and progress. This is what we call Traditional Virtues, which still have great significance today and whose value to the development of human civilization is now widely recognized. Benevolence , righteousness, propriety, wisdom and fidelity are the Five Constant Virtues which are the most important ones in traditional China. They all came from Confucianism and are widely acknowledged all over China. To be a moral person, the ancient Chinese cultivated and test themselves according to the Five Constant Virtues and carried them down to the modern life. The brief and concise expression of " benevolence, righteousness, propriety , wisdom and fidelity" is not only the conciseness of Chinese traditional culture, its summary and abstract form of moral category can be said to be the " brand " of Chinese traditional ethics and morality, its value in Chinese traditional culture can be compared to the market value of a commercial brand with a long history.(Xu Keqian 2005, 4）

===Benevolence (Ren)===
Benevolence is the first and most important virtue among the Five Constant Virtues. It manifests itself in the inner mind in love and compassion for people and in avoiding harm or envy toward anyone. In terms of behavior, benevolence demands that one be amiable, not argue angrily with others nor do evil deeds. To cultivate one‘s virtue of Benevolence one should use another Confucian version of the Golden Rule: What one does not wish for oneself, one ought not to do to anyone else; what one recognizes as desirable for oneself, one ought to be willing to grant to others. Virtue, in this Confucian view, is based upon harmony with other people, produced through this type of ethical practice by a growing identification of the interests of self and other. Zeng Zi once said: My three provinces are my body. Cheating? Make friends without any sincerity ?go over what I have Learned?(Zhu Xi, 2005,27). In short, as parents treat their children, the benevolent person spares no effort to help others; one even lays down one’s life to this end, with no thought of being repaid(Zhu Xi, 2005,27).

===Righteousness (Yi)===
Among his teachings, Confucius emphasized righteousness which is the ability to distinguish between right and wrong. Righteousness can be thought of as similar to what is often referred to as a “conscience or “justice”. Confucius believed that actions should be taken on the basis of whether the act is morally right or wrong as opposed to whether it will provide profit or utility to an individual or group. Above all righteousness is about preserving one’s integrity. The unjust but rich to me is as clouds(China Publishing House 2006, 56).

===Propriety (Li)===
Propriety means ceremony or correct behavior. The contents of propriety include loyalty, filial piety , fraternal duty, respect, etc. Originating in ancient sacrificial rites, propriety, in a general sense signifies behavioral norms which maintain hierarchy. Confucius urged people to restrain oneself with propriety ,be polite ,treat others with propriety, saying that people cannot act without propriety. In ancient society, besides the relation of monarch and subjects, there were also the relations of father and sons, husband and wife, the elder and the young, teacher and students, and others. These relations differ but all demand modest respect to others(China Publishing House 2006, 76).

===Wisdom (Zhi)===
Wisdom is the knowledge by which one judges right and wrong, good and evil. The saint define the personality of “the wise” as “a wise man free from confusions”. The real man of wisdom shall not only be able to distinguish truth from falsehood, but also be rational and sensible; he shall never get confused in front of profits or different paths. That is to say, the wisdom concerns not only one person's ability and aptitude, but also his moral cultivation. The Doctrine of the Mean once said that "knowledge, benevolence, courage, the world's greatest valued. Also wisdom, its basic connotation is smartness. Confucius also pointed out that the acquisition of "wisdom" lies in learning, which can be obtained from both books and life(Zi Si 2007,32 ).

===Fidelity (Xin)===
Fidelity is honesty. This means that, externally, one’s deeds match one’s words; and that internally one’s words and mind are in unison. Fidelity is a key to the perfection of human nature. Robert Schuller, an American scholar at the niyama world civilization forum, the hometown of confucius in qufu, china, said: " faith, that is, honesty, should be emphasized to the people around you, family members and the wider population. So honesty is a very important principle. Everyone should be honest with each other, and of course you need to be humble, which is also very important so that we can create a harmonious environment. Thus it is the basis without which other virtues lose their authenticity ; hence they are inseparable. Fidelity is natural in a child, but might be lost due to external influences(Robert Schuller 2016, 4).

Benevolence, righteousness, courtesy, wisdom and faith in the " Five Constant Virtues " are the fundamental requirements of the moral norms of the gentleman, the spiritual support of the individual to settle down to the era of the use of Confucianism, and the " Five Moral Goals " of the Confucian view of the gentleman can better implement the core values of socialism, so that the historical tradition and the present reality, an organic combination and a link between the past and the future. Zhang pointed out that Confucianism is not the culture of God, but the moral culture centered on people, how to be a man, be a moral, ideal and effective person ;To be honest and friendly, to be respectful: to say what you do not want. To do to others ;Be faithful and forgiving(Zhang Qizhi 2016, 53).

===Expressions and Terms===
Five Constant Virtues 五常

benevolence 仁

righteousness 义

propriety 礼

wisdom 智

fidelity 信

moral code 道德准则

filial piety 孝道

===Questions===
1.what does the Five Constant Virtues refer to ?

2.In terms of behavior. what does Benevolence demand ?

3.What do the contents of the Propriety include ?

4.What is the real man of the wisdom ?

5. Where does the Five Constant Virtues come from ?

===Answers===
1.Benevolence , righteousness, propriety, wisdom and fidelity.

2. Benevolence demands that one should be amiable, neither argue angrily with others nor do evil deeds.

3.It includes loyalty, filial piety , fraternal duty, respect, etc.

4.The real man of wisdom shall not only be able to distinguish truth from falsehood, but also be rational and sensible; he shall never get confused in front of profits or different .

5.They all came from Confucianism and are widely acknowledged all over China.

===Reference===

Wei LI 韦利. (1998). 论语[the Analects of Confucius].Beijing: Foreign Language Teaching and Research Press 外语教学与研究出版社.

Robert Schuller. （2016）. 罗伯特舒乐.人类危机与文明对话-许嘉璐与罗伯特舒乐的高端对话[Human Crisis and Dialogue of Civilization--A High-level Dialogue between Xu Jialu and Robert Schuller]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.

Xu Keqian 徐克谦. (2005）.仁义礼智信与当代道德文明建设[Five Constant Virtues and the Construction of Contemporary Moral Civilization]. Learning Forum 学习论坛

Zhu Xi 朱熹. (2005). 四书集注[Notes on Four Book]. Jiang Su: Phoenix Publishing House 凤凰出版社.

Zi Si 子思. (2007). 中庸[The Doctrine of the Mean]. Harbin: Harbin Publishing House 哈尔滨出版社.

Zhang Qizhi 张岂之. (2016).中国文化的会通精神[The Communicative Spirit of Chinese Culture ]. Chang Chun : Chang Chun Press 长春出版社.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 03:45, 21 December 2020 (UTC)

==Cheongsam - Yang Yue 杨悦 - Student No.202070080617 英语笔译==
===Cheongsam===

Cheongsam, the traditional costume of Chinese women in China and around the world, is known as the quintessence of China and female national apparel. It is one of the most splendid phenomena and forms in China's long dress culture. (Mao Jing 2009, 1)

====Brief Introduction====

Cheongsam is a classic dress with the most traditional Chinese characteristics, the most national representatives and the best expression of the beauty of Oriental female. When people think of cheongsam, the first thing that comes to mind is its chic paintings and rich poetic sentiment, which show the virtuous, elegant and gentle temperament of Chinese women in the exquisite curves, and show the unique implicit beauty of Oriental women with flowing lines. After more than 300 years of evolution, it still enjoys high reputation such as "Oriental Wonders", "Chinese Dress", and "The Best of Clothing". This has witnessed that “the classic represents eternity”. (Tong Zhijun 2007, 17).

In 1984, cheongsam was designated by the State Council as a dress for female diplomats. On May 23, 2011, approved by the State Council, the handmade craftsmanship of cheongsam became one of the third batch of national intangible cultural heritage. In November 2014, the Chinese government chose cheongsam as the dress of the leaders’ wives of the participating countries at the 22nd APEC meeting in Beijing. (Mao Jing 2009, 1)

====The History of Cheongsam====

Cheongsam is a national costume originated from Manchu women in the mid-16th century. In the early days, the cheongsam worn by banner people was generally not over their feet. Only when Manchu women get married, do they wear cheongsam as a wedding dress. Because all the Manchu noble women wear high-heeled wooden clogs, their cheongsam is so long that it can cover their feet. (Mao Jing 2009, 2)

After the Emperor Shunzhi of the Qing Dynasty entered the Shanhai Pass and moved to Beijing, cheongsam gained its popularity in the Central Plains. After the Qing Dynasty unified China and also the national clothing, men wear long gowns and mandarins, and women wear cheongsam. Later, with the integration and unity of Manchu and Han life, cheongsam was gradually absorbed by Han women and continued to be innovated. (Mao Jing 2009, 2)

Following the 1911 Revolution, cheongsam quickly gained its popularity throughout the country. From the late 1920s to the early 1930s, influenced by the short gown that was popular in western women’ s clothing, the cheongsam also became shorter. The length of the cheongsam was just over the knee, the cuffs were narrowed, and the piping became narrower. In the mid-1930s, the cheongsam gradually grew longer and even shuffled to the floor. The slits on both sides were very high, and the waist was lined with a waistcoat. The waist became extremely narrow, and even fitted, showing the curve of the female . (Chen Juanjuan, Huang Nengyu 2006, 386-387).

In the 1940s, the cheongsam was shortened again, and the sleeves were even all canceled. It almost returned to the long vest era two hundred years ago. The only difference was that it was lighter and fitter and became streamlined. Beginning in the 1950s, in order to adapt to the needs of modern life, costume designers began to continuously improve Chinese cheongsam so that this national costume not only has oriental characteristics, but also conforms to the fashion trends of the world. And in this period, cheongsam, which is elegant and virtuous, has been internationally recognized. (Hongxia Liu 2009, 1)

In the past 20 years, the improved cheongsam we see has been greatly influenced by international fashion trends. For a time, various forms of the cheongsam such as low collar, sleeveless, tight waist, high slit, ultra short, topless, nude back, etc. have changed a lot. Sequins, embroidery, fur trim, fabric printing and other craft decorations shine brightly. The colors are gorgeous, jumping, thick, and soft, boldly breaking through the old pattern of cheongsam. (Wang Di 2014, 67)

The improved cheongsam not only retains the original features, but also incorporates the sense of innovation. Since then, the traditional Manchu dress has been injected into the blood of the times and given the vitality of youth. Cheongsam and fashion co-exist together, expressing a new feeling from a new perspective and a new concept. (Wang Di 2014, 67)

====The Significance of Cheongsam====

Through the baptism of history, the cheongsam has become the most representative symbol of the elegance of Oriental women. When it comes to Oriental female, people often think of a graceful woman wearing cheongsam. The silk commonly used in cheongsam makes the feminine figure more incisive and vivid. The oriental charm and elegance of the cheongsam is astounding. Nowadays, cheongsam has become a symbol of beauty beyond ordinary clothes in general sense, becoming an immortal classic. (Mao Jing 2009, 3)

Cheongsam has been leading the pace of tradition and fashion in the course of hundreds of years of evolution, inheriting Chinese civilization, showing the self-cultivation and virtues of the wearer, and becoming a model of traditional Chinese culture in modern times. We have reason to believe that cheongsam can connect the past and the future, life and art, and brings Chinese people’ s understanding and interpretation of beauty to the world. (Mao Jing 2009, 3)

In conclusion, after modern processing and improvement, the cheongsam has become an elegant dress that is loved by the public. Its cultural and artistic value of is worthy of being studied. China’s five thousand years of splendid history and culture retain its vitality of youth on the cheongsam, and the traditional costume culture is still shining on the modern stage. This provides the possibility for the study of the history of clothing development and adds infinite charm for the spread and promotion of Chinese culture. (Tong Zhijun 2007, 137)

Nowadays, cheongsam is a Chinese female dress with traditional charm and modern vitality. Its past is unpredictable, but its present keeps pace with the times. Whether in films, television works or in wedding photography, cheongsam shows fresh vitality. (Tong Zhijun 2007, 137)

===References===

*Tong Zhijun 佟志军. (2007). 旗袍与女性 [Cheongsam and Women]. 北京：服装设计师 Beijing: Fashion Designer (1) 137.
*Chen Juanjuan, Huang Nengfu 陈娟娟, 黄能馥. (2006). 中国服装史 [History of Chinese Clothing]. Beijing: China Tourism Press 北京：中国旅游出版社 386-387.
*Mao Jing 毛敬. (2009). 中国旗袍及其向世界的传播 [The Chinese Cheongsam and Its Spread to the World]. 淮北职业技术学院学报 Journal of Huaibei Vocational and Technical College 34.
*Wang Di 王迪. (2014). 中国旗袍的历史演变 [The Historical Evolution of Chinese Cheongsam]. 美术教育研究 Research on Art Education 67.
*Hongxia Liu. The Cheongsam—the Treasure of Chinese National Apparel. 2009, 1(1)

===Terms and Expressions===

*Cheongsam 旗袍
*the quintessence of China 国粹
*national intangible cultural heritage 非物质文化遗产
*Manchu 满族
*long gowns and mandarins 长袍马褂
*the improved cheongsam 改良旗袍
*sleeveless 无袖
*fur trim 毛皮饰边
*Sequins 亮片
*fabric printing 织物印花
*embroidery 刺绣
*topless 袒胸
*nude back 裸背
*low collar 低领
*high slit 高开叉

===Questions===

1.When did the cheongsam originate from?

2. When did the cheongsam become popular in central China?

3. When did the cheongsam become popular throughout the country?

4.What is the features of the cheongsam from the late 1920s to the early 1930s?

5. What is the features of the cheongsam in the 1940s?

6. In the past 20 years, influenced by international fashion trends, what changes have taken place in cheongsam?

===Answers===

1.Cheongsam is a national costume originated from Manchu women in the mid-16th century.

2.After the Emperor Shunzhi of the Qing Dynasty entered the Shanhai Pass and moved to Beijing, cheongsam became popular in the Central Plains.

3.Following the 1911 Revolution, cheongsam quickly gained its popularity throughout the country.

4.From the late 1920s to the early 1930s, influenced by the short gown that was popular in western women's clothing, the cheongsam also became shorter. The length of the cheongsam was just over the knee, the cuffs were narrowed, and the piping became narrower.

5.In the 1940s, the cheongsam was shortened again, and the sleeves were so short that they were all canceled. It almost returned to the long vest era two hundred years ago.

6. For a time, various forms such as low collar, sleeveless, tight waist, high slit, ultra short, topless, nude back, etc. have changed a lot. Sequins, embroidery, fur trim, fabric printing and other craft decorations shine brightly.
--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 07:56, 21 December 2020 (UTC)

==The Folding Screen--Yang Ziling 杨子泠 202070080647 MTI英语口译==

====1.1 Introduction ====

Folding screens are a kind of flexible furniture and composed of several frames or panels linked together. They serve practical and decorative functions, being made from various materials and in many styles. Folding screens originated in ancient China. Written references date from around the 4th century BC, during the Han dynasty, but they were probably used earlier. (Milica Sterjova 2017, website)

====1.2 History and Technology====

The earliest surviving folding screens are Chinese. Existing Chinese screens, some of which are
paper, date from the eighth century AD, although literary references date as far back as the Zhou
dynasty (fourth to third century BC), and depictions of screens occur in Han dynasty tombs (200
BC-200 AD). However, it was in Japan that the screen form evolved into its most celebrated
variations. (Dianne Lee van der Reyden website, 2)

Chinese screens which were made originally as partitions painted with beautiful and serious works, were not designed to be moved around very often. (Emmaantiques, 2014, website)
They were initially made of wooden panels and decorated with fine art. Many themes are painted on the panels, such as mythology, scenes of palace life, and nature, making them more of a piece of furniture. It is often associated with intrigue and romance in Chinese literature, for example, a young lady in love could take a curious peek hidden from behind a folding screen. Examples of such romantic occasions can be seen in the classical novel Dream of the Red Camber of Cao Xueqin. The folding screen is also an important element in Tang literature. Li He, the Tang Poet, wrote the "Song of the Screen" (屏风曲), in which he described a folding screen of a newly-wed couple. The folding screen surrounded the bed of the young couple, and its twelve panels were adorned with butterflies alighted on China pink flowers (an allusion to lovers), and had silver hinges resembling glass coins. (Mazurkewich, Karen, 2006) There are heavy wooden structures with other decorations pulled through holes near the edges of the panels. The frame was prominent, and the image development was frequently vertical and confined to the individual panels, creating a pleasing pattern. (Dianne Lee van der Reyden website,2)

They were made flexible when an ingenious system of strong paper hinges were integrated in the panel construction, which made folding patterns reversible. The panels were brought closer by the paper hinges, which reduce the need for frames separating panels and allow a horizontal orientation of the picture plane. This provides creative approaches to the various spatial relationships of the panels. (Dianne Lee van der Reyden website, 2)

====1.3 Uses====

Although originated in China, folding screens are now used in many interior designs around the world. People first used them also in some practical ways, such as preventing draft in homes, as shown by the two characters in their name: ping(屏 "screen; blocking") and feng (风 "breeze, wind"). People would also use them to bestow a sense of privacy; in old times, they would often be placed in rooms serving as dressing screens for ladies. (Cooper Dan 1999, 30-36)

Folding screens can be put up as to divide a large space and change the configuration of the room. They could also be used as a false way set up at the entrance of a room to create a desirable atmosphere by hiding certain features like doors to a kitchen. Now that many folding screens are design with fine art, they serve the decorative purposes well in the interior features of a home.(Cooper Dan 1999, 30-36)

====1.4 Spread====

After becoming popular in China, folding screens spread to other parts of the world, including East Asia and later Europe. In the 7th century, they appeared in Japan for the first time during the reign of Emperor Tenmu, and they were presented to the Korean kingdom of Silla as a gift. By the 8th century, they had gained such popularity in Japan that Japanese artists began to make their own, very much influenced by Chinese design. Different sizes served different purposes: small 2-fold screens were often used for the tea ceremony and a larger 8-fold screen could be used as backdrops for dances. Japanese screens were lighter, often made of silk or even paper. Painted screens were a major component of traditional Japanese architecture, and their decoration reflected the leading schools and movements in Japanese art. They served many purposes, being used for tea ceremonies, as backgrounds for concerts or dances, and as enclosures for Buddhist rites. (David Leopold 2008,9)

Folding screens from the Far East spread to Europe at the very beginning of the 17th century. Owing to their practical functions and the distinguished decoration, they drew a lot of attention. The famous designer Coco Chanel was totally enchanted by Coromandel screens. She was well-known for her collection of Chinese folding screens. She possessed 32 folding screens, 8 of which were preserved in her apartment in Paris. She once stated:   “I’ve loved Chinese screens since I was eighteen years old. I nearly fainted with joy when, entering a Chinese shop, I saw a Coromandel for the first time. Screens were the first thing I bought.“ (Delay Claude 1983, 12)

By the early 18th century, European craftsmen had already begun making folding screens on their own. They made folding screens in less expensive painted versions instead using lacquer techniques. At that time, leather screens were fashionable, but their popularity didn't last long, only to be restored around 1860 during the reign of Napoleon III with the wave of Japonism that inspired a number of French artists. (Milica Sterjova 2017, website)

In the 20th century when new modern heating means were invented, the functions of the folding screen became mostly decorative.

====1.5 Expressions and Terms====

Dream of the Red Chamber 《红楼梦》

the Korean Kingdom of Silla 朝鲜新罗王国

Emperor Tenmu 天武天皇

====1.6 Questions====

1. When did folding screens first appear?

2. How are folding screens associated with romance in Chinese literature?

3. What functions do screens serve?

4. When did they spread to Europe?

5. How did European craftsmen make folding screens?

===1.7 Answers===

1. Literary references date as far back as the Zhou dynasty (fourth to third century BC).

2. For example, a young lady in love could take a curious peek hidden from behind a folding screen, as presented in the classical novel Dream of the Red Camber of Cao Xueqin.

3. Preventing draft in homes, bestowing a sense of privacy and serving as dressing screens for ladies.

4. Folding screens from the Far East spread to Europe at the very beginning of the 17th century.

5. They made folding screens in less expensive painted versions instead using lacquer techniques.

===1.8 References===

Handler, Sarah (2007). Austere luminosity of Chinese classical furniture. University of California Press. pp. 268–271, 275, 277.

Delay, Claude (1983). Chanel Solitaire. Gallimard. p. 12. Cited in: "COCO CHANEL'S APARTMENT THE COROMANDEL SCREENS". Chanel News. June 29, 2010.

Milica Sterjova (2017). A Brief history of folding screens. https://www.wallswithstories.com/uncategorized/a-brief-history-of-folding-screens.html

Emmaantiques (2014). Asian Furniture Online. https://asianfurnitureonline.wordpress.com/2014/11/19/history-of-asian-screens/

Dianne Lee van der Reyden, THE HISTORY, TECHNOLOGY, AND CARE OF FOLDING SCREENS: CASE STUDIES OF THE CONSERVATION TREATMENT OF WESTERN AND ORIENTAL SCREENS, https://www.si.edu/mci/downloads/RELACT/folding_screens.pdf

David Leopold, Unfolding the Screen (2008). https://www.solowey.com/wp/page/9/

Mazurkewich, Karen; Ong, A. Chester (2006). Chinese Furniture: A Guide to Collecting Antiques. Tuttle Publishing. pp. 144–146

Cooper, Dan (1999). "Folding Grandeur". Old House Interiors. 5 (1): 30–36.

==Yi Zichu 义子楚英语笔译 202070080618==
==='''Panda'''===--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 14:26, 2 November 2020 (UTC)

===='''1.The origin of giant pandas'''=====
The ancestor of the giant panda is Ailuaractos lufengensis. The scientific name of the giant panda is actually "cat bear", which means "a bear like a cat". The main branch of it continued to evolve in central and southern China. One species of Ailuaractos lufengensis appeared in the early Pleistocene about 3 million years ago, and it was smaller than the current panda.(Sun Chengjian,2006,163)

The ancestor of the giant panda is Ailuaractos. The scientific name of the giant panda is actually "cat bear", which means "a bear like a cat". The main branch of it continued to evolve in central and southern China. One species of Ailuaractos appeared in the early Pleistocene about 3 million years ago, and it was smaller than the current panda. (Sun Chengjian,2006,163)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

In this process, giant pandas have adapted to life in subtropical bamboo forests, gradually increasing in size and relying on bamboo for their livelihoods. In the middle and late Pleistocene, about 500,000-700,000 years ago, was the heyday of giant pandas. The Qinling giant panda has been identified as a subspecies of the giant panda. Fossils show that the ancestors of giant pandas appeared in the early 2 to 3 million years ago. (Sun Chengjian,2006,163)

In the process, giant pandas have adapted to life in subtropical bamboo forests, gradually increasing in size and relying on bamboo for their livelihoods. In the middle and late Pleistocene, about 500,000-700,000 years ago, was the heyday of giant pandas. The Qinling giant panda has been identified as a subspecies of the giant panda. Biological fossils show that the ancestors of giant pandas appeared in the early 2 to 3 million years ago. (Sun Chengjian,2006,163) --[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

The habitat of giant pandas once covered most of eastern and southern China, reaching Beijing in the north and southern Myanmar and northern Vietnam in the south. Giant panda fossils are usually found in temperate or subtropical forests at an altitude of 500 to 700 meters. Giant pandas have survived to now and maintain their original ancient characteristics. Therefore, they have a lot of scientific value and are known as "living fossils". China calls them "national treasures."(Sun Chengjian,2006,165)\

The habitat of giant pandas once covered most of east southern China, reaching Beijing in the north and southern Myanmar and northern Vietnam in the south. Giant panda fossils are usually found in temperate or subtropical forests at an altitude of 500 to 700 meters. Giant pandas have survived to now and maintain their original ancient characteristics. Therefore, they have a lot of scientific value and are known as "living fossils". China calls them "national treasures." (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

===='''2.Appearance features of giant pandas'''====
Giant pandas are fat like bears, plump and rich, round heads and short tails, with a head length of 1200-1800mm and a tail length of 100-120mm. The weight is 80-120kg, and its maximum weight can reach 180kg. The raised pandas are a little heavier, and the males are generally slightly larger than the females. The hair color of its head and body is distinct from black and white. (Sun Chengjian,2006,165)

Giant pandas are fat like bears, plump and rich, round heads and short tails, with a head length of 1200-1800mm and a tail length of 100-120mm. Its weight is 80-120kg, and its maximum can reach 180kg. The raised pandas are a little heavier, and the males are generally slightly larger than the females. The hair color of its head and body is distinct from black and white. (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

However, its black is not pure black, and white is not pure white. It is black with brown through and white with yellow. The individuals in the Qinling Mountains are relatively large, with rough body hair and slightly brownish abdominal hair. The black and white appearance is conducive to hiding in dense forest trees and snow-covered ground without being easily spotted by natural enemies. Relatively sharp claws, well-developed and powerful front and rear limbs help the giant panda to climb up tall trees quickly. (Sun Chengjian,2006,165)

However, it is not pure black, or pure white. It is black with brown through and white with yellow. The pandas in the Qinling Mountains are relatively large, with rough body hair and slightly brownish abdominal hair. The black and white appearance is conducive to hiding in dense forest trees and snow-covered ground without being easily spotted by natural enemies. Relatively sharp claws, well-developed and powerful front and rear limbs help the giant panda to climb up tall trees quickly. (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

The giant panda's skin is thick, which can be up to 10 mm at its thickest point. The skin thickness of different parts of the body is different. The back of the body is thicker than the ventral side, and the outside of the body is thicker than the inside of the body. The average thickness of the skin is about 5 mm, and it is white, elastic and tough. The vision of giant pandas is extremely underdeveloped. This is because giant pandas live in dense bamboo forests for a long time. The light is very dark and there are many obstacles, making their eyes very short and shallow. (Sun Chengjian,2006,165)

The giant panda's skin is thick, which can be up to 10 mm at its thickest point. The skin thickness of different parts of the body is different. The back of the body is thicker than the ventral side, and the outside of the body is thicker than the inside of the body. The average thickness of the skin is about 5 mm, and it is white, elastic and tough. The vision of giant pandas is extremely underdeveloped. This is because giant pandas live in dense bamboo forests for a long time. The light is very dark and there are many obstacles, making their eyes very short (Sun Chengjian,2006,166)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

In addition, because its pupils are split like cats, they can still do activities when night comes.Giant pandas live in the high mountains and deep valleys of the upper reaches of the Yangtze River in China, which are the windward side of the southeast monsoon. The climate is warm and humid, and their humidity is often above 80%. The giant pandas prefer humid environment. The 6 long and narrow areas where giant pandas live, including Minshan, Qionglai, Liangshan, Daxiangling, Xiaoxiangling and Qinling Mountains, spans 45 counties (cities) in the 3 provinces of Sichuan, Shaanxi and Gansu.(Sun Chengjian,2006,165)

In addition, because its pupils are split like cats, they can still do activities when night comes. Giant pandas live in the high mountains and deep valleys of the upper reaches of the Yangtze River in China, which are the windward side of the southeast monsoon. There is warm and humid, and their humidity is often above 80%. The giant pandas prefer humid environment. The 6 long and narrow areas where giant pandas live, including Minshan, Qionglai, Liangshan, Daxiangling, Xiaoxiangling and Qinling Mountains, spans 45 counties (cities) in the 3 provinces of Sichuan, Shaanxi and Gansu. (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

The land area of their habitats is more than 20,000 square kilometers, and the population of there is about 1,600, of which more than 80% are distributed in Sichuan.(Sun Chengjian,2006,165)

The land area of their habitats is more than 20,000 square kilometers, and the population is about 1,600, of which more than 80% are distributed in Sichuan. (Sun Chengjian,2006,167)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

===='''3.The diet features of giant pandas'''====
The recipes of giant pandas are very special, almost including all kinds of bamboo that can be found in high mountain areas. Giant pandas also occasionally eat meat (usually the carcasses of animals or sometimes of rhizomys). The unique dieting characteristics of the giant panda make it known as the "bamboo bear" by the locals. Giant pandas have gradually evolved to herbivore. As bamboo has a few nutrition that can only provide the basic nutrients needed for pandas’ survival, giant pandas eat up to 14 hours a day except for sleeping or some short-distance activities in the wild environment. A giant panda eats 12 to 38 kilograms of bamboo per day, which is close to 40% of its body weight. (Hu Jinzhi,1981,17)

The recipes of giant pandas are very special, almost including all kinds of bamboo that can be found in high mountain areas. Giant pandas also occasionally eat meat (usually the carcasses of animals or sometimes of rhizomys). The unique dieting characteristics of the giant panda make it known as "bamboo bear" by the locals. Giant pandas have gradually evolved to herbivore. As bamboo has a few nutrition that can only provide the basic nutrients needed for pandas’ survival, giant pandas eat up to 14 hours a day except for sleeping or some short-distance activities in the wild environment. A giant panda eats 12 to 38 kilograms of bamboo per day, which is close to 40% of its body weight. (Hu Jinzhi,1981,17)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

They like to eat the most nutritious and least cellulose-containing parts of bamboo, namely the tender stems, burgeons, and bamboo shoots. There are usually at least two types of bamboo in the giant panda habitat. When one kind of bamboo blooms and dies (bamboo periodically blooms and dies every 30 to 120 years), pandas can switch to other bamboos. However, the continued fragmentation of the habitat increases the possibility that there is only one kind of bamboo in the habitat. When this kind of bamboo becomes distinct, the giant pandas in this area will face the threat of starvation.(Hu Jinzhi,1981,20)

They like to eat the most nutritious and least cellulose-containing parts of bamboo, namely the tender stems, burgeons, and bamboo shoots. There are usually at least two types of bamboo in the giant panda habitat. When one kind of bamboo blooms and dies (bamboo periodically blooms and dies every 30 to 120 years), pandas can choose other bamboos. However, the continued fragmentation of the habitat increases the possibility that there is only one kind of bamboo. When this kind of bamboo becomes distinct, the giant pandas in this area will face the threat of starvation. (Hu Jinzhi,1981,20)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

====='''Terms and expressions'''====
Ailuaractos lufengensis 始熊猫

Pleistocene 更新世

rhizomys 竹鼠

cellulose 纤维素

burgeons 嫩枝

===='''Questions'''====
1.What's the ancestor of giant pandas?

2.What are the features of giant pandas' skin?

3.Do giant pandas like hot environment?

4.What part of bamboo do giant panda eat?

===References===
[1]Yan Weiran,Tang Maolin,Chen Zeyuan,Chen Peng,Zhao Qijun,Que Pinjia,Wu Kongju,Hou Rong,Zhang Zhihe. Automatically predicting giant panda mating success based on acoustic features[J]. Global Ecology and Conservation,2020,24.

[2]丛丽,吴必虎.基于网络文本分析的野生动物旅游体验研究——以成都大熊猫繁育研究基地为例[J].北京大学学报(自然科学版),2014,50(06):1087-1094.

[3]雍严格,王宽武,汪铁军.佛坪大熊猫的移动习性[J].兽类学报,1994(01):9-14.

[4]胡锦矗.大熊猫的食性研究[J].南充师院学报(自然科学版),1981(03):17-22.

[5]孙承骞,张哲邻,金学林.秦岭大熊猫局域种群的划分及数量分布[J].陕西师范大学学报(自然科学版),2006(S1):163-167.

==You Yuting 游雨婷==
==Legalism - You Yuting 游雨婷 - Student No.202070080619 英语笔译==
====Legalism====

Legalism is a prominent school of thought in Chinese history that advocates the rule of law as its core and regards enriching the country and strengthening the army as its mission. The legalists are not pure theorists, but active actionists, whose thoughts also focus on the practical effects of law. It also puts forward the idea and concept of governing the country by law which still has far-reaching influence. A review based on the evolution of theories of legal relations showed that the study of the general theory of law in China is closely associated to the historical rate of progress of the practice of rule of law in China.(Lei Lei,Chris 2020,81).

====1.Representative figures====

Legalism developed relatively slowly, but took shape very early. The earliest could be traced back to the Xia and Shang rulers, and it became mature in the Warring-States Period. Through the unremitting efforts made by Guan Zhong, Zi Chan, Li Kui, Wu Qi, Shang Yang, and others, It gradually became a school of thought. At the end of the Warring-States Period, Han Fei summarized their theories, which was the greatest achievement of legalists. Shang Yang and Han Fei are two remarkable figures of this school, and they dedicated their life to promoting and practicing the ideas of legalism. (Wang Jian 2001,51).

Shang Yang, formerly known as Wei Yang, also known as Gongsun Yang, was born in the State of Wei during the Warring States Period. He put forward three reform plans, namely "the way of emperor", "the way of king" and "the overbearing way". Shang Yang talked about the overbearing policy of reform and won the heart of Duke Xiao. Shang Yang entered the stage to display his ideal. The main contents of Shang Yang's reform are as follows: establishing a new merit-based military system; offering reward for ploughing and weaving to ensure sufficient grain and grass for the army of Qin. (Wang Jian 2001,51).

After Shang Yang's reform, The State of Qin quickly became a powerful state, which laid the foundation for later generations to unify the whole country and further enriched the thought of legalism. (Wang Jian 2001,51).

As for Han Fei, Han Fei (280 B. C. -- 233 B. C.), from Han state of the Warring States period, was a master in the legalist school. Han Feizi is the originator of the Legalism, his philosophy together significantly influenced by the “legalist ancestors”（Tingchun Ngai 2019,7）. Han Fei's thought had a strong tendency of practical rationality, and he treated the practical effect as the criterion for judging everything.(Wang Jian 2001,52).

Han Fei developed a systematic legalist thought by combining “Shi” of Shen Dao, the "Shu" of Shen Buhai, and the "Fa" of Shang Yang. Han Fei was nobleman in Han State, but his thoughts were not adopted by the king of Han State at that time. Although Han Fei failed to realize his ambition during his lifetime, he further developed his legalist thoughts and theories, which provided a powerful theoretical basis for the first emperor of Qin to unify the whole country.(Wang Jian 2001,52)

====2.Values====

Legalism in pre-Qin period, which attached great attention to law and its compulsory function among other school of thoughts. Representatives of this school discussed the origin, nature, function of law, and the relationship between law and social economy, the demand of The times, state power, population and human nature. And it turned out to be a great success. There are several beliefs that the legalist school hold and advocate .(Guo Yanting 2014,71).

First, The legalists believe that people have the nature of "being fond of the beneficial instead of the harmful" . Guan Zhong once said that a businessman who could travel thousands of miles day and night would not feel far because of the benefits that lies ahead. With this same idea in mind, Shang Yang came to the conclusion that "people can govern one's likes and dislikes in life." Legalist school, therefore, combined the humanity with the management of the country, introducing reward and punishment to drive its people to work and fight hard for their country.(Guo Yanting 2014,71).

Second, the legalists opposed the conservative idea of restoring ancient ways and advocated vigorous reform. They believe that history moves forward and that all laws and institutions should be developed along with the development of history. Shang Yang clearly put forward the proposition of "Don’t follow the practices of the ancient and the present". Han Fei, on the other hand, took Shang Yang's idea a step further by proposing that "The way of running the country stays the same as the time changes; the country will be in chaos", and dismissing old-fashioned Confucian as a fool who waits for nothing.(Guo Yanting 2014,72).

Third, The combination of Fa, Shi, Shu. Shang Yang, Shen Dao and Shen Buhai respectively advocated Fa, Shi, Shu with its own characteristics. When Han Fei, the master of legalist school, put forward the idea of combining the three closely. (Guo Yanting 2014,72).

In Han Fei’s opinion, Fa refers to the improvement of the legal system, Shi refers to the power of the monarch, the sole military and political power, Shu refers to the control over the ministers, the control of political power, the implementation of laws and strategies and means. "Shi" lays the basis for ruling the masses and gaining advantages, similar to "management authority" in modern management(Dai Shu 2002,8). The main purpose is to avoid insurrection and maintain the power of the monarch. The three ideas proposed by the legalism still exert great impact on the improvement of the modern law.(Guo Yanting 2014,72).

====3.Works====

Legalism has produced many great works such as Guan Zi, Shang Jun Shu, Shenko, Shen Zi, and Han Fei Zi. Take Han Fei Zi as an example, Han Fei inherited and summarized the thoughts and practices of legalists in the Warring States Period and put forward the theory of absolute monarchy and centralization. In this book, Han Fei pointed out that the sovereign must be powerful to govern the country. Feudal officials with rich experiences should be selected to replace the hereditary slave owners and nobles, so that the power of the state could solely lie in the hands of the sovereign. (Dai Shu 2002,8).

It is worth mentioning that in this book Han Fei Zi, it also recorded a large number of popular fable stories, such as "self-contradiction", "wait for windfalls", "safety in numbers", "sense comes with age" and so on. These fables contain deep philosophy, and inspire people through the perfect combination of ideas and artistry.(Dai Shu 2002,12).

====References====

*Lei Lei,Chris.The General Theory of Law and Its Development in China[J].Contemporary Social Sciences,2020(05):81-107.
*Tingchun Ngai.The Debates on Human Nature and Political Governance in Ancient China: Mencius, Xunzi and Han Feizi. Open Access Library Journal,2019, 6(4):1-14.
*Guo Yanting. 郭艳婷.(2014). 浅论法家思想及其现实意义.[On Legalist Thought and Its Practical Significance][J].湖北广播电视大学学报[Journal of Hubei Radio and Television University],34(02):71-72.
*Dai Shu. 戴黍.(2002). 以“势”为中心的制度设计——韩非治国思想的现代解读.[The System Design with "Shi" as the Center -- the Modern Interpretation of Han Fei's Thoughts on Governing A Country][J].华南师范大学学报[Journal of South China Normal University],(03):7-12.
*Wang Jian. 王健(2001). 法家事功思想初探——以《商君书》、《韩非子》为中心.[A Preliminary Study on the Thought of Legalist Achievement -- Centering on Shang Jun Shu and Han Feizi][J].史学月刊[The Historical Journal],(06):51-56.

====Terms and Expressions====

1.Legalism法家

2.the way of emperor帝道

3.the way of king王道

4.the overbearing way 霸道

5.being fond of the beneficial instead of the harmful 好利恶害

6.self-contradiction自相矛盾

7.wait for windfalls守株待兔

8.safety in numbers滥竽充数

9.sense comes with age老马识途

====Questions====

1.When did legalism become mature?

2.Do you know the representative figures of legalism?

3.Can you make a list of values proposed by legalism?

4.what does "being fond of the beneficial instead of the harmful" mean? Can you make some examples?

5.Does the members of legalism object the thoughts of Confucian school?

6.What are the classical works of legalism?

7.What are the popular fable stories contained in the book of Han Fei?

===Answers===

1.It became mature in the Warring-States Period.

2.Guan Zhong, Zi Chan, Li Kui, Wu Qi, Shang Yang.

3.First, The legalists believe that people have the nature of "being fond of the beneficial instead of the harmful" . Second, the legalists opposed the conservative idea of restoring ancient ways and advocated vigorous reform.Third, The combination of Fa(law), Shi(power), Shu(art). Shang Yang, Shen Dao and Shen Buhai respectively advocated Fa, Shi, Shu with its own characteristics.

4.Guan Zhong once said that a businessman who could travel thousands of miles day and night would not feel far because the attraction of the benefits. Fishermen, who was not afraid of danger and sailed against the current, not caring about a hundred miles away, pursued the benefits of fishing.

5.Yes.

6.Guan Zi, Shang Jun Shu, Shenko, Shen Zi, and Han Fei Zi. Take Han Fei Zi.

7."self-contradiction", "wait for windfalls", "safety in numbers", "sense comes with age" .
--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:12, 21 December 2020 (UTC)

20201215 cultexam 3

2020-12-21T13:21:10Z

Yang Hairong: /* Terms and Expressions */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please 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.
*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: Huadong 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.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Historical Figures, The Four Talented Women of Ancient China- Shi Haiyao 石海瑶 202070080605 英语笔译==
The Four Talented Women of Ancient China
(中国古代四大才女)

===Cai Wenji 蔡文姬===

Cai Wenji, also known as Cai Yan, was a female writer in the Eastern Han Dynasty. As the daughter of the great writer Cai Yong, Cai Wenji had received good education since childhood and got high attainments in terms of calligraphy, music and literature. Although her works are not in plenty, she is recognized as a talented woman in the late Eastern Han Dynasty.Her father, Cai Yong, was a master of calligraphy, and wenji passed it on from her father. Unfortunately, only one piece of calligraphy written by Wenji has been kept so far, and it only has 14 characters, which is a great loss in the history of Chinese calligraphy.(Wu Chanshen,2011,45)

About Wenji’s gift in Guqin, Fan Ye described her in ''The History of the Later Han Dynasty'' as "knowledgeable, talented , and excellent in melody." ''The Three Character Classic'' directly mentioned: "Cai Wenji is adept in distinguishing the sound of different qin." It is said that ''Eighteen Songs of a Nomad Flute Song'' was written by her. This famous Chinese guqin song is one of the ten famous ancient Chinese songs. " ''Eighteen Songs of a Nomad Flute Song'' " includes 18 chapters and 1,297 words in total, reflecting the theme of "Wenji returns to Han".''Eighteen Songs of a Nomad Flute Song'' tells the story of Cai Wenji's sufferings in her whole life in a touching tone. It reflects the deep disaster brought by the war, and expresses the strong feeling of missing the motherland and the countryside and of the unbearable family separation. (Wu Chanshen,2011,48)

After Cai Wenji returned to the Han Dynasty, she wrote two ''Indignant Poems'', one of which was five-character verse and another was Sao Style. The poem of five-character verse, which focuses on "sadness and disharmony", is a narrative poem based on feelings and facts, it is the first autobiographical narrative poem in the history of Chinese poetry. ''Indignant Poems'' with Sao style emphasizes on expressing emotions, descriptions of diversified natural landscapes express Wenji's sadness of leaving her hometown.In these depiction of scenery and people, Wenji has enlarged the difference between them and her hometown, so as to describe her grief and anger.(Wu Chanshen,2011,84)

Her life, immersed in the chaotic life, suffering all the trick of fates. She never gave in, even when the chaos caused by war crushed her dignity and pride. Her life force like a weed , and it is this tenacity that makes her become a miracle in troubled times.

===Zhuo Wenjun 卓文君===
Zhuo Wenjun was born beautiful, gifted and clever as well as adept at poetry and lyrics. The talented but poor Sima Xiangru and Zhuo Wenjun fell in love at first sight. Wenjun broke through the secular concept, regardless of family's obstruction, leaving behind the life of luxury and pursuing love resolutely.

With the support of Zhuo Wenjun, Sima Xiangru was able to make his way to the top, but he shifted his love to another person and had the intention of taking a concubine.In ancient China,a husband can legally marry many wife.Instead of being submissive like a cowardly woman, or being hurt and losing her mind, she wrote poetry to warn her husband and to redeem his love. Her Poem of ''Discontent and Letter of Farewell'' persuaded her husband to change his mind. After reading, her husband retrieved his original intention. Zhuo Wenjun's bold pursuit of love was a deviant act in feudal society(Lin Jing,2016:41).

In addition, Zhuo Wenjun's experience set an example of free love for later generations. Her poem of ''Bai Tou Yin'' is called a classic of love poetry.

The following is the original poem:

白头吟

皑如山上雪, 皎如云间月。

闻君有两意, 故来相决绝。

今日斗酒会, 明旦沟水头;

躞蹀御沟上, 沟水东西流。

愿得一心人，白头不相离。

竹竿何袅袅，鱼尾何簁簁。

男儿重意气，何用钱刀为？

The translated version by Xu Yuanchong is as follows:

Bai Tou Yin

Our love like snow on mountains proud,

Was bright like the moonmid the cloud.

I’m told you’ll leave the old for new;

I come to say goodbye to you.

We drink a cup of wine today;

Tomorrow we’ll go each our way.

By royal moat we’ll walk and go,

Like waters which east or west flow.

Why should I fell so sad and drear,

And like a bride shed tear on tear?

If I’d wed one with single heart,

Even white-haired, we would not part.

Long,long may be your fishing lines,

You cannot catch fishtail while shines.

If your love were constant and true,

Why so much money to go through? (Xu Yuanchong,2012:17)

===Li Qingzhao 李清照===
Li Qingzhao, also known as Yi An Jushi, was a female lyricist in Song dynasty as well as representative of graceful and restrained song lyrics. She was considered "the first talented woman through the ages". Her father, Li Gefei collected numerous books, which laid her literary foundation when she was young. After marrying, she and her husband, Zhao Mingcheng, devoted to collecting and arranging calligraphy, painting, gold and stones. When the Jin soldiers entered the Central Plains, she fled to the south with loneliness. In the early part of his works, she mostly wrote about his leisurely life, but in the later part, she mostly lamented his life and became sentimental. ''Yi An Jushi Anthology'' and ''Yi An Lyrics'' have been idle, thus, later people compile her text into ''Shuyu Lyrics''. Her lyrics emphasize the concordance, advocating elegance, opposed to the method of making words for poetry. Her poem, not many of which have survived, is partly sentimental, and partly generous, but different from the style of its lyrics.(Song Shidao,2011,18）

As a female writer in the history of ancient Chinese literature, Li Qingzhao's patriotic thought embodied in his works has positive social significance. From the historical perspective, Li Qingzhao's patriotic thought represents the ancient Chinese women's pursuit of equality between men and women, concern for state affairs and love for the motherland, so that later generations can get to know the emotional world of ancient Chinese women. From a realistic perspective, Li Qingzhao's patriotic thoughts can make people feel the important role of women in national unity and social progress.

===Ban Zhao 班昭===
Ban Zhao is a brilliant woman of great learning and virtue,she is a historian, a writer and a politician.Ban Zhao's achievements are highlighted in her research in history, continuing to complete the compilation of the Book of Han after the death of his father, Ban Biao, and his brother, Ban Gu.''The Book of Han'' is a historical masterpiece,enjoying a high reputation of the first chronicle of China's dynastic history(Jin Lulu,2009:122).

Ban Zhao came from a Confucian family, and his father, Ban Biao, was a well-known scholar at that time. Influenced by his father, Ban Zhao was very knowledgeable and talented.At the age of fourteen, Ban Zhao married Cao Shishu. After her husband died in his early years, Ban Zhaog obeyed the rules of women, behaved in with etiquette, and had very good conduct. Compared with Zhuo Wenjun, Ban Zhao's view of love is full of bondage without personal freedom(Jin Lulu,2009:105).

In her later years, Ban Zhao suffered from illness. When her daughters were just about to get married, Ban Zhao was worried that they would humiliate the clansman if they did not know women's etiquette. so she composed seven chapters of ''The Commandments for Women'' in her spare time,which,then, spread widely among the people.The concepts advocated by Ban Zhao in the book became the code of conduct for ancient Chinese women.This book confined women's thoughts and freedoms, but it also served as a guide for women's behavior at the time.

===Terms and Expressions===
Cai Wenj 蔡文姬

Cai Yong 蔡邕

Fan Ye 范晔

''The History of the Later Han Dynasty'' 《后汉书》

''Three Character Classic'' 《三字经》

''Eighteen Songs of a Nomad Flute Song'' 《胡笳十八拍》

''Indignant Poems'' 《悲愤诗》

''five-character verse'' 五言体

Sao style 骚体

autobiographical narrative poem 自传体长篇叙事诗

Li Qingzhao 李清照

''Yi An Jushi Anthology''《易安居士文集》

''Yi An Lyrics''《易安词》

''Shuyu Lyrics''《漱玉词》

Zhuo Wenjun 卓文君

''Poem of Discontent''《怨郎诗》

''Letter of Farewell''《诀别书》

''Bai Tou Yin'' 《白头吟》

''The Book of Han'' 《汉书》

''The Commandments for Women''《女诫》

===References===
[1]金璐璐.班昭及其著述研究[D].首都师范大学.2009

[2]林菁.最是人间留不住[M].北京：民主与建设出版社,2016

[3]宋师道.四大才女之李清照传[M].北京：中国华侨出版社,2011

[4]武昌盛.四大才女之蔡文姬传[M].北京：中国华侨出版社,2011

[5]许渊冲.许渊冲经典英译汉魏六朝诗[M].北京：海豚出版社,2017:17

[6]赵明哲.四大才女之卓文君传[M].北京：中国华侨出版社,2011

===Questions===
1. Who are the four talented women of ancient China?

2. Do you know any representative works written by Cai Wenji?

3. Who is Zhuo Wenjun's husband?

4. What did ZhuoWenjun do to save her marriage?

5. Who is considered "the first talented woman through the ages"?

6. Who is the writer of ''The Commandments for Women''?

7. What are the influences about ''The Commandments for Women''?

===Answers===
1. They are Cai Wenji, Zhuo Wenjun, Li Qingzhao and BanZhao.

2. ''Eighteen Songs of a Nomad Flute Song'' and ''Indignant Poems'' .

3. Sima Xiangru.

4. She wrote ''Poem of Discontent'' and ''Letter of Farewell'' to save her marriage.

5. Li Qigzhao.

6. Ban Zhao.

7. This book confined women's thoughts and freedoms, but it also served as a guide for women's behavior at the time.

==Habits, Ways of Contacting - Si Yu 司妤 Student No.202070080606 MTI笔译==

Ancient and Contemporary Ways of Contacting--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 13:27, 22 November 2020 (UTC)

===Ancient and Contemporary Ways of Contacting===

====1.Pigeon post====
Pigeon post is a method of communication among ancient people, where letters are tied to the feet of pigeons and delivered to the person who wants to deliver them. In movies, we see people in western countries using crows to deliver letters, but in China, crows are seen as an inauspicious symbol, so people used to use pigeons to deliver letters. Pigeons can fly and fly faster, can recognize directions, have a good sense of the earth's magnetic field, and are particularly home-loving, so they are used to improve the speed of delivering mail.

In order to get the ideal pigeon, besides careful selection of good breed and scientific feeding management, the most important thing is training. All three complement each other and are indispensable. The basic principle of training is based on the biological characteristics and physiological features of pigeons and the principle of "conditioned reflex".

The fundamental purpose of training is to cultivate, exercise and improve the quality of pigeons, to bring into play their inherent biological characteristics and specialties, so that they have the basic elements and conditions to complete various communication and competition tasks. The basic content of training includes: basic training, flight training, competition training, adaptation training and application training. In principle, the training should start from young pigeons, from simple to complicated, from near to far, from day to night, from basic training to professional training, in short, from easy to difficult.(Baidu Encyclopedia 百度百科：Pigeon Post,飞鸽传书）

Historically, Genghis Khan used pigeon posts to keep in touch with distant parts of his empire, and even in ancient Greece, carrier pigeons were used to announce major events, such as the Olympic Games! In the 12th century, a fairly extensive network of homing pigeons was established between Syria and Baghdad. One of the last active carrier pigeon posts was in India, but the carrier pigeon was officially retired in 2002. During the war years, carrier pigeons also played a role that could not be ignored. They were able to cross enemy lines more easily than men on horseback. This earned them the name "war pigeon". People continued to use carrier pigeons to deliver letters even up to the time of World War II.
(scienceabc 19 Oct2019)

====2.Paper Letters====

The letter is a kind of application document that transmits information and exchanges thoughts and feelings to a specific object. “Letter" in the ancient text with the meaning of audio, news, in addition, "Letter" also has a trustworthy meaning of the words transmitted by the trustee, whether it is a message sent to a person, or through the letter carrier by letter to the specific object of language and writing to convey information and exchange of ideas and feelings of the letter, there must be three elements: one is the ability to express their thoughts and feelings; two is to have the appropriate writing tools; three is someone to deliver.

Written letters to relatives and friends, not only can convey their thoughts and feelings, but also can give the recipient of the letter a feeling of intimacy; technology continues to progress, and the emergence of the telephone, telegraph, postal tape, video tape, e-mail and other means of exchange of information, it can be expected e-mail will be used by more and more people, which has actually been proven.

With the development of society, the relationship between people and society is also being reconstructed. In addition to the traditional use of correspondence, i.e., official letters and private letters, a new development is the use of personal letters to government agencies, enterprises and institutions, famous scholars, and other individuals for personal needs, and the use of this type of correspondence is gradually increasing and noteworthy. We call them personal correspondence.(Baidu Encyclopedia 百度百科：Written Letters,手写信件）

====3.E-mails====

E-mail is a way of communication that provides information exchange by electronic means and is the most widely used service of the Internet. Through the network's e-mail system, users can contact network users in any corner of the world at a very low price (no matter where they send it, they only have to pay for the network fee) and in a very fast way (it can be sent to any specified destination in the world within a few seconds).

E-mail can be in many forms such as text, images, sound, etc. At the same time, users can get a large number of free news and feature emails and easily achieve information search. The existence of e-mail greatly facilitates communication and exchange between people and promotes the development of society.

However, there are many drawbacks in using e-mail. For example, there is a risk of information being stolen and there is a lot of spam on the network. To address these two problems, the following solutions are available. Firstly, from the perspective of network security of the website itself, using hardware firewall devices is definitely the best solution. Second, a full-time network administrator should be assigned to regularly maintain the website. Thirdly, when applying for mailbox, choose a more protective username, such as a combination of English and numbers, which can be less harassed by spam. Fourth, avoid disclosing your email address. Fifth, use good mail management and screening function. outlook express, foxmail and qqmail all have good mail management function, users can screen mails by setting rules of mail domain, mail subject, source, length and so on.

The format of an e-mail address consists of three parts. The first part "USER" represents the account number of user mailbox, which must be unique for the same mail receiving server; the second part "@" is the separator; the third part is the domain name of mail receiving server of user mailbox, to mark its location.

According to Internet Week, the world's first email was a short message sent by computer scientist Professor Leonard K. to his colleagues (in October 1969, I believe), which consisted of only two letters: "LO". Professor Leonard K. explained, "Back then I was trying to communicate with a computer at the University of California and another computer at the Stanford Research Center near San Francisco. What we were doing was logging in from one computer to the other. The way to log in at that time was to type L-O-G. So we typed L and asked, 'Do you get L?' The other side replied, 'Yes.' Before we received a confirmation that the other party had received G, the system went down. So the first online message was 'LO', which means 'Hello!'"

The first e-mail from China on September 20, 1987 was sent by Werner Zorn, the "Father of the German Internet," and Wang Yunfeng at the Institute of Applied Computer Technology in Beijing to the University of Karlsruhe in Germany, in English.
Original text: Across the Great Wall we can reach every corner in the world.

It means “跨越长城，走向世界。” This is the first email sent from China to the Global Science Network through the network connection between Beijing and the University of Karlsruhe in Germany.(Baidu Encyclopedia 百度百科：E-mail 电子邮件）

===References===
1.Baidu Encyclopedia 百度百科：Pigeon Post,飞鸽传书 https://baike.baidu.com/item/%E9%A3%9E%E9%B8%BD%E4%BC%A0%E4%B9%A6/7009129?fr=aladdin

2.Baidu Encyclopedia 百度百科：Written Letters,手写信件 https://baike.baidu.com/item/%E4%B9%A6%E4%BF%A1/1095625?fr=aladdin

3.Baidu Encyclopedia 百度百科：E-mail 电子邮件 https://baike.baidu.com/item/%E7%94%B5%E5%AD%90%E9%82%AE%E4%BB%B6/111106?fr=aladdin

4.scienceabc.How Did the Pigeon Post Work?. https://www.scienceabc.com/19 Oct2019.

===Terms and Expressions===

条件反射conditioned reflex

成吉思汗 Genghis Khan

信鸽驿站pigeon post station

战鸽war pigeon

分隔符separator

服务器域名domain name

互联网周刊Internet Week

===Questions===

1.What part of pigeon is the letter tied to when you want to send a letter?

2.What animals do the western countries use to send letters in spite of pigeons?

3.Why pigeons can be used to send letters?

4.What are the three elements in writing and sending letters?

5.When did the world's first emails appear?

6.How to translate China’s first e-mail “Across the Great Wall we can reach every corner in the world.”

===Answers===

1.Letters are tied to the feet of pigeons.

2.Ravens.

3.Pigeons can fly and fly faster, can recognize directions, have a good sense of the earth's magnetic field,
and are particularly home-loving, so they are used to improve the speed of delivering mail.

4.One is the ability to express their thoughts and feelings; two is to have the appropriate writing tools; three is someone to deliver.

5.October 1969

6.跨越长城，连接世界

==Landscape, Five Famous Mountains - Tan Yuanyuan 谭媛媛 202070080642 MTI==

Wuyue (五岳) is the general name of the five famous mountains in Chinese Han culture and is the product of the combination of ancient folk mountain god reverence, the concept of the Five Elements and imperial excursions and meditation in ancient times.
The “Five Sacred Mountains” (or Wuyue – 五岳), also referred to as the Five Great Mountains, began with Emperor Wu of the Han Dynasty (157 BC – 87 BC). “Yue” in Wuyue means high mountains. During the Wei, Jin and Southern and Northern Dynasties, Buddhism and Taoism began to build temples and carry out religious activities on the Five Sacred Mountains.
Emperors of ancient China would perform excursions to the mountain peaks and offer non-human sacrifices on a regular basis. This tradition became a ritual of the state according to Confucianism and was one of the must-do activities upon becoming emperor. This tradition continued right up until the fall of the last dynasty in 1911.
While the Five Great mountains are not denoted as sacred mountains of either Buddhism or Taoism, they do have a strong Taoist presence and many Buddhist temples.
The Five Great Mountains remain places of pilgrimage to this day with many young people having the goal of climbing all five and retracing the footsteps of the ancient emperors during Imperial China. The mountains are popular tourist attractions and are well developed featuring good tourist and transport services and several are national AAAAA rated scenic sites.(Anastasiia Ilina,2017)

===Mount Tai (泰山) – Wuyue East Great Mountain===
Province: Shandong | Height: 1,533 metres (5,030 ft)
Mount Tai, or Taishan, is a mountain of historical and cultural significance located north of the city of Tai’an, in Shandong province, China. Mount Tai has been a place of worship for at least 3,000 years and is a National AAAAA level tourist attraction.
Mount Tai has been worshipped since the time of Shang culture, roughly 3,000 years ago. Emperors of China would come to this mountain to meditate and offer sacrifices, similar to writers and artists who for centuries have visited Mount Tai for inspiration. Given its long-running history of worship, the mountain has been preserved with little alteration. It is also considered one of the most climbed mountains in China. The hike is not an easy one and may take most of the day to reach the top.(Rodney,2019)

Province: Shandong | Height: 1,533 metres (5,030 ft)
Mount Tai, or Taishan, is a mountain of historical and cultural significance located north of the city of Tai’an, in Shandong province, China. Mount Tai has been a place of worship for at least 3,000 years and is a National AAAAA level tourist attraction.
Mount Tai has been worshipped since the time of Shang culture, roughly 3,000 years ago. Emperors of China would come to this mountain to meditate and offer sacrifices, similar to writers and artists who for centuries have visited Mount Tai for inspiration. Given its long-running history of worship, the mountain has been preserved with little alteration. It is also considered one of the most climbed mountains in China. The hike is not an easy one and may take most of the day to reach the top.(Rodney,2019)

===Mount Heng (Hunan) (衡山) – Wuye South Great Mountain===
Province: Hunan | Height: 1,300 metres (4,265 ft)
Hengshan, is a mountain in southcentral China’s Hunan Province known as the southern mountain of the Five Great Mountains of China. Heng Shan is a mountain range 150 kilometres (93 mi) long with 72 peaks. The Huiyan Peak is the south end of the peaks, Yuelu Mountain in Changsha City is the north end, and the Zhurong Peak is the highest at 1,300 metres (4,300 ft) above sea level. At the foot of the mountain stands the largest temple in southern China, the Grand Temple of Mount Heng (Nanyue Damiao), which is the largest group of ancient buildings in Hunan Province.
Mount Heng in the south has a total of 72 peaks all of which are covered in trees, some of which are centuries-old. It is a beautiful spot to hike in the summer to admire the blooming greenery. Among the mountain peaks, a number of Buddhist temples are scattered. Of note is the Grand Temple of Mount Heng located at the foot of the mountain. The temple has survived many dynasties, with the earliest records of its existence dating back to the 8th century AD. Although the temple was severely damaged during the Cultural Revolution, it retains its religious significance to many believers.(Anastasiia Ilina,2017)

===Mount Hua (华山) – Wuyue West Great Mountain===
Province: Shaanxi | Height: 2,160 metres (7,087 ft)
Mount Hua, or Huashan, is located near the city of Huayin in Shaanxi province, about 120 kilometres (75 mi) east of Xi’an. It is the western mountain of the Five Great Mountains of China, and has a long history of religious significance. It is a National AAAAA level scenic spot featuring skywalk, temples, stone formations, caves, waterfall etc.Mount Hua is a popular destination for those staying in the ancient capital of Xi’an. The mountain complex consists of five major peaks, all of which are accessible for hiking. Nevertheless, a number of narrow paths and rugged steps make it a challenging climb, and at the south peak, the narrow plank walk running along the side of the mountain will challenge anybody’s relationship with heights. While walking along two narrow planks (attached with a harness to the edge of the mountain), you can move along the mountain. The trick is that it’s not a one-way path, and your balance will be tested when handling traffic coming from the other direction.(Rodney,2019)

===Mount Heng (Shanxi) (恒山) – Wuyue North Great Mountain===
Province: Shanxi | Height: 2,017 metres (6,617 ft)
Mount Heng, or Hengshan, is located in north-central China’s Shanxi Province, known as the northern mountain of the Five Great Mountains of China. Heng Shan in Shanxi Province is sometimes known as the Northern Heng Shan, and the one in Hunan Province as Southern Heng Shan. Both mountains have the same pronunciation in Chinese, and the Southern Heng Shan is also one of the Five Sacred Mountains.
Similar to many other revered mountains in China, Mount Heng holds meaning for the followers of the Taoist faith. The mountain may not be as popular as the other four, given its northern location, but that can be seen as advantage for a hiker seeking peace and isolation. Located at the foot of the mountain is the Hanging Monastery (Xuankong Si) running along the side of the mountain. The wooden structure is supported by dozens of wooden pillars, and despite its feeble appearance welcomes many visitors every year.(Rodney,2019)

===Mount Song (嵩山) – Wuyue Center Great Mountain===
Province: Henan | Height: 1,500 metres (4,921 ft)
Mount Song, or Songshan, is a mountain in central China’s Henan Province, along the southern bank of the Yellow River, that is known as the central mountain of the Five Great Mountains of China. It is a National AAAAA level tourist attraction and world heritage listed site. It is noted for its rich cultural heritage as the birthplace of Zen, the Taoist holy land, and the origin of kung fu.
One of China’s central mountains, Mount Song is located on the bank of the Yellow River, close to the ancient capital of Luoyang. Mount Song is best known as the location of the Shaolin Temple, the birthplace of Chan Buddhism, and thus retains religious significance to followers of both Buddhism and Taoism. The Shaolin Temple attracts curious visitors who want to observe the practitioners of martial arts demonstrating superb strength and coordination. The area around the mountain peaks has a number of other Taoist and Buddhist monasteries.(Anastasiia Ilina,2017)

===References===
Anastasiia Ilina. The Five Great Mountains of China. https://theculturetrip.com/asia/china/articles/the-five-great-mountains-of-china/.2017

Rodney. The Five Great Mountains of China (Wuyue 五岳). https://welcometochina.com.au/.2019

===Terms and Expressions===

Taoism 道教

cultural revolution 文化大革命

plank 厚木板

Hanging Monastery 悬空寺

Zen 禅宗

Shaolin Temple 少林寺

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

practitioners of martial arts 习武之人

monastery 寺庙

===Questions===

1. What does “Wuyue（五岳）” mean？

2. Do you know any famous Chinese lyrics related to Mount Tai?

3. What is the largest temple in southern China?

4. What are the features of Mount Hua?

5. What is the structure of the Hanging Monastery?

6. What is the famous site in Mount Song?

===Answers===

1.Wuyue (五岳) is the general name of the five famous mountains in Chinese Han culture and is the product of the combination of ancient folk mountain god reverence, the concept of the Five Elements and imperial excursions and meditation in ancient times.

2.会当凌绝顶，一览众山小。——杜甫

四月上泰山，石屏御道开。——李白

泰山不要欺毫末，颜子无心羡老彭。——白居易

3. Grand Temple of Mount Heng (Nanyue Damiao).

4. It features skywalk, temples, stone formations, caves, waterfall etc.

5. It has a feeble appearance with wooden structure supported by dozens of wooden pillars.

6. The Shaolin Temple, the birthplace of Chan Buddhism.

--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:36, 9 December 2020 (UTC)

==Ancient Chinese Education - Tang Bei 汤蓓 Student No. 202070080607 英语笔译==

===Ancient Chinese Education===

====History====
China’s ancient education was one of the most splendid components of ancient Chinese culture. Chinese education had a long history dating from the Xia, Shang and Zhou Dynasties 3000/4000 years ago.(Baidu Encyclopedia: Chinese Ancient Education) In the Shang Dynasty (16th-11th century BC), formal schools emerged with the names like “Xiao” (school), “Xue”(study) and “Daxue”(higher school). Teachers then were all government officials and students were all children of the nobility, so that was the earliest “Guan Xue”(Government School/Education). Education became more popular by the Spring Autumn/Warring States period. Confucius became the earliest founder for “Private Education”. This type of private school education is often known as “Si Xue” (private institution).(Zhu Hanming, 2010,342)

From Han till Qing Dynasty, the formation of government institution had been well-established. All the teaching materials and educational training were geared towards the preparation for Imperial examination. After receiving a title in the Imperial examination, one might receive a post in the state bureaucracy. At the same time, private schools were also developing. Most of the famous philosophers and scientists were originated from private schools. Apart from schooling, “Family education” began to play an important role. Many of the famous historical figures grew up under the education and strict ‘teaching’ by their parents or other senior family members, and they studied hard in order to become successful. For instance, it was well documented that Mencius’s mother had moved three times with her son before she eventually found a proper neighborhood for the son’s education. After the Han dynasty, because of the increased status of Confucianism and its influence, the teaching of “poetry and rites” became the basic content for family education. Loyalty, Filial Piety, Benevolence and Righteousness were core values taught in family education.(Baidu Encyclopedia: Chinese Ancient Education)

In ancient Chinese education, there was another form of education system known as “Xue Shu Jiao Yu”. This belongs to neither an institute education nor a family education. These are generally “primary school for the folks”. Sometimes, they were called “Meng Guan”(primary education hall), “Si Shu ” (private school), “Zu Xue” (extended family school) , etc. Most students will first learn how to read characters, then they will learn The Three Character Classic ”, The Hundred Family Surnames, The Thousand Character Classic. Then they will learn the “Four Books”. In addition, they will also learn Chinese calligraphy and character pairing. In this type of school, the rules and regulations are especially strict. There are other methods such as Shuyuan and Guozijian, etc. They all formed a unique way of knowledge teaching and became important system for the development on “study of knowledge”, “teaching method”, etc. All of these formed the basis for today's Chinese education.(Zhu Hanming, 2010, 345)
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)

====Confucian Educational Theory====

The historical importance of education in Chinese culture is derived from the teachings of Confucius. The connection between Confucius and the official Chinese educational system thus became permanently linked right into the present time. Confucius broke the rule of “Xue Zai Guan Fu”
(learning at the government hall. He encouraged “learning for all hierarchical levels and for all ages”, and opened the door of education to the commoners. He established his own school and started to spread his teaching, thoughts and views. He became the earliest founder for “Private Education”.

In ancient Chinese education, whether they were government or private school, they all placed a great emphasis on humanities and cultural education, which focused on the teaching of morality and the development of wisdom. It covered philosophy, language, literature and other cultural subjects. The curriculum at the Great Academy was based on the Confucian Five Classics.(Chinasage:Imperial Examination）

Confucius taught his students morality, proper speech, government, and the refined arts. While he also emphasized the “Six Arts” — ritual, music, archery , chariot- riding , calligraphy , and computation — it is clear that he regarded morality as the most important subject.(Biography: Confucius) Confucius had been regarded as the pioneer founder of family education. According to The Analects of Confucius, Confucius wanted his son to learn both poetry and rites. He said, “if one does not learn poetry, one will not be able to talk properly”, “if one does not learn rites, one will never be well footed in the society.” Other than placing a strong emphasis on morality education, Chinese education also emphasized greatly on learning/teaching method and principles. Below are some common Confucian educational philosophies:
Revise the old in order to deduce new things.
Learning and Thinking are equally important.
Learn in a systematic and progressive way, from a beginner’s level to the advanced.
Inspiration and Guidance.
Teach according to students’ ability; use appropriate materials for teaching.(Baidu Encyclopedia: Confucius)

Confucius’s goal was to create gentlemen who carry themselves with grace, speak correctly, and demonstrate integrity in all things. The long The Master said in The Analects that:
“Is it not delightful to acquire knowledge and put it into practice from time to time？“Learning without thought is labor lost; thought without learning is perilous.” (Kong qiu, 2016)
Confucius’s main educational thoughts were to teach students according to their aptitude, to treat students equally and to inspire thinking. His pedagogical methods were striking. He posed questions, cited passages from the classics, or used apt analogies, and waited for his students to arrive at the right answers.

The status of education remained high in Confucian heritage cultures in East Asia. Beyond that, translations of Confucian texts influenced European thinkers of the period as well, particularly among the philosophical groups of the Enlightenment who were interested by the integration of the system of morality of Confucius into Western civilization. The French philosopher Voltaire was also influenced by Confucius, seeing the concept of Confucian rationalism as an alternative to Christian dogma. He praised Confucian ethics and politics, portraying China as a model for Europe.(Baidu Encyclopedia: Confucius)
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)

====Chinese Imperial Examination====

The Chinese Imperial Examination was an examination system in Imperial China designed to select talented people for future positions in civil service. This system had a huge influence on both society and culture in Imperial China. It was established in 605 during the Sui Dynasty and lasted more than 1,300 years until the last examination in 1904 when the last Chinese feudal kingdom—the Qing Dynasty—was coming to an end. Somehow the modern examination system for selecting civil service staff also indirectly evolved from the imperial one. It was part of the process by which candidates who passed the exams could receive a title called jinshi, or some other degree, which in turn would generally be followed by appointments to government offices.（Newworldencyclopedia: Imperial Examination）

The first three of Jinshi were ranked Zhuangyuan, Bangyan and Tanhua respectively. The examinations consisted of a battery of tests administered at the district, provincial, and imperial levels. Only three-hundred candidates could pass the imperial examinations, which would be supervised by the Emperor himself. Candidate scholars often took the examinations several times before earning a degree. Each exam taker spent three days and two nights writing “eight-legged essays” — literary compositions with eight distinct sections — in a tiny room with a makeshift bed, a desk, and a bench. There were no interruptions in those three days, nor were candidates’ allowed any communication. Since the pressure to succeed was intense, cheating and corruption were rampant. In order to obtain objectivity in evaluation, candidates were identified by number rather than name, and examination answers were recopied by a third person before being evaluated to prevent the candidate’s handwriting from being recognized. In the ancient society, class consciousness was strong and many people from lower classes would have had little chance to reach high office, not to mention having any position in the official court.（Jin zheng, 1990）

However, once the imperial examination system was introduced, any male adult in China, regardless of his wealth or social status, could become a high-ranking government official by passing the imperial examination and thus realize their self-development. In this sense, passing the imperial examination was also called “carps jumping across the dragon’s gate” . The dragon had always been regarded as the symbol of mighty power and especially that of the rights exercised by the emperor, consequently the success of examination candidates was proudly called “jumping across the dragon’s gate.”(Baidu Encyclopedia: carps jumping across the dragon’s gate)

In late imperial China, the examination system and associated methods of recruitment to the central bureaucracy were major mechanisms by which the central government captured and held the loyalty of local-level elites. The examination system also served to maintain cultural unity and consensus on basic values. The uniformity of the content of the examinations meant that the local elites and ambitious would-be members of those elites across China were taught with the same values. Despite the significant effect of promoting Confucian culture and education, it also influenced education systems in many other countries like Korea, Japan, and Vietnam, and similarities can be found in the personnel selection methods employed in France, America and Britain. Today’s education system is surely its successor.（Newworldencyclopedia: The Imperial Examination）
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)

===References===
1.1.Zhu Hanmin 朱汉民.(2010)''中国传统文化导论''[Introduction to Chinese traditional culture]. Hunan:Hunan University Press 湖南大学出版社.

2.Jing Zheng金铮.(1990)''科举制度与中国文化''[Imperial examination system and Chinese culture]. Shanghai:Shanghai People's Publishing Press 上海人民出版社.

3.Kong Qiu& Chen Dian孔丘&陈典.(2016)''论语''[The Analects of Confucius]. Jiangxi：Jiangxi People's Publishing Press 江西人民出版社.

4.Wanghui王惠.(2016)''中国社会与文化翻译教程''[A Coursebook on China’s Society and Culture Translation]. Beijing：Tsinghua University Press 清华大学出版社.

5.Baidu Encyclopedia''百度百科''：Chinese Ancient Education,中国古代教育

6.Baidu Encyclopedia''百度百科''： Confucius,孔子

7.Baidu Encyclopedia''百度百科''： The Imperial Examination,科举制度

8.https://www.biography.com/scholar/confucius

9.https://www.chinasage.info/examinations.htm

10.https://www.newworldencyclopedia.org/entry/Imperial_Examinations_(Keju)
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 11:59, 13 December 2020 (UTC)

===Terms and Expressions===
Spring Autumn/Warring States period 春秋战国时期

Loyalty 忠

Filial Piety 孝

Benevolence 仁

Righteousness 义

poetry and rites 诗礼

Xue Shu Jiao Yu 学塾教育

Meng Guan 蒙馆

Zu Xue 族学

archery 射

chariot- riding 御

calligraphy 书

computation 数

state bureaucracy 政府机构

The Three Character Classic 《三字经》

The Hundred Family Surnames 《百家姓》

The Thousand Character Classic 《千字文》

Four Books 四书

Shuyuan 书院

Guozijian 国子监

Confucian Five Classics 五经

Six Arts 六艺

Jinshi 进士

Zhuangyuan 状元

Bangyan 榜眼

Tanhua 探花--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 14:31, 7 December 2020 (UTC)

===Questions===
1.What’s Confucius educational goal?

2.What are Confucius main educational thoughts?

3.What became permanently linked right into present time?

4.Before private educationa began, only who could be taught in government schools?

What are the forms of the Chinese Imperial Examination?

6.How did examiners evaluate the examination?

7.What are the functions of the the Chinese Imperial Examination?

8.What kind of far-reaching influence does the Chinese Imperial Examination have?--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 14:31, 7 December 2020 (UTC)

===Answers===
1.Confucius’s goal was to creat gentlemen who carry themselves with grace, speak correctly, and demonstrate integrity in all things.

2.Confucius’s main educational thoughts were to teach students according to their aptitude, to treat students equally and to inspire thinking.

3.The connection between Confucius and the official Chinese educational system.

4.Noblemen’s children

5.The examinations consisted of a battery of tests administered at the district, provincial, and imperial levels. Only three-hundred candidates could pass the imperial examinations, which would be supervised by the Emperor himself. Candidate scholars often took the examinations several times before earning a degree.

6.In order to obtain objectivity in evaluation, candidates were identified by number rather than name, and examination answers were recopied by a third person before being evaluated to prevent the candidate’s handwriting from being recognized.

7.In late imperial China, the examination system and associated methods of recruitment to the central bureaucracy were major mechanisms by which the central government captured and held the loyalty of local-level elites.The examination system also served to maintain cultural unity and consensus on basic values.

8.Despite the significant effect of promoting Confucian culture and education, it also influenced education systems in many other countries like Korea, Japan, and Vietnam, and similarities can be found in the personnel selection methods employed in France, America and Britain. Today’s education system is surely its successor.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 14:31, 7 December 2020 (UTC)

==Cuisine, Chinese Dining Etiquette - Tang Yiran 汤伊然 202070080643 英语口译==

===Chinese Dining Etiquette===

China is a country with a long history of rituals and etiquette, and eating is a highly important feature of China’s culture, so naturally, dining etiquette has developed to a high degree. Dining etiquette is said to have its beginnings in the Zhou Dynasty (1045-256 BC). Through thousands of years of evolution, it has developed into a set of generally accepted dining rituals and practices. (Edward L.Davis 2005, 306)

[[File: A Chinese Dining Table.jpg|400px|thumb||Diagram of A Chinese Dining Table. Click [https://cn.bing.com/images/search?view=detailV2&ccid=NirSI%2bVR&id=F71307AA9E3664A2B8373E6E88E02E5D05C49E65&thid=OIP.NirSI-VRq1BPyCrjxboLtQHaE3&mediaurl=http%3a%2f%2fwww.hwaoconsulting.com%2fwp-content%2fuploads%2f2013%2f10%2fresize-of img_3335b.jpg&exph=567&expw=863&q=chinese+dining+etiquette&simid=608033216312313291&ck=DCAFE6250D3ADA26FE11D0CF34A4591D&selectedIndex=12&FORM=IRPRST&ajaxhist=0/File:A Chinese Dining Table.jpg] for original source.]]

====Attendance====

As a guest at a meal, one should be careful about his or her appearance and determine whether to bring small gifts or good wine, according to the degree of relationship with the master of the banquet. It is important to attend and be punctual. (Gavin Van Hinsbergh, 2020)

On arrival, one should first introduce himself or herself, or let the master of the banquet do the introduction if unknown to others, and then take a seat following the master of the banquet’s arrangement. (Gavin Van Hinsbergh, 2020)

====Seating Arrangements for a Chinese Banquet====

Dining etiquette in ancient times was enacted according to four-tier social strata (Edward L.Davis 2005, 306) :

1. the imperial court

2. local authorities

3. trade associations and

4. farmers and workers

In modern dining, seating arrangements have been simplified to:

1. master of the banquet

2. honored guest(s)

3. other guests.

The seat of honor, reserved for the master of the banquet or the guest with the highest status, is the one in the center facing east or facing the entrance. Those of higher position sit closer to the master of the banquet. The guests of the lowest position sit furthest from the seat of honor. When a family holds a banquet, the seat of honor is for the guest with the highest status and the head of the house takes the least prominent seat. (Ruru Zhou, 2018)

If the guest of honor or most senior member is not seated, other people are not allowed to be seated. If he hasn’t eaten, others should not begin to eat. When making toasts, the first toast is made from the seat of honor and continuing down the order of prominence. (Ruru Zhou, 2018)

'''A. Round Table'''

If round tables are used, the seat facing the entrance is the seat of honor. The seats on the left-hand side of the seat of honor are second, fourth, sixth, etc in importance, while those on the right rank at third, fifth, seventh, and so on. In the end, they will join together. (Ruru Zhou, 2018)

'''B. Square Table'''

In ancient times there was a piece of furniture known as an Eight Immortals table, a big square table with benches for two people on each side. If there was a seat facing the entrance, then the right-hand seat when facing the entrance was for the guest of honor. If there was no seat facing the entrance door (presumably if the meal was outside or there were two or more doors of equal importance), then the right-hand seat when facing east was the seat of honor. The seats on the left-hand side of the seat of honor were, in order of importance, second, fourth, sixth, and eighth and those on the right were third, fifth, and seventh. (Ruru Zhou, 2018)

'''C. In Grand Banquet'''

In a grand banquet of many tables, the table of honor is the one furthest from the entrance (or facing east in the event of no clear main entrance). The tables on the left-hand side of the tables of honor are, in order of importance, second, fourth, sixth, and so on, and those on the right are third, fifth, and seventh. Guests are seated according to their status and degree of relationship to the host of the banquet. (Ruru Zhou 2018)

[[File: Seating Arrangements in A Chinese Banquet.jpg|450px|thumb||Diagram of Seating Arrangements for A Chinese Banquet. Click [https://tse3-mm.cn.bing.net/th/id/OIP.qJkC9LsUyfYKOzLWkbS5JwHaGI?w=214&h=180&c=7&o=5&dpr=1.25&pid=1.7/File:Seating Arrangements in A Chinese Banquet.jpg] for original source.]]

====Chinese Table Manners====

Most table manners in China are similar to in the West. Don't be deceived by what you might see in a local restaurant on the streets. Chinese manners are more than slurping food down as quickly as possible, and shouting loudly! When eating a meal in China, people are expected to behave in a civilized manner (according to Chinese customs), pay attention to table manners, and practice good dining habits. In order to avoid offense, diners should pay attention to the following points (Gavin Van Hinsbergh, 2020):

'''A. Considering Others'''

1) Let older people eat first, or you can start to eat if you hear an elder say "let's eat". You should not steal a march on the elders. (Gavin Van Hinsbergh, 2020)

2) When helping yourself to the dishes, you should take food first from the plates in front of you rather than those in the middle of the table or in front of others. It's bad manners to use your chopsticks to burrow through the food and "dig for treasure" and keep your eyes glued to the plates. (Gavin Van Hinsbergh, 2020)

3) Even if you find your favorite dish, you should not gobble it up as quickly as possible or put the plate in front of yourself and proceed to eat like a horse. You should consider others at the table. If there is not much left on a plate and you want to finish it, you should consult others. If they say they don’t want anymore, then you can eat proceed. (Gavin Van Hinsbergh, 2020)

4) Concentrate on the meal and your companions. Watching television, using your phone, or carrying on some other activity while having a meal is considered a bad habit. (Gavin Van Hinsbergh, 2020)

4) You should try to refill your bowl with rice yourself and take the initiative to fill the bowls of elders with rice and food from the dishes. If elders fill your bowl or add food to your bowl, you should express your thanks. (Gavin Van Hinsbergh, 2020)

'''B. "Thank you" Gesture'''

Tea usually is served as soon as you have a seat in a restaurant. A waiter/waitress serves you tea while you read the menu and decide what to order. The teapot is left with you on the table after everyone around the table's cup is filled with tea. Guests then serve themselves. When someone pours tea into your cup, you can tap the table with your first two fingers two or three times, showing thanks to the pourer for the service and for being enough tea. The pourer will stop pouring when seeing the gesture. (Gavin Van Hinsbergh, 2020)

'''C. Elegance'''

1) You should pick up your bowl with your thumb on the mouth of the bowl, first finger, middle finger the third finger supporting the bottom of the bowl, and palm empty. If you don't pick up your bowl, bend over the table, and eat facing your bowl, it will be regarded as bad table manners. Moreover, it will have the consequence of compressing the stomach and restricting digestion. (Gavin Van Hinsbergh, 2020)

2) It is not good to pick up too much food at a time. You should behave elegantly. When taking food, don’t nudge or push against your neighbor. Don’t let the food splash or let soup or sauce drip onto the table. (Gavin Van Hinsbergh, 2020)

3) When eating, you should close your mouth to chew food well before you swallow it, which is not only a requirement of etiquette but also better for digestion. You should by no means open your mouth wide, fill it with large pieces of food, and eat up greedily. Don’t put too much food into your mouth at once to avoid leaving a gluttonous impression. Neither should you stretch your neck, open your mouth wide, and extend your tongue to catch food you are lifting to your mouth. (Gavin Van Hinsbergh, 2020)

4) When removing bones or other inedible parts of the meal from your mouth, use chopsticks or a hand to take them and put them on a side plate (or the table) in front of you, instead of spitting them directly onto the table or the ground. (Gavin Van Hinsbergh, 2020)

5) If there is food around your mouth, use a tissue or a napkin to wipe it, instead of licking it with your tongue. When chewing food, don't make noises. (Gavin Van Hinsbergh, 2020)

6) It is best not to talk with others with your mouth full. Be temperate in laughing lest you spew your food or the food goes down your windpipe and causes choking. If you need to talk, you should speak a little and quietly. (Gavin Van Hinsbergh, 2020)

7) If you want to cough or sneeze, use your hand or a handkerchief to cover your mouth and turn away. If you find something unpleasant in your mouth when chewing or phlegm in the throat, you should leave the dinner table to spit it out. (Gavin Van Hinsbergh, 2020)

====Rules and Conventions Relating to Chopsticks====

1) Do not stick chopsticks vertically into your food when not using them, especially not into rice, as this will make Chinese people think of funerals. At funerals, joss sticks (sticks of incense) are stuck into a pot by the rice that is put onto the ancestor altar. (Liao Huaying, 2008: 170)

2) Do not wave your chopsticks around in the air too much or play with them. (Liao Huaying, 2008: 170)

3) Do not stab or skewer food with your chopsticks. (Liao Huaying, 2008: 170)

4) Pick food up by exerting sufficient inward pressure on the chopsticks to grasp the food securely and move it smoothly to your mouth or bowl. It is considered a bad manner to drop food, so ensure it is gripped securely before carrying it. Holding one’s bowl close to the dish when serving oneself or close to the mouth when eating helps. (Liao Huaying, 2008: 170)

5) To separate a piece of food into two pieces, exert controlled pressure on the chopsticks while moving them apart from each other. This needs much practice. (Liao Huaying, 2008: 170)

6) Some consider it unhygienic to use the chopsticks that have been near (or in) one’s mouth to pick food from the central dishes. Serving spoons or chopsticks can be provided, and in this case, you will need to remember to alternate between using the serving chopsticks to move food to your bowl and your personal chopsticks for transferring the food to your mouth. (Liao Huaying, 2008: 170)

7) Knives are traditionally seen as violent in China, and breakers of the harmony, so are not provided at the table. Some restaurants in China have forks available and all of them will have spoons. If you are not good at using chopsticks, ask the restaurant staff to provide you with a fork or spoon. (Liao Huaying, 2008: 170)

[[File: Diagram of Using Chopsticks in a Bad Manner in China.jpg|700px|thumb||Diagram of Using Chopsticks in a Bad Manner in China. Click [https://tse3-mm.cn.bing.net/th/id/OIP.Mm8fEFD8whyIbD1-UdrJEwHaEn?pid=Api&rs=1/File: Diagram of Using Chopsticks in a Bad Manner in China.jpg] for original source.]]

===References===
1. Edward L. Davis. ''Encyclopedia of Contemporary Chinese Culture'' [M]. Taylor & Francis e-Library, 2005.

2. Guo Shangxing, Sheng Xingqing, ''A History of Chinese Culture'', Kaifeng: Henan Uni. Press, 1993.

3. Morton, W. Scott, & Lewis, C. M., ''China: its History and Culture'', New York: MacGraw Hill, Inc., 2005.

4. Sun Xiaoyu, ''A Chinese History Reader'', Singapore: Cengage Learning Asia Pte Ld., 2010.

5. Gavin Van Hinsbergh. How to Eat in China—Chinese Dining Etiquette. https://www.chinahighlights.com/travelguide/chinese-food/dining-etiquette.htm, 2020.

6. Ruru Zhou. Seating Arrangements for a Chinese Banquet. https://www.chinahighlights.com/travelguide/chinese-food/seating-arrangement.htm, 2018.

7. Liao Huayin廖华英主编.(2008). 《中国文化概况》 [An Glimpse of Chinese Culture] Foreign Language Teaching and Research Press 外语教学与研究出版社. 160-180.

===Terms and Expressions===

seat of honor 上座/尊位

Eight Immortals table 八仙桌

burrow through the food 乱翻食物

“dig for pleasure” 挖宝藏

side plate 小菜碟

napkin 餐巾纸

handkerchief 手帕

phlegm 痰

windpipe 气管

joss sticks （中国祭祀用的）香

ancestor altar 祖先祭坛

skewer 刺穿/串肉扦子

serving chopsticks 公筷

===Questions===

1. What do you know about the history of Chinese dining etiquette?

2. What does the “Seat of Honor” mean? Are there any commons of “Seat of Honor” in different dining situation?

3. How should we deal with our favorite food in a meal？

4. What is the way to show gratitude to the tear pourer?

5. How should we pick up the bowl when eating?

6. What manners of using chopsticks are considered bad in China?

===Answers===

1. Dining etiquette is said to have its beginnings in the Zhou Dynasty (1045-256 BC).

2. The seat of honor is reserved for the master of the banquet or the guest with the highest status. It is commonly the one in the center facing east or facing the entrance.

3. When finding your favorite dish, you should not gobble it up as quickly as possible or put the plate in front of yourself and proceed to eat like a horse. Instead, you should consider others at the table. If there is not much left on a plate and you want to finish it, you should consult others. If they say they don’t want anymore, then you can eat proceed.

4. We can tap the table with our first two fingers two or three times, showing thanks to the pourer for the service and for being enough tea. The pourer will stop pouring when seeing the gesture.

5. You should pick up your bowl with your thumb on the mouth of the bowl, first finger, middle finger the third finger supporting the bottom of the bowl and palm empty.

6. Rummaging through the food in a dish with chopsticks and searching for choice pieces, sticking chopsticks vertically into a bowl of rice, or pointing at people with them are all considered bad table manners.

==Wang Meiling 王美玲 202070080608==

===Three Giant Home Appliance Enterprises In China===

===A.Midea===

Midea is a technology group of consumer electronics, HVAC, robotics and automation systems, and smart supply chain (logistics).Founded in Shunde, China in 1968, Midea officially entered the household appliance industry in 1980. In 1981, Midea registered its brand. The group employs a total of 130000 people, whose headquarter is locate in Shunde, Guangdong Province. Midea Group has about 200 subsidiaries, more than 60 overseas branches and 10 strategic business units worldwide, and is the main shareholder of KUKA group (about 95%) in Germany . Midea now has more than ten brands such as Midea and Little Swan. and has 15 and 6 production bases separately home and abroad.( Midea Co., Ltd, 2020)

Midea's diversified development strategy can reflect its wide range of business : consumer electrical appliances mainly including kitchen appliances, refrigerators, washing machines and all kinds of small household appliances; HVAC business focusing on heating and ventilation systems such as household air conditioning and central air conditioning; robot and industrial automation system business with German KUKA group and Midea robot company as the core.Up to July 2020, Midea ranked 22nd in the list of China's Top 100 Most Valuable Brands in 2020.(Baidu Encyclopedia: Midea)

To some extent, enterprises seems like a person. Generally speaking, the style and personality of an enterprise are greatly affected by the values and behavior styles of enterprise leaders. Enterprise style and characters can determine the fate and future itself.（Liu Buchen，2016:3）

Midea focus on sound operation. If Haier and Gree went to two "extremes", Midea would choose the "middle road", which is neither extreme left nor right. It will not suddenly break the original management framework and organizational structure,which, otherwise, would place the enterprise in high risk. Midea Group’s New Vision, mission,values and business principles are not only rooted in the achievements of historical accumulation, but also the strategic blueprint for the future. The New Vision,“the perfection of science and technology lead to the perfection of life”, continues the Midea’s emphasis on science and technology and human-oriented spirit; The new mission,“connecting people and things, enlightening the world of Midea” reflects its strategic thinking on the development trend of technology, industrial chain and global layout, and makes the linkage between people and things in different scenes more advanced, thus stimulating the leapfrog development of people’s lives and production; Through the value“dare to know the future”, Midea could continue carrying forward its spirits of future orientation and embracing changes.

Midea focuses on sound operation.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 12:50, 19 December 2020 (UTC)

In the light of the wide range of its business, we can see that Midea is actively promoting diversified development（Liu Buchen，2016:2-3）: in the area of air-conditioning, Midea，since 1998，has made a series of acquisitions and mergers, expanding its air-conditioning capacity and entering the field of air-conditioning compressors. Moreover, it has produced the core components of air conditioning, increased research and development and cooperation in air conditioning, then begun to produce the core components of air conditioning compressor, increased research and development in the core components; as for small household appliances, since 2001, Midea has mastered the core components of microwave oven and become one of the three largest production bases in the world. Subsequently, the Group has reorganized the small appliance business under direct control and developed professionally on the basis of diversification.

Diversification has the advantage of spreading risk, that is the theory of “don’t put all your eggs in one basket” , and its disadvantage lies in the difficulty for firms to concentrate and, relatively speaking, to establish absolute competitive advantage in one or more specific areas.

Midea's business strategy can be described as "two-pronged approach". On the one hand, Midea relies on its own enterprise strength to continuously optimize the performance of its core products and has made earnest efforts to improve the quality of its core products.

On the other hand, through a series of acquisitions and mergers on home appliance brand，Midea has furthered its market penetration, and enhanced the market share, expanded the user group, leading to its accomplishment of “Extension Expansion” strategy. In fact, the strategy is not limited to mergers and acquisitions, but also includes the continuous paces into new industrial fields. Midea is building its own "Second Runway", that is “New Product Incubation Platform”, which is not limited to the field of home appliances. As long as meeting Midea's standards for "innovative products", any products can enter the incubation platform.

In 2020, affected by the COVID-19, the rising leverage ratio of the residential sector, the rising food prices, as well as the continuing low marriage and birth rates, the pace of further expansion of the household appliance market has been hindered. As one of the three giants in China's home appliance market, Midea is naturally deeply aware of the weakness of the home appliance market, which is reflected specifically in the decline of market demand for color TV sets, air conditioners, kitchen appliances and household appliances.

Midea will unswervingly increase R&D investment, maintain high-quality development direction, and adhere to inclusive growth and sustained and effective growth. Midea has further expanded its online market scale which has continuously diverted offline market scale. It has been developing an integrated sales channel with both online and offline, which has been promoted orderly on Suning, Gome, Jingdong, Tmall and other platforms. Facing the domestic market, Midea has been consolidated its basic system and established a unified business language and rules.

In 2020, the global trade friction continues to escalate, tariff barriers increases Midea’s risk of overseas market expansion, and the exchange rate between countries continues fluctuating. All of these factors mentioned above has increased Midea’s risk to engage in product export and to exchange loss.

Facing the overseas market, Midea will adhere to the consumer-oriented and product-leading strategy, give full play to its network advantages in global R&D and user research, grasp the differentiated needs of foreign consumer groups, improve the construction of multi-brand operation system, leading to further open-up of the foreign market and the improvement of market share.

===B.Haier===

Haier, formerly known as Haier Qingdao, is a leading global provider of solutions for a better life. Founded in 1980 and headquartered in Qingdao, Shandong Province, it was listed on the Shanghai Stock Exchange (600690) and the Frankfurt Stock Exchange (690D) in 1993 and 2018, respectively. Relentlessly centered on user experience and geared to the beat of the times, Haier has developed from an insolvent collective small factory on the verge of closure into an ecological enterprise leading the Internet of Things era. It has been the world's only IoT ecological brand for two consecutive years in the BrandZ 100 most valuable global brands. In the Internet of Things era, Haier is leading the world in terms of its ecological brand and single-unit model. Moreover, it boasts the world's largest market share in white goods R&D, production and sales, as well as in the integrated channel business of large appliances.( Haier Co., Ltd, 2020)

Haier adopts Diversification Product strategy, but it differs from Midea's in that the former has broader fields. Its business scope mainly includes the R&D, production and sales of and smart home scene solutions and smart home appliances such as refrigerators, washing machines, air conditioners, water heaters, kitchen appliances, small home appliances. It also engages in IT industry such as digital technology, intelligent technology, software technology, enterprise management services and consulting, information technology services, etc. Through a rich combination of products, brands and solutions, Haier creates a whole scene of intelligent life experience to meet users' pursuit of the good life.(Baidu Encyclopedia: Haier)

Corporate culture is the soul and gene of an enterprise. Haier's corporate culture is one of change, always following the times and continuous innovation and development, which can be summed up in four words: self-righteousness. It means everyone is constantly challenging themselves, overcoming themselves, reinventing themselves, and changing themselves according to external changes. So it can be said that Haier's corporate style is "paradigm change".

Haier has its own core values: the concept of right and wrong of "always take the user as yes, take oneself as no" is Haier's motivation to create users; the concept of development of "everyone is the creator, chain group becomes self-driven" is Haier's way of looking at sustainable development; the concept of "win-win" is the guarantee for Haier's sustainable operation. Haier's corporate spirit is "ecological integrity, win-win evolution". In the process of continuous entrepreneurship and innovation, the Haier Group always adheres to the development main line of "human value first".
Haier has formed a perfect innovation culture which is dynamic and constantly optimized. Zhang Ruimin once said, "There exist no successful enterprises, only enterprises geared to the times."

From 1992, Haier has begun to expand from one product to a variety of products, and comprehensively implemented a diversification strategy. Through mergers, acquisitions, joint ventures, and cooperation, Haier has rapidly entered the field of white goods such as freezes, air conditioners, and washing machines from a single product refrigerator.

In 1997, with the production of digital color TVs as a symbol, Haier entered the field of black home appliances from the field of white goods; in 1998, Haier ventured into the computer industry, which was known abroad as the field of beige home appliances. In 1998, Haier ventured into the computer industry, which is known abroad as the beige home appliance industry. In the process of expansion, Haier has engaged in capital operation in the way of eating "shock fish" and insisted on revitalizing tangible assets with intangible assets, which ensured the success rate of capital operation and the low-cost expansion. In this way, the goal of making Haier bigger and stronger in the shortest period of time was achieved. Haier still takes home appliance industry as its main industry, with sales accounting for about 40-70% of Haier's total sales.

Haier has adopted a parallel strategy：on the one hand: Haier will set self-innovation as the core of corporate culture, the implementation of strategic innovation to establish the corporate brand, focus on making refrigerators upgrade, adhere to the Internet of Things smart home ecological brand strategic direction; on the other hand, Haier is undergoing a large-scale enterprise change, and we can hardly continue to classify Haier as "home appliance enterprises". "After the change in the business model, Haier's many micro and small companies can decide their own development prospects, and the Haier Group does not limit or intervene in the their fields to entry. So the path of extensive expansion Haier takes is very broad.(Huang Xu,2017:2)

During the epidemic, Haier's 3Q report achieved high quality growth, which is closely related to the future layout of Haier since more than 10 years. Haier has been exploring the transformation from "selling products" to "selling scenes" to adapt to the consumption trend of experiential scenes. When realizing differentiated competition, Haier brings user experience and industry development into a new dimension. With a forward-looking strategic layout and strong landing capabilities, Haier has formed industry differentiation advantages in smart package, experience cloud and mass customization, and promoted the company's transition to a smart home ecological brand. Haier is currently the leader in the domestic Internet market, but will face challenges from crossover competitors such as Xiaomi and Huawei, and needs to focus the company's resources to win the battle.

Among the home appliance enterprises, Haier is the first to go abroad, and is also the enterprise with the highest market share in overseas markets. In 2016, Haier also acquired the American General Electric Company at a sky-high price of $5.58 billion, which is the largest overseas merger and acquisition in China's home appliance industry, making Haier leap from a Qingdao local enterprise to a multinational white goods leader, and also marking the acceleration of Haier's internationalization process again. At the same time, Haier has been ranked first in the global home appliance market share for many years, with over 10% of the global home appliance market share.According to Euromonitor, Haier has kept its leading position in the Asia-Pacific and North American markets (the two markets together account for 63.5% of global retail sales). Taking the advantage of the concerted efforts of Candy, Haier merged recently, Haier is expected to achieve its market share among the top five in the European market and to become a true leader in the home appliance industry worldwide.

===C.Gree===

Gree, founded in 1991, is an international home appliance company integrating R&D, production, sales and service, with three brands: Gree, TOSOT and Jinghong, headquartered in Zhuhai, Guangdong Province. Dong Mingzhu Gree's chairman, president and legal representative. In 1996, Gree was listed on the Shenzhen Stock Exchange. Gree has more than 90,000 employees, among whom there are 15,000 R&D personnel and 30,000 technical workers. It has 15 production bases and 15 research institutes at home and abroad. Gree has been on the Fortune Magazine's list of "China's Top 100 Listed Companies" for 9 consecutive years. The "Gree" brand of air conditioners is a "world famous brand" in China's air conditioning industry, with business in more than 100 countries and regions around the world.( Gree Co., Ltd, 2020)

Gree, founded in 1991, is an international home appliance company integrating R&D, production, sales and service, with three brands: Gree, TOSOT and Jinghong, headquartered in Zhuhai, Guangdong Province. Dong Mingzhu is Gree's chairman, president and legal representative. In 1996, Gree was listed on the Shenzhen Stock Exchange. Gree has more than 90,000 employees, among whom there are 15,000 R&D personnel and 30,000 technical workers. It has 15 production bases and 15 research institutes at home and abroad. Gree has been on the Fortune Magazine's list of "China's Top 100 Listed Companies" for 9 consecutive years. The "Gree" brand of air conditioners is a "world famous brand" in China's air conditioning industry, with business in more than 100 countries and regions around the world.( Gree Co., Ltd, 2020)--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:38, 19 December 2020 (UTC)

Its business mainly includes: sales, installation and maintenance of central air conditioning, refrigeration, air conditioning equipment, clean air conditioning, heating equipment, ventilation equipment; kitchen utensils, stainless steel products, daily-use hardware; household refrigeration appliances, household air conditioners and related parts; machinery and equipment, and wholesale of electronic products. Unlike Haier and Midea, Gree adopts a specialized product strategy and has been focusing on the research and development of various types of air conditioners. As a large appliance manufacturer focusing on air conditioning products, Gree has established itself as the leader in the domestic air conditioning market, and its brand culture is deeply rooted in the people's hearts, and is well known in the domestic air conditioning market with slogans such as "Fine air conditioning that Gree creates" and "Buy good-quality, choose Gree". Since 2005, Gree has been the global leader in the production and sales of air conditioners for 7 consecutive years.(Baidu Encyclopedia: Gree)

In implementing the strategy of creating a famous brand, Gree prioritizes the construction of corporate culture and strive for corporate culture as a unified goal: the corporate spirit of "Loyalty, Friendliness, Diligence and Progress" fully reflects Gree’s requirements to its employees; the business philosophy of "making the best air conditioners for consumers" accurately and clearly shows Gree’s commitment to the society and consumers, as well as its determination to stick to the road of specialization and its confidence in the pursuit of excellence in product quality; the service concept of "Every little thing you do is a big thing for Gree!" demonstrates that Gree puts service throughout the entire production and operation activities of the enterprise, emphasizing pre-sales, in-sales and after-sales services; the management concept of "Innovation has no limitations" enables Gree to achieve high efficiency and low cost in the production process.

Gree has delivered outstanding performance in air conditioning largely due to the fact that Gree has been focusing on air conditioning for the past few decades without any distractions. Gree have several large production bases around the world, and its research scope includes twenty major categories, more than 400 series, which can meet the various needs of consumers. Gree have so far owned thousands of technical patents of air conditioners, and decades of quality improvement work have made Gree air conditioners achieve a qualitative leap in quality, from "Made in China" to "Created in China".

On the one hand, Gree belongs to the typical intensive growth model, where the driving force for development basically comes from within the enterprise and rarely relies on external forces, such as M&A. Gree takes the path of training talents independently, and has 12 research institutes and more than 30,000 technical developers. Gree sets various series of air conditioners its main business，whose entire production chain of production, processing, sales and marketing channels are operated internally.

On the other hand, compared to Haier and Midea, Gree's outward expansion has been smaller. One of Gree's large-scale mergers and acquisitions of significance was the industrial industry integration that began in early 2004 and was completed in the same year. Gree successfully acquired the Group's shares of Lingda Compressor, Gree Small Appliances, Gree Electric and other companies, contributing to forming an industrial advantage, improving its core competitiveness and seizing the industry high ground.(Duan Qiang,2013:49)Interestingly, Gree announced its intention to enter the new energy vehicle industry by acquiring Zhuhai Yinlong New Energy, which was a huge breakthrough in Gree's long-held intensive growth model in these years.

In 2020, as air conditioners enter the era of saturation, Gree faces difficulty before market opportunities and challenges. In recent years, Gree is obviously increasing the diversification of the layout, in order to disperse the risk that the air conditioning industry may continue to slump in the next few years, Dong Mingzhu hopes to find new growth points through diversification of the layout, which is the reason why Gree cell phones, Gree (Yinlong) new energy vehicle projects have been showed in the market. If new growth points were not cultivated in time, the possibility of continued stagnation of Gree Appliances in the coming years couldn’t be ruled out.

Gree's business is expected to be a high-end intelligent manufacturing equipment in Gree's diversified business. Gree, which has diversified genes and the courage to experiment with various businesses, opened a medical equipment company during the epidemic, and product masks and air purifiers that can kill COVID-19. The enthusiasm for diversified business exploration is closely related to Dong's energetic and aggressive style. But the deeper reason lies in that Gree needs more opportunities to grab the market in areas other than white home appliances, especially air conditioners.

Gree’s air conditioners have gained international recognition for their technology, quality and price advantages,which have been exported to more than 100 countries and regions around the world. Gree's trademark has been applied for international registration in 77 countries around the world, laying a brand foundation for the internationalization of Gree's products. At the same time, Gree is extending its production lines to foreign countries to enhance the confidence of foreign dealers and consumers in Gree and improve its international image.

===Terms and Expressions===

HVAC 暖通空调 Shunde （广东）顺德

Smart supply chain 智能供应链 Intensive Growth 内生式增长

leverage ratio 杠杆率 Second Runway 第二跑道

air conditioning compressor 空调压缩机 Tmall 天猫

Qingdao （山东）青岛 Shock Fish 休克鱼

3Q report 三季报 IoT 物联网

Experience cloud 体验云 Ren Dan He Yi 人单合一

chain group 链群 Euromonitor 欧睿信息咨询公司

Candy （意大利）卡迪集团

TOSOT 大松电器公司 Jinghong 晶弘电器公司

Gree Electric 格力电工 Shenzhen Stock Exchange 深圳证券交易所

Created in China 中国创造 General Electric Company 格力电工

Zhuhai Yinlong New Energy 珠海银隆新能源有限公司 COVID-19 新型冠状病毒

Lingda Compressor 凌达压缩机

HVAC 暖通空调

Shunde （广东）顺德

Smart supply chain 智能供应链

Intensive Growth 内生式增长

leverage ratio 杠杆率

Second Runway 第二跑道

air conditioning compressor 空调压缩机

Tmall 天猫

Qingdao （山东）青岛

Shock Fish 休克鱼

3Q report 三季报

IoT 物联网

Experience cloud 体验云

Ren Dan He Yi 人单合一

chain group 链群

Euromonitor 欧睿信息咨询公司

Candy （意大利）卡迪集团

TOSOT 大松电器公司

Jinghong 晶弘电器公司

Gree Electric 格力电工

Shenzhen Stock Exchange 深圳证券交易所

Created in China 中国创造

General Electric Company 格力电工

Zhuhai Yinlong New Energy 珠海银隆新能源有限公司

COVID-19 新型冠状病毒

Lingda Compressor 凌达压缩机--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:50, 19 December 2020 (UTC)

===Questions===

1.Why does Midea implement diversified development strategy?

2.what development strategy does Midea adopt?

3.How does Midea differ from Haier and Gree in terms of its style?

4.How will Midea deal with the weakness of home appliance market?

5.What kind of home appliances does Haier focus on the most?

6.What is the difference between Haier and Midea's diversified product strategy?

7.What is Haier's "Ren Dan He Yi" model?

8. The pros and cons of Haier's extensive expansion strategy.

9. Why did Haier transform to a smart home eco-brand?

10. Why has Gree expanded its diversified layout in recent years?

11. Do you think whether Gree should acquire Zhuhai Yinlong New Energy ?

12.What is the impact of Dong Mingzhu's style of work on Gree's development?

===Answers===

1.Diversification has the advantage of spreading risk, that is the theory of “don’t put all your eggs in one basket".

2.Diversified product layout and Intensive growth model and Exclusive expansion model.

3.Midea will unswervingly increase R&D investment on such emerging home appliances, maintain high-quality development direction, and adhere to inclusive growth and sustained and effective growth.

4.Midea focus more on moderate operation.

5.White home appliances.

6.Haier’s diversified product strategy is more wide-ranging.

7.It is a business mode which refers to every employee should face users directly, create user value, and realize their own value sharing when creating value for users.

8.Pros:to expand its business scope and spreading business risk.

Cons:to have difficulty concentrating itself and, relatively speaking, to establish absolute competitive advantage in one or more specific areas.

9. To win the favor of consumers who are in the pursuit of high-quality life and become more and more dissatisfied with household appliances which can only passively follow instructions and complete tasks.

10.(1)To disperse the risk that the air conditioning industry may continue to slump in the next few years.

(2) to find new growth points through diversification of the layout.

(3)to avoid the possibility of continued stagnation of Gree in the coming years.

11.No,because air conditioning and automobile are totally different. Gree's air conditioning technology is not helpful for new energy vehicles. Gree's familiar products and sales processes are also different from those of the automobile industry. Therefore, it is rather risky to enter the automotive field.

12.Dong Mingzhu's energetic and aggressive style will put forward Gree’s diversified business exploration which will create more opportunities and possibilities and also high risks.

===References===

1.Baidu Encyclopedia百度百科：Gree,格力

2.Baidu Encyclopedia百度百科：Haier,海尔

3.Baidu Encyclopedia百度百科：Midea,美的

4.Duan Qiang段强.(2013)格力电器营销战略研究[Research on Marketing Strategy of Gree Electric Appliance]. Huazhong University of Science and Technology 华中科技大学.

5.Huang Xu黄旭.(2017)海尔产品的品牌效应和营销策略[Brand Effect and Marketing Strategy of Haier Products].Industry and Technology Forum 产业与科技论坛.

6.Liu Buchen刘步尘.(2016)中国家电三巨头,谁与争锋[Who is the Top among Three Home Appliance Enterprises in China].Chinese and Foreign Management 中外管理.

7.Haier Co., Ltd,https://www.haier.com/

8.Gree Co., Ltd,https://www.gree.com/

9.Midea Co., Ltd,https://www.midea.com/cn/

[1] Baidu Encyclopedia百度百科：Gree,格力

[2] Baidu Encyclopedia百度百科：Haier,海尔

[3] Baidu Encyclopedia百度百科：Midea,美的

[4] Duan Qiang段强.(2013)格力电器营销战略研究[Research on Marketing Strategy of Gree Electric Appliance]. Huazhong University of Science and Technology 华中科技大学.

[5] Huang Xu黄旭.(2017)海尔产品的品牌效应和营销策略[Brand Effect and Marketing Strategy of Haier Products].Industry and Technology Forum 产业与科技论坛.

[6] Liu Buchen刘步尘.(2016)中国家电三巨头,谁与争锋[Who is the Top among Three Home Appliance Enterprises in China].Chinese and Foreign Management 中外管理.

[7] Haier Co., Ltd,https://www.haier.com/

[8] Gree Co., Ltd,https://www.gree.com/

[9] Midea Co., Ltd,https://www.midea.com/cn/--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:53, 19 December 2020 (UTC)

==Wang Xuan 王轩==
===National Flag of the People’s Republic of China===
===A A brief introduction of National Flag of the People's Republic of China===
The national flag of the people's Republic of China is a five-star red flag, the symbol of the country. Zeng Liansong is the designer of the national flag. Red and rectangular, its length and height are three to two. Five yellow five pointed stars are decorated on the top left of the flag. One star is larger, and its circumscribed circle diameter is three tenths of the flag height, which is on the left; the four stars are smaller, and their circumscribed circle diameter is one tenth of the flag height, and the ring is arched to the right of the big star.
The national flag of the people's Republic of China began to solicit the design of the national flag from July 14 to August 15, 1949. On August 20, 1949, the national flag and national emblem Selection Committee received 2992 (3012) national flag designs. On September 27, 1949, deputies to the first plenary session of the National Committee of the Chinese people's Political Consultative Conference (CPPCC) passed a motion to use the five-star red flag as the national flag. On October 1, 1949, the first national flag was first raised by Mao Zedong in Tiananmen Square.
The red flag of the people's Republic of China symbolizes revolution. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party. The five pointed stars are used in yellow to show light on the red ground. Each of the four small five pointed stars faces the center of the big star, indicating unity around a center.

===B Establishment process===

===1. Solicit comments from the public===

On June 15, 1949, the Preparatory Committee for the National Committee of the Chinese people's Political Consultative Conference (CPPCC) was formally established in Peiping, shortly after Liberation. The preparatory work undertaken by this committee included the important task of formulating the national flag of new China, and designated the sixth group of the Preparatory Committee to be responsible for it.
On 4 July 1949, the sixth group held its first meeting. The meeting decided to publish newspapers to solicit the patterns of the national flag and the national emblem, and to set up a selection committee for the national flag and the national emblem pattern and the national lyrics score. In addition to the group members participating in the selection, Xu Beihong, Liang Sicheng, Ai Qing and other experts were invited to participate.
From July 14 to August 15, 1949, people's daily, Jiefang Daily, Xinhua daily and other newspapers and periodicals published the notice of the preparatory meeting of the Chinese people's Political Consultative Conference asking for the design of the national flag. The news of asking for the design of the national flag quickly spread to the whole country and overseas. Many people in their spare time, spread out the paper and began the design work. They carefully designed and drew one pattern after another with their own characteristics, marked with detailed instructions, and sent them to Beijing. They regard the design and drawing of the national flag as a glorious and noble thing to pour their boundless love for new China.

===2. Collect drafts from all walks of life===

On August 20, 1949, the national flag and national emblem Selection Committee received 2992 pieces of national flag patterns. Guo Moruo, Chen Jiageng and other members of the preparatory committee also submitted their sample designs. These designs were displayed in the temporary reading room. The selection committee selected 38 draft plans from them and incorporated them into the reference materials for the design of the national flag and submitted them to the newly established Chinese people's Political Consultative Conference for discussion.

===3. Pass a resolution===

The design of the national flag of the Chinese people's Political Consultative Conference (CPPCC) was approved in the 32nd session of the Chinese people's Political Consultative Conference. In the pattern of five-star red flag before this, there are sickles and axes in the big stars. Before the adoption of the resolution, the national flag and national emblem review group made partial modifications to the design pattern, and made a unified explanation on the significance of the national flag pattern.
On September 27, 1949, the resolution on the capital, chronology, national anthem and national flag of the people's Republic of China, adopted at the first plenary session of the CPPCC National Committee, stipulates in the fourth point that "it is unanimously adopted: the national flag of the people's Republic of China is a five-star red earth flag, which symbolizes the great unity of the revolutionary people of China." The resolution of the Chinese people's Political Consultative Conference on the capital, chronology, national anthem and national flag of the people's Republic of China and the measures for flag making adopted by the presidium of the Chinese people's Political Consultative Conference stipulate that the national flag of the people's Republic of China is a five-star red flag, which is rectangular, and symbolizes revolution.

Its length and height are three to two, and five yellow five pointed stars are on the top left of the flag, symbolizing the revolutionary unity under the leadership of the Communist Party of China The star symbolizes red with yellow, and the earth is bright. One star is larger, its circumscribed circle diameter is 3 / 10 of the flag height, which is on the left; the four stars are smaller, and their circumscribed circle diameter is 1 / 10 of the flag height, and they are circled on the right side of the big star, and each has an angle point facing the center of the big star, which expresses the aspiration of hundreds of millions of people to the great Communist Party of China, just like the northern star. The flagpole cover is white to distinguish it from the red flag.
On September 29, 1949, the people's Daily published the pattern of the new national flag and the explanation of its making method, which were provided to all walks of life for making and using.
On October 1, 1949, the first national flag of the people's Republic of China was first raised by Mao Zedong in Tiananmen Square.

===C Symbolism of the flag===
The red flag of the people's Republic of China symbolizes revolution. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party. Yellow is used to show light on the red ground. Yellow is brighter and more beautiful than white. Each of the four small Pentagram stars has a point facing the center of the big star, which means that they are united around a center and are compact and beautiful in form.

=== Terms and expressions ===

五星红旗 five-star red flag

中国共产党 the Communist Party of China(CPC)

全国政治协商会议 the Chinese People's Political Consultative Conference(CPPCC)

《人民日报》 People's Daily

《解放日报》 Jiefang Daily

《新华日报》 xinhua Daily

=== Questions ===

1. Who designed the national flag of the people's republic of China?

2. When did the national flag of the people's republic of China come into being?

3. What does the red color mean on the national flag of the people's republic of China?

4. Is there any profound meaning of the five stars on the national flag of the people's republic of China?

5. Is there any symbol meaning of the people's repuclic of China?

=== Answers ===

1. Zeng Liansong is the designer of the national flag.

2. On September 27, 1949

3. The red color of the people's Republic of China symbolizes revolution.

4. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party.

5. The red flag of the people's Republic of China symbolizes revolution. Each of the four small Pentagram stars has a point facing the center of the big star, which means that they are united around a center and are compact and beautiful in form.

=== References ===

[1] Barnabas Cristóbal. Constitution of the People's Republic of China[J]. 2011.

[2] Surhone L M , Timpledon M T , Marseken S F , et al. National Emblem of the People's Republic of Chcina[J]. 2010.

[3] Surhone L M , Timpledon M T , Marseken S F , et al. National Emblem of the People's Republic of China[J]. 2010.

[4] 高军. 中华人民共和国国旗的符号学浅析[J]. 美术教育研究, 2012, 000(011):46-47.

[5] 王哉. 五星红旗是怎样设计出来的——曾联松设计中华人民共和国国旗始末[J]. 山东农机化, 2016, 000(005):49-50.

[6] 霞飞. 中华人民共和国国旗诞生始末[J]. 党史文苑(7期):4-11.

[7] 中央档案馆. 中华人民共和国国旗国徽国歌档案[M]. 中国文史出版社, 2014.

==China's Four New Inventions -Wu Qiong 吴琼 202070080644 MTI 英语口译==

Most people must have known about China's Four Inventions: gunpowder, paper-making, compass, and printing. Those represented how wise the Chinese was and how brilliant history China had. Today, China still holds the places and influence in technology and inventions. In May,2017, teenagers from 20 nations along the Belt and Road selected China's four new inventions: high speed railway, QR code payment, sharing bikes and online shopping. Though these new inventions are not first invented by China, but it is China that makes full use of them, and introduces them to the rest of the world. The four new inventions bring incredible changes and convenience into people's life. China, at the same time, makes contributions to the development of the human beings. World's future will be bright and prosper due to more technologies and inventions such as China's Four New Inventions.

===A. High-speed railway ===

High-speed railway is a railway system with advanced design and high-speed rails run on it. The world's first official high-speed rail system is the Tokaido Shinkansen line and it goes into public in 1964, connecting the three major metropolitan circles of Japan: Tokyo, Nagoya and Osaka. The high speed railway has promoted the rapid development of Japan. Its designed speed is 200km/h, which then becomes the initial speed standard of high-speed rail. Later, with the advancement of technology, the speed of trains became faster. Different countries have different definitions of high-speed railways in different eras. According to statistics, the length of high-speed railways in operation in China has reached to more than 6,800 kilometers. China has become the country with the most comprehensive high-speed railway system technology, the strongest integration capability, the longest operating mileage, the highest operating speed, and the largest scale of construction in the world.(东海道新干线のバイパス[J].中央新干线委员会 [[File:Tokaido Shinkansen line.JPEG|600px|thumb|right|Tokaido Shinkansen line]]

====Features====

1. High-speed railways are very smooth to keep safety and comfort. With all seamless steel tracks, and a speed of more than 300 kilometers per hour，they use ballastless tracks, that is, a monolithic track bed without stones to maintain smoothness.

2. The high-speed railway has few bends, as the bend is of long radius, and the turnouts are all moveable high-speed turnouts.

3. Use a large number of viaducts and tunnels to ensure ride comfort and shorten the distance.

4. The catenary of the high-speed railway suspends the wires on the top of the train and is also different from that of ordinary railways to keep stability and durability of the high-speed EMUs

5. The signal control system of high-speed railways is higher than that of ordinary railways, because of the frequent departure and high speed of rails, it should be of high safety. (科普中国,2020)

====Merits====

1. Large passenger capacity. Generally, high speed rails can accommodate 600 people. Compared to other public tools such as bus, boat or airplane, high speed rails have more seats.

2. Less time-consuming. In addition to the maximum operating speed, passengers are more concerned about travel time. High speed rails will not operate in late night, so passengers can get off the rails almost in daytime, thus to finish their business or other private matters which helps save a lot of time.

3. Good safety. Due to the automatic operation of high-speed rails in a fully enclosed environment and a series of complete safety guarantee systems, thus no other transportation means can be matched with it. Since the advent of high-speed railway 35 years ago, Japan, Germany, and France have already transported 5 billion passengers. Although there have been major traffic accidents on high-speed railways, the accident rate is much lower than that of civil aviation and is almost negligible. It is still the safest transportation system.

4. High punctuality. All high-speed railways adopt automatic control and can operate around the clock unless there is an earthquake.

5. Comfortable and convenient. High speed rails have spacious and comfortable seats, stable operation, shock absorption, sound insulation, and quiet environment.

6. Low energy consumption. High-speed trains use electric traction, do not consume precious petroleum and other liquid fuels, and use various forms of energy, which is not a wasteful transportation mean.(Kang Tianchi 2018)

'''Terms and Expressions'''

High speed railways高速铁路 the Tokaido Shinkansen line东海道新干线[[File:highspeedrail.JPEG|600px|thumb|right|High speed rail]]

the three major metropolitan circles of Japan: Tokyo, Nagoya and Osaka.日本三大都市圈: 东京、名古屋和大阪

integration capability整合能力 operating mileage运营里程.

seamless steel tracks无缝钢轨 ballastless track无砟轨道

a monolithic track bed整体式道床 moveable high-speed turnouts.可动心高速道岔

viaducts and tunnels高架桥梁和隧道 high-speed EMUs.高速动车组

shock absorption and sound insulation减震隔音 petroleum and other liquid fuels石油等液体燃料

'''Questions'''

1. Where does the first high speed railway come from?

2. What is the name of the first high speed railway?

3. What is the advantages of high speed railway?

4. What are the features of high speed railway?

5. Which transportation carries more passengers, high speed rails or trains?

6. From Changsha to Shanghai, which transportation means will you choose?

'''Answers'''

1. The first high speed railway come from Japan

2.The name of the first high speed railway is Tokaido Shinkansen line.

3.The advantages of high speed railways are fast, smooth, safe and comfort.

4. The features of high speed railway viaducts and tunnels and signal control system.

5. High-speed rails carries more passengers.

6. High-speed rails.

===B. QR code payment===

The QR code payment model is based on the concept of mobile payment, and the first batch of payments made by mobile devices occurred in Finland in 1997. Finnish local media reported that Finland Telecom has enabled the service of operating jukeboxes and beverage vending machines by dialing a pay phone number. This service allows you to buy Coca-Cola at Helsinki Airport. The QR code, also known as "two-dimensional code" was invented in 1994 by the Japanese company DW. and nowadays, we usually use Alipay or WeChat pay to finish the process of payment.

====Background====

The rise of QR code payment methods in China is not occasionally. It is mainly related to the rapid development of IT technology and the rapid advancement of e-commerce. The maturity of IT technology has promoted the birth of mobile terminals such as smart phones and tablet computers, which makes people's mobile life more colorful. At the same time, domestic e-commerce is also closely related to "mobile", especially the development of O2O. With a large number of mobile devices and a large amount of mobile consumption, payment costs have become particularly critical. Therefore, QR code payment solutions came into being. (China's Four New Inventions 2018)

====Characteristics====

At the end of 2010, QR codes and related technologies were widely circulated on the Internet, marking the beginning of the widespread popularity of QR codes in China. The popularity of any thing must have its reasons, and so is QR code payment. [[File:Alipay.JPEG|500px|thumb|right|Alipay]]

1. Mature technology
QR code payment already has mature technical means in developed areas abroad, which has laid the foundation for the development of domestic QR code technology, and it is believed that it will quickly become popular.
2. Easy to use
After the user installs the QR code recognition software, the transaction can be completed by simply swiping the place where the QR code is posted.
3. Convenient payment
With the QR code payment method, merchants do not have to bear high cost payments such as cash on delivery, and consumers can also make real-time payments anytime, anywhere.
4. Lower cost
Due to the maturity of technology and the popularization of mobile devices, the cost of QR code payment has become very low. (科普中国，2020）

'''Terms and Expressions'''

QR code (Quick Response code)快速反应码

Finland芬兰 Telecom电信

jukebox点唱机 beverage vending machine饮料自动售货机

Helsinki Airport 赫尔辛基机场

'''Questions'''

1. What advanced the birth of QR code?

2. When did the QR code become popular in China?

3. Why does QR code cost lower?

4. When was the QR code invented?

'''Answers'''

1. The maturity of IT technology advanced the birth of QR code.

2. At the end of 2010, QR code become popular in China.

3. Merchants do not have to bear high cost payments such as cash on delivery.

4. QR code invented in 1997.

===C. Shared bikes===

As early as 1965, the Municipal Government of Amsterdam in the Netherlands proposed the "White Plan". According to the plan, the government purchased 50 bicycles and painted them with white paint as a sign and scattered them around the city for people to use. This was the earliest in the world. The unmanned shared bicycle system is invented by the Netherlands. In 2007, France also had free cycling, and it was only later that China became popular and innovative models developed and promoted overseas.

====Function and Using Steps ====

By providing services on campuses, subway stations, bus stations, residential areas, commercial districts, public service areas, etc., bicycle-sharing (bicycle) companies complete the ”last mile“ in the transportation industry and drive residents' enthusiasm for using other public transportation. Produce synergy with other public transportation methods. Shared bicycles are a time-sharing lease model and a new type of green and environmentally friendly sharing economy. (Du Yuheng, Han Wei, Kou Jingli, China Statistics 2018)

1. Find a free shared bike, download the bike sharing app, pay a deposit, and enter your password to use the bike.[[File:shared bike.JPEG|500px|thumb|right|Shared bike]]

2. Use the app to find the nearest shared bike, click on the "Use Bike Now" button and enter a set of numbers on the bike to use the bike.

3.Download the bike sharing app, find the vacant bikes, click the "Use Bike Now" button, get a set of numbers, and enter a set of numbers on the bike to use the bike.

====Development====

China's bike-sharing market has gone through three stages of development. The first phase is from 2007 to 2010. The public bicycle model that has emerged from abroad is introduced into the country, and the government will lead the management in different cities, mostly with piled bicycles. 2010-2014 is the second stage. Companies specializing in the bicycle market began to appear, but public bicycles are still dominated by piled bicycles. The third phase is from 2014 to 2018. With the rapid development of the mobile Internet, Internet shared bicycles led by Mobike came into being, and more convenient dockless bicycles began to replace docked bicycles. (Du Yuheng, Han Wei, Kou Jingli 2018)

'''Terms and Expressions'''

Amsterdam阿姆斯特丹 the unmanned shared bicycle system 无人管理的共享单车系统

free cycling 单车自由行 residential areas 居民区

last mile ”最后一公里“ green and environmentally friendly economy 绿色和环境友好型经济

the first phase第一阶段 dockless bicycles无桩单车

'''Questions'''

1. Which country invented the shared bike?

2. What is the main purpose for the invention of shared bike?

3. How many phases at present have the shared bikes experienced?

4. How's the prospect of the shared bikes?

'''Answers'''

1. Netherlands invented the shared bike.

2.To complete the ”last mile“ in the transportation industry and drive residents' enthusiasm for using other public transportation

3. There are three phases at present have the shared bikes experienced

4. With the development of the four new inventions, the shared bikes will be more and more developed.

===D. Online shopping===

Online shopping belongs to the category of e-commerce. In 1979, the British Michael Aldrich invented the concept of online shopping. Aldrich used a technology called Videotex to connect an ordinary TV set to the computer of a local retailer through a telephone line. By the 1990s, after Amazon and eBay launched their websites in 1995, e-commerce became popular around the world.

====Definition====

Retrieve product information through the Internet, and send a shopping request through an electronic order form, and then fill in a personal checking account or credit card number. The manufacturer will ship the goods by mail order or deliver the goods to the door through a courier company. For online shopping in China, the general payment method is cash on delivery (direct bank transfer, online remittance) and cash on delivery for secured transactions. (科普中国 2019） [[File:Online Shopping.JPEG|600px|thumb|right|Online Shopping]]

====Development====

As early as 1999, Chinese Internet prophets began to build B2C websites, dedicated to promoting online shopping in China. But this approach was generally questioned by the economics community at that time. (Will there be enough consumers shopping online? Can online shopping solve the problem of logistics and distribution? Can online shopping solve the problem of online payment?) However, in the future, these doubts will all go away. They have been solved by large shopping websites, courier companies other than postal services, and many third-party online payments that connect with major banks.

With the development of the economy, online shopping has gradually reappeared. In 2005, Dangdang achieved annual sales of 440 million yuan, a figure that greatly exceeded the expectations of most investment institutions two or three years ago. This number proves the success of the Amazon (famous e-commerce website) model in China, as well as the over-pessimism of economists and the greatness of market forces.

With the popularity of the Internet, the advantages of online shopping have become more prominent, and it has increasingly become an important form of shopping. The 29th Statistical Report on Internet Development in China released by the China Internet Network Information Center (CNNIC) in January 2012 shows that as of the end of December 2011, the number of Internet users in China reached 513 million, with 55.8 million new Internet users throughout the year; The penetration rate increased by 4 percentage points from the end of last year, reaching 38.3%. The number of mobile Internet users in China reached 356 million, a year-on-year increase of 17.5%. Compared with previous years, the growth of China's overall Internet users has entered a platform period.（Han Yuanjia 2017）

'''Terms and Expressions'''

retrieve product information检索商品信息 a courier company快递公司

direct bank transfer直接银行转账 online remittance在线汇款

secured transactions担保交易 cash on delivery货到付款 logistics and distribution 物流配

'''Questions'''

1. What are people concerning about before the online shopping came true?

2. How could people pay online?

3. How was the situation in the previous economic field?

'''Answers'''

1. Will there be enough consumers shopping online? Can online shopping solve the problem of logistics and distribution? Can online shopping solve the problem of online payment?

2. the general payment method is cash on delivery (direct bank transfer, online remittance) and cash on delivery for secured transactions.

3. The manufacturer will ship the goods by mail order or deliver the goods to the door through a courier company.

===References===

中国“新四大发明”(2018).时代英语. English Times.

Wu Fangyi 吴方意.(2019).浅谈中国古代四大发明与大一统性[An Introduction to the Four Great Inventions of Ancient China and Grand Uniformity].西部学刊, Western Journal (16):133-136.

Kang Tianchi 康天驰.(2018).中国“新四大发明”“走出去”研究[Research on China's "Four New Inventions" and "Going Global].知识文库,Knowledge Library (11):244.

Du Yuheng, Han Wei, Kou Jingli 杜禹珩,韩伟,寇京丽.(2018).中国新四大发明之共享单车[China's New Four Inventions of Bicycle Sharing].中国统计,China Statistics.(03):77.

Han Yuanjia 韩元佳.(2017). 看“新四大发明”如何讲述中国奇迹?[See how the "Four New Inventions" tell the story of China's miracle?].创新时代,The Age of Innovation. (12):28-29.

Wanying Xie,Zeshui Xu,Zhiliang Ren. An Analysis on the Influence of Chinese “New Four Inventions” Under the Incomplete Hybrid Probabilistic Linguistic Environment[J]. International Journal of Fuzzy Systems,2019,21(5).

Zhou Yixiang 周一翔.(2017).The “New Four Great Inventions” of China Impact on the World.校园英语,Campus English(52):255.

Deborah Strumsky,José Lobo. Identifying the sources of technological novelty in the process of invention[J]. Research Policy,2015,44(8).

东海道新干线のバイパス[J].中央新干线委员会

==Wu Yilu 吴一露 202070080610==
===Four Domestic Mobile Phones===

===A.Huawei===

Huawei is probably the name that needs no introduction among all the Chinese phone manufacturers. “It's the world's second largest smartphone company, and it's at the center of an international battle for technological dominance between Beijing and Washington.” (Sareena Dayaram, 2020)

Founded in 1987, Huawei focuses on providing information and communications technology (ICT) infrastructure and smart devices. With more than 194,000 employees, this company operates in more than 170 countries and regions, serving more than three billion people around the world. Huawei is a private company wholly owned by its employees. It means no government agency or outside organization holds shares in Huawei. (Huawei Device Co., Ltd, 2020)

Their vision and mission is to bring digital to every person, home and organization for a fully connected, intelligent world. (Huawei Device Co., Ltd, 2020) The benefits of digital technology shouldn't just be available to those who can afford it. Huawei's mission is to expand the benefits of technology to everyone, everywhere. To achieve this, they've developed a digital inclusion strategy that focuses on three areas: technology, applications, and skills. For example, three main world-changing technologies built by Huawei are 5G, Huawei cloud and Huawei AI.

"Staying customer-centric and creating value for customers" are the company's common values. (Huawei Device Co., Ltd, 2020) The company has a well-developed internal governance structure, under which all governance bodies have clear and focused authority and responsibility, but operate under checks and balances. This creates a closed cycle of authority and achieves rational and cyclical succession of authority, so as to drive the facilitation and implementation of the company's common values.

[[File:Corporate Governance Structure.jpg|650px|thumb|middle|Diagram of Huawei Corporate Governance. Click [https://www-file.huawei.com/-/media/corporate/images/about-huawei/2020/corporate-governance-structure-18en.png?la=en-us/File:Corporate Governance Structure.jpg] for original source.]]

Huawei is continuing to focus on research and innovation to seize the opportunities and address the challenges of the future intelligent world. There are many innovations and inventions of Huawei to drive the industry forward, including advanced wireless networks, optical networks, intelligent O&M, AI computing, smartphone camera, media CODEC standards, software, trustworthiness and so on. From this we can find that the main business of Huawei is communication stations，while that of Apple is consumer electronics. Today, Huawei have entered the 5G ear and embarked on 6G research. It is exploring new directions for 6G. To this end, they began research into the basic theories of 6G and initiated extensive open collaboration projects with other industry players and pushed the industry to build a consensus on 6G. (Huawei Device Co., Ltd, 2020)

Since the top executive (the daughter of the company's founder) Meng Wangzhou was arrested in Canada for an alleged violation of US sanctions with Iran, this telecommunication giant, which was unknown to most American, appeared frequently in newspapers, especially since the US Commerce Department banned American companies from doing business with Huawei without first obtaining a license. (Sareena Dayaram,2020)

For Huawei, that meant it could lose access to crucial technological parts including semiconductors, which are key components used in its base stations and phones. It also meant Huawei's handsets cannot use Google's Android operating system, which provides several popular apps including the Google Play store, Gmail, Google Maps and apps that rely on Google like Uber and eBay. (Sareena Dayaram,2020) The Mate 30 was Huawei's first major phone to launch without Google's proprietary apps. All people thought this would decrease Huawei’s sale. Of course, it does. But the company reported first-half earnings showing revenue grew more than 13% from a year ago to around $65 billion.

===Terms and Expression===

Huawei cloud 华为云 Intelligent Collaboration 协同管理技术

optical networks 光纤网络 Carrier Network 承载网络

intelligent O&M 智能委托运营 the Kunpeng 920 鲲鹏920

AI computing 人工智能计算 AppGallery 华为应用程序库

information and communications technology (ICT) 信息与通讯技术 Media CODEC standards 编解码标准

===Questions:===

1.When is Huawei founded?

2.How many countries and regions does Huawei operate?

3.Do government agency and outside organization hold shares if Huawei?

4.What is the vision and mission of Huawei? And what do they do to achieve this mission?

5.What are the three main world-changing technologies built by Huawei?

6.What are the innovations and inventions of Huawei?

7.What are the company’s common values?

8.What makes that the telecommunications giant frequently was mentioned across newspapers?

9.Which phone is the first major phone launched without Google’s proprietary apps？

10.What’s your opinion towards these two issues mention above? Will these hinder the development of Huawei?

===Answers:===

1. It is founded in 1987.

2. It operates in more than 170 countries and regions

3. No, no government agency or outside organization holds shares in Huawei.

4. Their vision and mission is to bring digital to every person, home and organization for a fully connected, intelligent world; their mission is to expand the benefits of technology to everyone, everywhere. To achieve this, they've developed a digital inclusion strategy that focuses on three areas: technology, applications, and skills.

5. 5G, Huawei cloud and Huawei AI.

6. Advanced wireless networks, optical networks, intelligent O&M, AI computing, smartphone camera, Media CODEC standards, software, trustworthiness and so on.

7. "Staying customer-centric and creating value for customers" are the company's common values.

8. ①Top executive (and daughter of the company's founder) Meng Wangzhou was arrested in Canada for an alleged violation of US sanctions with Iran.

②the US Commerce Department banned American companies from doing business with Huawei without first obtaining a license.

9. The Mate 30.

10. In my opinion, these are totally unfair to Huawei, as well as China’s companies and economy. The Meng Wanzhou case is a serious political incident orchestrated by the United States to suppress Chinese high-tech companies and Huawei. It is also a kind of protectionism, which is divorced from the trend of globalization. We cannot deny that those actions will hinder the development of Huawei, specially some necessary chips. Although Huawei made preparation in advance, the core products are guaranteed to be available for six months to two years. In addition, Huawei has self-developed a large number of chip designs. But the following three areas are difficult to replace in the short term: manufacturing, semiconductor equipment and EDA software. On the one side, these issues, obviously, will obstruct the development of Huawei, but on the other side, they also promote the process of autonomy of domestic chips.

===References===

Sareena Dayaram, Huawei, OnePlus and beyond: China's biggest smarthone brands you should know about, https://www.cnet.com/news/huawei-oneplus-china-biggest-smartphone-brands-you-should-know-about-lenovo-meizu-xiaomi-oppo-vivo/, 2020.

Huawei Device Co., Ltd, https://consumer.huawei.com/en/about-us/, 2020

===B. Xiaomi===

Xiaomi is one of China's earlier homegrown success companies. It is an internet company with smartphones and smart hardware connected by an IoT platform at its core. Founded in April 2010 and listed on the Main Board of the Hong Kong Stock Exchange on July 9, 2018, Xiaomi has matured into one of China's domestic champions. (Xiaomi, 2020)

With the vision of being friends with its users and being the “coolest company” in the hearts of its users, Xiaomi is committed to continuous innovation, with an unwavering focus on quality and efficiency. Xiaomi is currently the world's fourth-largest smartphone brand, and has established the world's largest consumer IoT platform, with more than 213.2 million smart devices (excluding smartphones and laptops) connected to its platform--- Xiaomi Vela.(Xiaomi, 2020)

[[File:Xiaomi-logo.jpg|100px|thumb|left|Xiaomi-logo. Click [https://https://upload.wikimedia.org/wikipedia/commons/thumb/2/29/Xiaomi_logo.svg/800px-Xiaomi_logo.svg.png/File:Xiaomi-logo.jpg] for original source.]]

Currently, Xiaomi products are present in more than 90 countries and regions around the world and have a leading foothold in many markets. The "MI" in its logo stands for “Mobile Internet”.(Xiaomi,2020) It also has other meanings, including "Mission Impossible", because Xiaomi faced many challenges that had seemed impossible to defy in its early days.

“Just for fans”--- that’s Xiaomi’s belief. Many of their employees were initially fans of Mi products, before they decided to join them. The company relentlessly builds amazing products with honest prices to let everyone in the world enjoy a better life through innovative technology. “This low-margin strategy has helped Xiaomi cultivate a loyal fan base, especially in price-sensitive countries in Asia like India, where its slick Android phones often sell out within hours of release.” (Sareena Dayaram,2020)

Besides selling phones, Xiaomi also generates its revenue from the sale of software and services. It also sells a portfolio of its own smart products including bedside lamps and air purifiers to help build its Mi brand internationally. But, Xiaomi also learns from many of its rivals to sell more expensive phones “This strategy seems to have paid off, with the company reporting nearly 14% revenue growth in the first quarter despite the business challenges of the coronavirus pandemic.” (Sareena Dayaram,2020) While Samsung and Apple have both warned of a challenging year ahead.

“The investment in the world’s fastest-growing mobile market, where over 300,000 people power up their first smartphone every day, has made Xiaomi India’s bestselling smartphone brand for three years running. In 2020 so far, it has sold 29 million phones, 2 million more than in China, to control a full quarter of India’s smartphone market.”(Emon Barrett & Grady Mcgregor, 2000) Another reason for its success is that when Xiaomi offered 4G services，while competitors like Samsung，Microsoft，and Indian brand Micromax were still stuck on 3G. But it does face one strong headwind: Indian consumers’ anti-China sentiment. A border skirmish between Indian and Chinese military forces in June ignited boycotts of Chinese goods. Prime Minister Narendra Modi’s nationalist government keeps stoking the backlash, which means Xiaomi’s trajectory on the subcontinent may depend on whether the roots it planted in India qualify the brand as Indian enough.

===Terms and Expression===

IoT（Internet of Things）物联网 robot vacuums 机器人吸尘器

Xiaomi 小米 powerbank 充电宝

VR glasses 虚拟现实眼镜 UAV(Unmanned Aerial Vehicle) 无人机

electric scooters 电动平衡车 WiFi rooters 无线路由器

===Questions:===

1.When is Xiaomi founded?

2.What is the core of this company？

3.What’s Xiaomi’s ranking in the world’s smartphone brands？And what are the top 4 smartphone brands？

4.What does the "MI" in its logo stand for？

5.What is Xiaomi’s belief？

6.What has helped Xiaomi cultivate a loyal fan base？

7.How does Xiaomi generate its revenue？

8.What problem does Xiaomi confront in India？and Why？

9.What’s your opinion about the future of Xiaomi in Indian market？

===Answers===

1. It is founded in April 2010.

2. The IoT platform.

3. Xiaomi is currently the world's fourth-largest smartphone brand. The top four smartphone brands are Apple, Huawei, Samsung and Xiaomi.

4. Xiaomi Vela.

5. It stands for “Mobile Internet” and "Mission Impossible".

6. “Just for fans”--- that’s Xiaomi’s belief.

7. The low-margin strategy.

8. Xiaomi generates most of its revenue from selling phones, but recurring revenue from the sale of software and services.

9. Indian consumers’ anti-China sentiment. Because a border skirmish between Indian and Chinese military forces in June ignited boycotts of Chinese goods, and then Prime Minister Narendra Modi’s nationalist government keeps stoking the backlash
10.What’s your opinion about the future of Xiaomi in Indian market？
Although we can find that Xiaomi made instant reaction to confront with this boycott by telling local media that Xiaomi was “as Indian as any other company here” , competitors like Samsung, took this chance and began flooding India with phones that could compete with Xiaomi’s features and affordability. So only if the relationship between China and India become better or Xiaomi figures a new way, otherwise, Xiaomi’s market in India will shrink gradually.

===References===

Emon Barrett & Grady Mcgregor,How Chinese phonemaker Xiaomi conquered India—and outperformed Apple, https://fortune.com/2020/12/03/xiaomi-china-phones-apple-mobile-iphone/, 2020.

Sareena Dayaram, Huawei, OnePlus and beyond: China's biggest smarthone brands you should know about, https://www.cnet.com/news/huawei-oneplus-china-biggest-smartphone-brands-you-should-know-about-lenovo-meizu-xiaomi-oppo-vivo/, 2020.

Xiaomi, About Us, https://www.mi.com/global/about/, 2020.

===C. VIVO & OPPO===

Have you ever heard about VIVO? If not, then how about its older and larger sibling OPPO. Although OPPO and VIVO aren't household brands in the West, both have vaulted up the global rankings to place within the top six smartphone manufacturers in a comparatively short period of time, due partially to the popularity of their affordable phones among young consumers. (Sareena Dayaram,2020) These two Chinese phone-makers, with similar marketing strategies like Xiaomi, use high-profile product placement and sponsorships to win over European shoppers. Besides, OPPO and VIVO smartphones are always in eye-catching glossy colors which looks good, but it’s plastic and light.So there is still much room for improvement for these two brands.

Are VIVO and OPPO same? If you didn’t know these two brands, you may say no. But yes, even though OPPO and VIVO stress that they're competitors, both companies were spun out of the same parent company. OPPO and VIVO share the same parent company mainly known as BBK Electronics Corporation (Headquarters at Dongguan, Guangdong – China). BBK Electronics Corporation is a Chinese multinational firm specializing in electronics such as television sets, MP3 players, digital cameras and cell phones too. “BBK Electronics is also considered as the world’s 2nd-largest phone manufacturer company, which manufactures some of the fastest growing smartphones brands in Asia.” (Anchit Sharma, 2019) They recently got popular in developing countries of Asia such as India, Pakistan, Bangladesh and also in developed countries like China itself.

At the 2020 Developer Conference, Color OS 11 launched by OPPO focuses on personalized creation, seamless experience, and sensory invigoration. While the Origin OS launched by VIVO carried out subversive innovations mainly in UI design. The OPPO Developer Conference focuses on the integration of people, equipment and scenes. (OPPO, 2020) VIVO’s mission is to make their consumers’ lives extraordinary through introducing innovative technology and being a trendsetter.(vivo Mobile Communication Co., Ltd. , 2020)

With the development of 5G, the interconnection of everything is the most significant trend. Both OPPO and VIVO have demonstrated cross-device synergy in the OS upgrade, and they also attach great importance to the construction of the IoT ecosystem. There are 6 research and development centers of VIVO working on leading technologies: Beijing, Nanjing, Hangzhou, Dongguan, Shenzhen and San Diego (USA), and 4 global manufacturing bases delivering premium quality products: Dongguan, Chongqing, India and Republic of Indonesia. (vivo Mobile Communication Co., Ltd. , 2020)

===Terms and Expression===

OS 操作系统（operating system） VOOC 闪充

BBK 步步高 Fingerprint unlocking 指纹解锁

accessories 配件 octa-core processor 八核心处理器

===Questions:===

1.What’s the relationship between OPPO and VIVO？

2.What are the characteristics of OPPO and VIVO smartphones？

3.Where is the headquarter of BBK Electronics Corporation？And what is it specializing in？

4.Where are the major markets of BBK Electronics Corporation？

5.Please give a example of products from each brands.

6.What does the OPPO Developer Conference focus on？

7.What’s the mission of VIVO？

8.How many research and development centers does VIVO have？And where are they？

9.How many global manufacturing bases does VIVO have？ And where are they？

--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 15:50, 4 December 2020 (UTC)

===Answers===

1. They're competitors, but they were also spun out of the same parent company.

2. Affordable and eye-catching glossy colors.

3. The headquarters locates at Dongguan, Guangdong, China. It specializing in electronics such as television sets, MP3 players, digital cameras and cell phones too.

4. Developing countries of Asia such as India, Pakistan, Bangladesh and also in developed countries like China itself.

5. OPPO: Color OS 11;VIVO: Origin OS.

6. It focuses on personalized creation, seamless experience, and sensory invigoration.

7. VIVO’s mission is to make their consumers’ lives extraordinary through introducing innovative technology and being a trendsetter.

8. 6 research and development centers. They are in Beijing, Nanjing, Hangzhou, Dongguan, Shenzhen and San Diego (USA).

9. 4 global manufacturing bases. They are in Dongguan, Chongqing, India and Republic of Indonesia.

===References===

Anchit Sharma, The Company behind OPPO, VIVO, OnePlus and Realme Smartphones is same?,https://www.techworm.net/2019/06/company-oppo-vivo-oneplus-realme.html,2019.

vivo Mobile Communication Co., Ltd. , https://www.vivo.com/in/about-vivo/culture, 2020.

OPPO, https://www.oppo.com/en/about/, 2020.

==Chinese Dialects Wu Zijia 吴子佳 202070080645 MTI 英语口译==

===A.Brief introduction of Chines dialects===

The words topolect and hibernation, all comes from Yangxiong (53-18), "Interpretation of Foreign Dialects: Light Xuan“in the Han dynasty. "Dialect" refers to different meanings in different groups, according to the Chinese , "dialect " is both a political concept and a linguistic one, and it is also known as "Vernacular ". "Accent", refers to the difference in the language standard of a certain region, such as relationship between relatives regardless of the language."Dialect",however, is a linguistic concept in Europe, subordinating under the concept of"language" at the beginning of the eighteenth century. Based on the relationship between the language (pronunciation, vocabulary and grammar),it is divided into family, group, branch and language.Considering the special national situation of China, The translation of "Chinese dialects" into English is "Varieties of Chinese".According to the European , dialect is a language that differs from the standarded language and is spoken in only one certain region.( Julie M. Groves 2008,1)

China enjoys a vast field and a long history. In the process of historical development, different divisions and unification inevitably occurred in the society, which led to the gradual emergence of diverse and complex dialects system in Chinese. There are many factors contributing to the evolution of dialect, including social, historical and geographical factors, as well as the language itself.
According to the dialects, Chinese is divided into two categories: the official dialects and the nine local dialects. Official dialects ,namely modern Chinese, are not independent dialects, because they are very similar in pronunciation, vocabulary and grammar to the common language. Other regional dialects differ greatly in pronunciation, vocabulary and grammar, thus forming their own dialect systems. The official dialects include northeast Mandarin, Beijing mandarin, Ji Lu mandarin, Jiao-Liao mandarin, Central Plains mandarin, Lan-Yin mandarin, Southwest Mandarin and Jianghuai mandarin. The nine local dialects include Wu dialect, Cantonese, Fujian dialect, Hunan dialect, Hakka, Gan dialect, Hui dialect, Jin dialect and Pinghua.(Li Rong 1989,241)

===B.Hunan dialect===

Xiangyu , also known as xiang dialect or Hunan dialect, belongs to the sino-tibetan language, and is the main language used by the hunan people who live in xiangjiang river basin and its branches. Xiangyu is divided into two categories: new Xiangyu and The old Xiangyu. The new Xiangyu is represented by Changsha dialect while the old one is represented by Shuangfeng dialect.The core area of ancient Chu language is located in the middle reaches of Yangtze River, and Chu language is the ancestor language of Xiang language. Modern Xiangyu speakers are mainly distributed in a considerable part of Hunan province in Mainland China, including Changsha, Zhuzhou, Xiangtan, Yueyang, Yiyang, Loudi, Hengyang, Shaoyang, Yongzhou and so on. In 2010, the number of Xiangyu-speaker was estimated to be about 45 million. The regional dialects of Hunan province include Hunan, Southwest Official, Gan, Hakka, and Xiangxiang, southern Hunan dialect, which have not yet been classified as belonging to the dialect. Xiangyu is the main dialect of Hunan Province. Hunan province is a region that has diverse dialects. (Peng Jianguo 2006,25)

The chu dialect ,namely Chu Yan (ancient Chu language), is popular in Chu in the pre-Qin period, and it is the most ancient origin of Xiang language. The specific appearance of ancient Chu language cannot be verified today, but it is the earliest language used by the Han people in Hunan and along the Xiangjiang river. The word "Chu Yan" first appeared in Zuo Zhuan, indicating that the Chu Yan had been formed at least in the late Spring and Autumn Period, and was a branch of Chinese language,and was different from the Central Plains Yayin XiaYan at that time.There are 20-35 initials of Xiangyu, 30 to 40 finals, 5-7tones,commonly with 6.(Peng Jianguo 2006,26)

===C. Contonese===

Yueyu ,or Cantonese, Guangdong dialect and Tang dialect, is commonly known as "baihua".It is a Chinese dialect in the Chinese-Tibetan Chinese language family. Cantonese is the mother tongue of the Guangfu nationality, an important carrier of the Guangfu culture of the Han nationality, and one of the basic symbolic cultural identities of the Guangfu nationality. Cantonese has a complete language system consisting of nine tones and six volumes of tones, retaining many characteristics of Middle Ancient Chinese . Besides Putonghua, it is the only Chinese language that has been studied independently by foreign universities. (Julie M. Groves 2008,2)

As for the origin of Cantonese, there are different opinions.Some says that it originated from the Northern Mid-plain dialect and others the Chu language from the State of Chu. Cantonese is one of the southern dialects that retains more middle Ancient Chinese elements than other dialects, among which the most prominent feature is that it relatively retains the universal middle Ancient Chinese "Ru Sheng", and its initials, finals and tones have a good correspondence with the ancient Chinese standard rhymes in"Qu Yun" and "Guang Yun".(Julie M. Groves 2008,25)

Mandarin is a dominant language in Guangdong province, and the most dominant dialect is Cantonese. Hakka dialect and Fujian dialect are the other two major Chinese dialects with great influence in the province. Hakka dialect is mainly concentrated in the northeast and north of Guangdong province, and hakka dialect is also distributed in parts of western Guangdong province. Hakka villages are scattered in most parts of the province, and the number of people using this dialect is about 20 million. (Julie M. Groves 2008,60)

Fujian dialect is mainly distributed in the coastal area of the southwest and southeast of Guangdong province ,including 6 municipalities:Chaozhou, Shantou, Jieyang, Shanwei, Zhanjiang, Maoming ,and it can be divided into to language-speaking areas: they are , Chaoshan and Leizhou .The former shares some similarities with the south Fujian dialect , while the later is close to Hainan dialect.In addition, there are 18.95 million people living in some islets in Zhongshan,Huizhou, Qingyuan, Shaoguan taking Fujian dialect as their official language.(Julie M. Groves 2008,60)

===Question===

1.How many local dialects in China?

2.What are they?

3.What is the origin of the Xiang dialect.
--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 08:23, 9 November 2020 (UTC)Wu Zijia

===Answers===
1.9

2.Wu dialect, Cantonese, Fujian dialect, Hunan dialect, Hakka, Gan dialect, Hui dialect, Jin dialect and Pinghua

3.The Chu language

===References===

* Peng Jianguo 彭建国(2006)．《湘语音韵历史层次研究》.[ A Study on the Historical perspective of Xiang Phonology].”湖南大学出版社”[Hunan University Press]．25-26.

* Li Rong 李荣(1989).汉语方言的分区.[The division of Chinese dialects] (04)：241-259.

* Julie M. Groves (2008).Language or Dialect—or Topolect? A Comparison of the Attitudes of Hong Kongers and Mainland Chinese towards the Status of Cantonese .SINO-PLATONIC PAPERS.1-60.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 14:27, 20 December 2020 (UTC)Wu Zijia

==Xiao Shuangling 肖双玲 202070080611 MTI 英语笔译==

===March of the Volunteers (National Anthem of the People's Republic of China)===

===A. Brief Introduction===

March of the Volunteers is a song composed by Tian Han and Nie Er. It is the theme song of the film Children of Troubled Times, known as the clarion call of the Liberation of the Chinese nation. Since its birth in 1935 which was the critical moment of national crisis, it has played a great role in inspiring the patriotic spirit of the Chinese people, and later became the National Anthem of the People’s Republic of China.

On May 9, 1935, the first version of the song was recorded in the recording studio of EMI Records. In 1951, in order to meet the need of playing the national anthem, the People's Record Factory recorded and published a rough record composed by a brass ensemble and an orchestral ensemble. In 1959, to celebrate the 10th anniversary of the founding of the People’s Republic of China, the China Record Factory recorded and published a full set of standard national anthem special records. In 1978, a special album for collective lyrics was released. In 1983, China Record Shanghai Company recorded and published a special record for the standard national anthem after the original word was restored.

On March 14, 2004, the Second Session of the Tenth National People’s Congress passed a constitutional amendment, officially stipulating that the national anthem of the People’s Republic of China shall be the March of Volunteers.

The National Anthem Law of the People's Republic of China was adopted at the 29th Session of the 12th National People's Congress Standing Committee on September 1st, 2017, and formally went into effect on October 1st.

===B. Creation Background===

March of the Volunteers is the theme song of the film Children of Troubled Times. In the autumn of 1934, Tian Han wrote a long poem for the film, the last verse of which was selected as the lyrics of the theme song March of the Volunteers. Shortly after the lyrics were written, Tian Han was arrested and imprisoned by the Kuomintang authorities. In February 1935, director Xu Xingzhi took over the shooting of Children of Troubled Times.

Soon after, comrades who went to prison to visit Tian Han and brought back the lyrics written by him in prison on the back of cigarette packing paper, that is, the original manuscript of March of the Volunteers. At that time, Nie Er was preparing to go to Japan to seek refuge. He learned that there was a theme song to write in the film children of the wind and cloud. He took the initiative to compose music for the song and promised to send back the song manuscript as soon as possible after he arrived in Japan.

Nie Er completed the first draft of the score soon after receiving the lyrics. On April 18, 1935, after Nie Er arrived in Tokyo, Japan, he completed the final draft of the score, and sent the final draft to Shanghai Dentsu Film Company at the end of April. Afterwards, in order to make the song tune and rhythm more powerful, Nie Er and Sun Shiyi discussed and made three changes to the lyrics, thus completing the song creation.

After the early shooting of the film of Children of Troubled Times was completed, the lyrics of Tian Han's theme song did not determine the name of the song, and Nie Er's lyric composition sent back from Japan only included the word "March". General Zhu Qinglan, as the investor of the film of Children of Troubled Times, added "Volunteers" after the words of "March", thus naming the song March of the Volunteers.

===C. Song Appreciation===

The March of the Volunteers is a very creative song; the composer Nie Er devotes himself to the creation of this song with great passion. First of all, he succeeds in handling the poetic lyrics of Tian Han’s prose in accordance with the laws of music in an extremely vivid, powerful and colloquial way. In terms of melody creation, he not only absorbs the excellent achievements of international revolutionary songs and the style characteristics of Western European march, but also makes it have strong national characteristics, so that the song could be grasped by the broad masses and play its fighting role.

The song begins as a prelude to a six-bar march. It has a sonorous rhythm, bright and majestic melody, among which the magical effect of triplet enhances the fighting atmosphere of the song. Although the prelude is short, it contains the basis for the emotional and melody development of the entire song. The song is interlocked and advanced layer by layer. This process runs through the whole song, and the end of the song is repeated many times, giving people a sense of unwavering and unstoppable.

According to the characteristics of the lyrics clause, Nie Er treated the song into a free body structure formed by six phrases of varying lengths. Although the melody and structure of each phrase are different, the cohesion between the phrases is close, the development is natural, and the singing is ups and downs, and is integrated.

March of the Volunteers, with its soaring, sonorous and powerful melody and inspiring lyrics, expresses the Chinese people's strong resentment and resistance to imperialist aggression, and embodies the heroic spirit of the great Chinese nation that is brave, strong, united as one to go through national disaster when they are facing the foreign aggression.

===D. Chinese and English Lyrics===

起来！不愿做奴隶的人们！

把我们的血肉，筑成我们新的长城！

中华民族到了最危险的时候，

每个人被迫着发出最后的吼声。

起来！起来！起来！

我们万众一心，

冒着敌人的炮火,

前进！

冒着敌人的炮火，

前进！

前进！前进、进！

Arise, you who refuse to be bond slaves!

Let’s stand up and fight for

Liberty and true democracy.

All our world is facing

The chains of the tyrants.

Everyone who works for freedom is now crying:

Arise! Arise! Arise!

With the torch of freedom,

March on!

With the torch of freedom,

March on!

March on! March on, and on!

===Terms and Expressions===

March of the Volunteers 义勇军进行曲

Children of Troubled Times 风云儿女

EMI 百代唱片

National People’s Congress 全国人民代表大会

National People's Congress Standing Committee 全国人大常委

===Questions===
‭
1. Who are the composers of March of the Volunteers?

2.Which movie's theme song does March of the Volunteers belong to?

3.When did the National Anthem Law go into effect?

4.When was the final draft completed?

5.How did the name of this song come from?

===Answers===
1.1.March of the Volunteers is a song composed by Tian Han and Nie Er.

2.It is the theme song of the film Children of Troubled Times.

3.The National Anthem Law of the People's Republic of China formally went into effect on October 1st, 2017.

4.On April 18, 1935, after Nie Er arrived in Tokyo, Japan, he completed the final draft.

5.After the early shooting of the film Children of Troubled Times was completed, the lyrics of Tian Han's theme song did not determine the name of the song, while Nie Er's lyric composition sent back from Japan only included the word "March". General Zhu Qinglan, as the investor of the film Children of Troubled Times, added "Volunteers" after the words of "March", thus naming the song March of the Volunteers.

===References===
姜龙飞. 《义勇军进行曲》在这里诞生[J]. 中国档案报, 2020,(003)

《义勇军进行曲》这样成为国歌[J]. 当代兵团，2020（19）

百度百科.义勇军进行曲

--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:26, 20 December 2020 (UTC)Xiao Shuangling

==Xiao Ting 肖婷 202070080612 MIT 英语笔译==
====Zheng He's Voyages ====

From 1405 to 1433, the Chinese imperial eunuch Zheng He led seven expeditions to the coastal territories and islands in and around South China Sea,the Indian Ocean,and beyond for the Ming emperor which is an unprecedented feat in world history.(English Encyclopedia Treasure Voyages)

====Zheng He====
Zheng He was born Ma He to a Muslim family in the far southwest, in today's Yunnan province. It is said that his original surname is Ma,his full name as Ma Sanbao .At ten years old he was captured by soldiers sent there by the first Ming emperor intent on subduing the south.(Baidu Encyclopedia Zheng He)
He was sent to the capital to be trained in military ways. Growing up to be a burly, imposing man, over six feet tall with a chest contemporaries said measured over five feet around, he was also extremely talented and intelligent. He received both literary and military training, then made his way up the military ladder with ease, making important allies at court in the process. Besides Zheng He has a background of both Buddhism and lslam.Thus,he was assumed as the perfect choice to lead the emperor’s splendid armada.(Ye Lang 2008,116)[[File:Zheng He.jpg|500px|thumb|right|Zheng He]]

====Reasons for the voyages====
The Yongle Emperor sent Zheng He to the “Western oceans”, both to demonstrate the might of the Ming Empire and to realize the diplomatic ideal of peace and harmony among all nations. Zheng He's fleet manifested the prosperity ，the imperial power ，its advanced navigation technologies and exquisite ship-building techniques of China at that time , thus many small countries and bribes agreed to recognize China as their superior and its emperor as lord of “all under Heaven”.These countries and bribes regularly gave gifts of tribute in exchange for certain benefits ,like military posts, treaties and licence to trade.(Qian Zhiqian 2005,93)
During the voyages ,Zheng He's fleet did not act as a sea ruler, but appeared in peace all over the world, laden not only with goods exchanged with those countries, but also with the friendship of peoples.(Ye Lang 2008,120)
[[File:The Yongle Emperor.jpg|500px|thumb|right|The Yongle Emperor]]
====The seven expeditions====
These expeditions were astonishing as much for their distance as for their size: during the first one, Zheng He traveled all the way from China to Southeast Asia and then on to India, all the way to major trading sites on India's southwest coast.The first expedition of this mighty armada was in 11th July of 1405, composed of 317ships and perhaps as many as sixty huge Treasure Ships and nearly 28000 men with thousands of soldiers , sailors ,diplomatic specialists ,medical personnel, astronomers and scholars.The fleet stopped in Java and then arrived at Ceylon (today’s Sri Lanka ).Compared to the first one, the second voyage(1407-1409) was smaller with only 68ships sending foreign envoys back home.(Zhen Hesheng,Zhe Yijun 1983,38)

Zheng He led the third voyage (1409-1411) visiting many of the same countries as the first one did, like Champa and Java. When fighting broke out there between his forces and those of a small kingdom, Zheng put down the fighting, captured the king and brought him back to China where he was released by the emperor and then returned home duly impressed.(Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The fourth voyage (1413-15) extended the scope of the expeditions even further. This time in addition to visiting many of the same sites, Zheng He commandeered his 40 ships and over 28,000 men to Hormuz on the Persian Gulf. This trip has 48 ships with doctors , officials ,translators and more than 27000 troops .
The fifth voyage (1417-1419) was primarily a return trip for seventeen heads of state from South Asia. They had made their way to China after Zheng He's visits to their homelands in order to present their tribute at the Ming Court. (Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The sixth voyage began in 1421 and lasted for nearly two years.Then the expeditions were halted due to the death of the Yongle emperor.It sailed to many of the previously visited Southeast Asian and Indian courts and stops in the Persian Gulf, the Red Sea, and the coast of Africa, principally in order to return nineteen ambassadors to their homelands. Zheng He returned to China after less than a year, having sent his fleet onward to pursue several separate itineraries, with some ships going perhaps as far south as Sofala in present day Mozambique.(Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The seventh and final voyage (1431-33) was sent out by the Yongle emperor's successor, his grandson the Xuande emperor.This expedition had more than one hundred large ships and over 27,000 men, and it visited all the important ports in the South China Sea and Indian Ocean as well as Aden and Hormuz. One auxiliary voyage traveled up the Red Sea to Jidda, only a few hundred miles from the holy cities of Mecca and Medina. It was on the return trip in 1433 that Zheng He died and was buried at sea, although his official grave still stands in Nanjing, China. Nearly forgotten in China until recently, he was immortalized among Chinese communities abroad, particularly in Southeast Asia where to this day he is celebrated and revered as a god.(Zhen Hesheng,Zhe Yijun 1983,43)
[[File:Route.jpg|500px|thumb|right|Route]]

====Terms and Expressions====
The Yongle emperor 永乐皇帝（明成祖）

Java 爪哇

Ceylon 锡兰（今斯里兰卡）

Champe 占城（印度支那古国）

Hormuz 霍尔木兹

The Persian Gulf 波斯湾

Medina 麦地那市（沙特阿拉伯西部城市）

Mecca 麦加（穆斯林圣地）

==== Questions====
1.What was Zheng He like?

2. Why did the Yongel Emperor sent the armada to the “Western oceans”?

3.How many people did Zheng He bring at the first voyage ,and what did these people do?

4.Why did the expeditions stopped during the 1423-1430?

5.The last trip was sented by?

===Answers===
1.Growing up to be a burly, imposing man, over six feet tall with a chest contemporaries said measured over five feet around, he was also extremely talented and intelligent.

2.Both to demonstrate the might of the Ming Empire and to realize the diplomatic ideal of peace and harmony among all nations.

3.He brought nearly 28000 men with thousands of soldiers , sailors ,diplomatic specialists ,medical personnel, astronomers and scholars.

4.The expeditions were halted due to the death of the Yongle emperor.

5.By the Yongle emperor's successor, his grandson the Xuande emperor.
===References===
Ye Lang 叶朗. 中国文化读本[A book of Chinese Culture][M].北京,2008,115-123.

Qian Zhiqian 钱志乾. 试论郑和下西洋的主要目的[On the purpose of Zheng He's Voyages to the Western Oceans] [J]. 江西社会科学,2005,(02):90-94.

Zhen Hesheng,Zhe Yijun郑鹤声 ,郑一钧. 郑和下西洋简论[A brief Introduction of Zheng He's Voyages to the Western Oceans] [J]. 吉林大学社会科学学报,1983,(01):36-48.

[Baidu Encyclopedia]百度百科.郑和 [Zheng He]

[Baidu Encyclopedia]百度百科.郑和下西洋 [Zheng He's Voyages to the Western Oceans]

[English Encyclopedia]英语百科.郑和下西洋[Treasure Voyages]
--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:42, 20 December 2020 (UTC)Xiao Ting

==Literature, China's Four Great Classical Novels - Xie Fan 解帆 202070080637 英语口译==

===China's Four Great Classical Novels===

The Four Great Works of Chinese Classical Novels, abbreviated as the Four Great Works, are ''Water Margin'', ''Romance of The Three Kingdoms'', ''Journey to the West'', and ''Dream of the Red Chamber'' (in the order of their completion).The Four Great Classical Novels are some of the classics of Chinese literature and they are considered part of the cultural heritage of the world. The status of these four masterpieces in the history of Chinese literature is difficult to distinguish with their high level of literature and artistic achievements. They are time-honored and unique among Chinese literature works, so that the stories, scenes and characters in these masterpieces have deeply influenced the thoughts and values of the Chinese people. The meticulous portrayal and the profound thoughts contained in these four masterpieces have been praised by readers in history. They can be described as the four great monuments in the history of Chinese literature.(Chen Wenxin 2019,24)

====Water Margin====

''Water Margin'', written by Shi Naian, is a novel based on an ancient peasant uprising. It vividly depicts the whole process from the occurrence, development and failure of the peasant uprising, profoundly reveals the social roots of the uprising, enthusiastically eulogues the resistance struggle of the 'heroes' of the uprising and their social ideals, and specifically reveals the internal historical reasons for the failure of the uprising. (Sun Jiancheng 2008,167)

With the occurrence and development of peasant uprising as its main line, the book describes the whole process of development for grand peasant uprising troop. Individual awakening develops into the small-scale joint resistance with the experience of different heroes, showing an inexorable law of the feudal era, that is, peasants being forced to revolt by the officials, profoundly reflecting the Song dynasty's political condition and social contradictions. Standing on the side of the oppressed, the author praised the righteous acts of the leaders of the peasant uprising, who robbed the rich to the poor and exonerated and affirmed their revolutionary spirit of daring to rebel and struggle.(Liu Keqiang 2014,96)

====Romance of the Three Kingdoms====

''Romance of The Three Kingdoms'' is a novel written by Luo Guanzhong, a novelist in the late Yuan and early Ming Dynasty. It is the first chapter novel , the first novel of historical romance, and also the first long literary novel in the history of Chinese literature. At the end of yuan dynasty and the beginning of Ming Dynasty, social contradictions were acute, peasant uprisings broke out one after another, and dynasties were divided. After years of war, Zhu Yuanzhang destroyed all the departed dynasties, overthrew the Yuan Dynasty, and established the Ming Dynasty. During the period when people were displaced, Luo Guanzhong, as a writer of zaju and stories, lived at the bottom of the society, understood and got familiar with the sufferings of the people, expected social stability and people to live and work in peace and contentment, thought as an intellectual at the bottom, and hoped to end the tragic situation caused by the turbulence. Therefore, he wrote the historical novel ''Romance of The Three Kingdoms'' on the history of the last years of the Eastern Han Dynasty. (Wang Zhiwu 2004,12)

''Romance of The Three Kingdoms'' describes the history of nearly a hundred years from the end of the Eastern Han Dynasty to the beginning of the Western Jin Dynasty. It mainly describes wars and tells the story of the warring states of the eastern Han Dynasty and the political and military struggles among The Three Kingdoms, namely, Wei, Shu and Wu. Finally, Sima Yan unified The Three Kingdoms and established the Jin Dynasty. Besides, it reflects the transformation of various social struggle and contradictions in The Three Kingdoms period, summarizes the historical changes of this era, and shapes a group of powerful heroes of The Three Kingdoms period. (Zhang Zhihe 2000,32)

====Journey to the West====

''Journey to the West'' is the first romanticism chapter novel in China, and its author is WuChenen in the Ming Dynasty. The book mainly tells a story, after the birth and havoc in heaven, Su Wukong met Tang Monk, White Dragon Horse, Zhu Bajie and Sand monk, started their journey to the West, went through 81 hardships and dangers, demons and monsters, finally arrived in the West to see the Buddha. (Chen Dakang 2000,16)

The novel is based on the historical event of Tang Monk going to study scriptures, and through the author's artistic processing, it profoundly depicts the social reality of The Ming Dynasty. The uproar in heaven in the novel reflects the resistance of the Chinese people in the feudal society through the form of fairy tales. Of course, fantasy novels reflect reality with their own characteristics, different from the general direct reflection of real life literature. The rebelin heaven erected the banner of "Monkey King", and put forward the slogan, "emperor take turns, and next is my turn" , hundreds of troops escaped, the heaven started to collapse, so that the jade emperor had to ask for external help. The plot of the fiction and fantasy based on reality of peasant uprising and peasant war. If there had not been many large-scale peasant uprisings and peasant wars that violently impacted the feudal dynasties in history, the plot of "Havoc in Heaven" could not have been so bold and the image of Sun Wukong as a rebel could not have been so brilliant. (Chen Dakang 2000,17)

====Dream of the Red Chamber====

''Dream of the Red Chamber'' was written by Cao Xueqin, a well-known writer in the Qing Dynasty. With the rise and fall of Jia, Shi, Wang as its background, with the love marriage tragedy of Jia Baoyu, Lin Daiyu, and Xue Baochai as its main line, in the perspective of rich childe Jia Baoyu, the book shows the tragic beauty, and female beauty from different angles and the phase of the ancient Chinese society of epic works. (Hu Jingzhu 2019,33)

''Dream of the Red Chamber'' was born at the end of feudal China in the 18th century. At that time, the Qing Government was closed to the outside world and the whole country was immersed in the dream of the Kang-Qian Flourishing Age and the Middle Kingdom. On the surface, the period seemed stable and peaceful, but actually all kinds of social contradictions were intensifying and developing, and the whole dynasty had reached a turning point of prosperity and decline. (Liu Mengxi 1984,41)

===Terms and Expressions===

农民起义 peasant uprising

孙悟空 Monkey King

大闹天宫 Havoc in Heaven

康乾盛世 the Kang-Qian Flourishing Age

天朝上国 the Middle Kingdom

===Questions===

1. What is the influence and status of Chinese Four Great Classical Novels?

2. What dose ''Water Margin'' mainly show?

3. Is ''Dream of the Red Chamber'' the first romanticism chapter novel in China? Which book is the first chapter novel in China?

4. Why has the plot of "Havoc in Heaven" been so bold and the image of Sun Wukong as a rebel been so brilliant?

4. What do you know about ''Dream of the Red Chamber''?

===Answers===

1. The stories, scenes and characters in these masterpieces have deeply influenced the thoughts and values of the Chinese people. They can be described as four great monuments in the history of Chinese literature.

2. It vividly depicts the whole process from the occurrence, development and failure of the peasant uprising, profoundly reveals the social roots of the uprising, enthusiastically eulogues the resistance struggle of the 'heroes' of the uprising and their social ideals, and specifically reveals the internal historical reasons for the failure of the uprising.

3. No, ''Journey to the West'' is the first romanticism chapter novel in China while ''Romance of the Three Kingdoms'' is the first chapter novel in China.

4. Because there had been many large-scale peasant uprisings and peasant wars that violently impacted the feudal dynasties in history.

4. ''Dream of the Red Chamber'' was written by Cao Xueqin, a well-known writer in the Qing Dynasty. With the rise and fall of Jia, Shi, Wang as its background, with the love marriage tragedy of Jia Baoyu, Lin Daiyu, and Xue Baochai as its main line, in the perspective of rich childe Jia Baoyu, the book shows the tragic beauty, and female beauty from different angles and the phase of the ancient Chinese society of epic works.

===References===

*Chen Dakang陈大康.(2000).《西游记》主题说的百年变迁：兼论“主题”概念的理论意义.[The Change of Theme during Hundreds of Years in ''Journey to the West'' - Discussion on the Theoretical Significance of the Theme].华东师范大学学报Journal of East China Normal University

*Chen Wenxin陈文新.(2019).中国文化视野中的“四大名著”.["The Four Great Classical Novels" from the Perspective of Chinese Culture].文化软实力研究Studies On Cultural Soft Power

*Hu Jingzhu胡静姝.(2019).《梦幻与现实的较量——浅析 < 红楼梦 > 中梦的美学意蕴》.[The Contest between Dream and Reality - A Brief Analysis of the Aesthetic Implication of ''Dream of the Red Chamber''].《汉字文化》The Culture of Chinese Characters

*Liu Keqiang刘克强.(2014).《水浒传》翻译大辞典.[The Translated Dictionary of ''Water Margin''].北京：中央编译出版社Beijing:Central Compilation Translation Press

*Liu Mengxi刘梦溪.(1984).红学三十年论文选编．[Selected Papers of Studies of Dream of the Red Chamber in the Past Three Decades].天津: 百花文艺出版社Tianjin:Baihua Literature and Art Publishing House

*Sun Jiancheng 孙建成.(2008).《水浒传》英译的语言与文化.[The Language and Culture of English Translation of ''Water Margin''].上海：复旦大学出版社Shanghai:Fudan University Press

*Wang Zhiwu王志武.(2004).《三国演义》的人物、结构和主题.[The Characters, Structure and Theme of ''Romance of The Three Kingdoms''].西北农林科技大学学报Journal of Northwest A&F University

*Zhang Zhihe张志和.(2000).《三国演义》思想意蕴试论.[Discussion on the Ideological Implication of ''Romance of The Three Kingdoms''].天津外国语学院学报Journal of Tianjin Foreign Studies University

--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:55, 20 December 2020 (UTC)

==Four Folk Stories of Ancient China，Xu Jia 徐佳 202070080613 MTI英语笔译==

Cowherd and Weaving Girl, Meng Jiangnu Crying on the Great Wall, the Story of the White Snake and Butterfly Lovers are the four major folk love stories in ancient China. As the most charming oral traditions and national intangible cultural heritage in China, the earliest of them has been popular for more than 2000 years, having a profound impact on people’s lives.

1. Cowherd and Weaving Girl

2. Meng Jiangnu Crying on the Great Wall

3. The Story of the White Snake

4. Butterfly Lovers

====Cowherd and Weaving Girl====

It is said that the story took place in the Western Zhou Dynasty. Cowherd was an artless and honest young man living in the Xiniu village of Nanyang city. Since his parents died early, he lived a miserable life with an old ox. One day, Weaving Girl, the daughter of the God of Heaven, came down with other fairies from heaven and took a bathe in a river near Cowherd’s house. The old ox told the Cowherd to steal her clothes so that she was unable to return to the heaven and would stay here to be his wife.（Zhong Xiaoting 2020,92)

With the help of the old ox, Weaving Girl married Cowherd and soon they had a son and a daughter. They led a happy life with husband laboring in the field and wife weaving at home. But their marriage didn't last long. It was discovered by the Queen Mother and incurred her wrath. Ignoring tearful Cowherd and two crying children, she broke up the couple and brought Weaving Girl back. It was the old ox that helped him again. It told Cowherd that it would die tonight and he needed to make three pair of shoes with its skin, which could help him go to heaven and find his wife. Cowherd followed. Just as the cowherd was about to catch up with them, however, the Queen Mother took off her golden hairpin and separate them by a large river, which is now called the Milky Way. Hopelessly, the two lovers can only look at each other across the river.（Zhong Xiaoting 2020,92)

Fortunately, touched by their love，hundreds of thousands of magpies flied and formed a bridge over the river. Finally the Queen Mother showed a little mercy, allowing them to meet once a year on the magpie bridge. The day was the seventh day of the seventh lunar month, which later has become the Chinese Valentine’s Day.(Zhao Kuifu 1990,61)

====Meng Jiangnu Crying on the Great Wall====

During the reign of the first emperor of Qin Dynasty, Fan Xilang, a young man living in the surrounding area of Mengjiang mountain in Lizhou County, Hunan Province, had just finished the hard labor and returned to his hometown to get married. But unfortunately, on the night of their wedding, Fan Xilang was sent to the north to build the Great Wall. He toiled away with hunger, cold and fatigue, and soon met a miserable death at the end of his efforts. His body was buried under the Great Wall. （Yao Kangkang 2020,77)

Meng Jiangnu, Fan’s new wife, got the bad news and went through all kinds of hardships to reach the Great Wall. She cried bitterly there for three days and three nights, and finally cried down the Great Wall and found her husband's remains. On her way to take him home, she suffered a lot and finally died of hunger and thirst in Tongguan County, Shaanxi Province. Sympathetic with the couple’s miserable experience and deeply moved by Meng’s spirits, the local people buried their remains and set up ancestral temples to commemorate them.(Huang Ruiqi 2003)

====The Story of the White Snake====

Created in the Southern Song Dynasty and prevailed in the Qing Dynasty, the Story of the White Snake is a model of Chinese folk collective creation. In the book Stories to Warn Man compiled by Feng Menglong, The White Snake under the Leifeng Pagoda has been acknowledged as the first version of this story.

After thousands of years of practice in Emei Mountain, two snake named Bai Suzhen and Xiaoqing translated into two beautiful girls and came to visit Hangzhou. After encountering with a young man named Xu Xian in the rain, Bai Suzhen fell in love with him and soon later they get married. But a monk called Fahai saw through Bai’s disguise and thought that it was an intrigue of the white snake to marry a man. He persuaded Xu Xian to intoxicate his wife with realgar wine on the Dragon Boat Festival. After being drunk, Bai Suzhen couldn’t control herself and showed the shape of a snake, which scared Xu Xian to death. Regardless of her own safety, Bai Suzhen went through many difficulties and got the magical grass, which finally brought Xu Xian back to life.（Zhou Xia 2020）

But Fahai did not give up. He then lured Xu Xian to the Jinshan Temple to separate the couple. Bai Suzhen and Xiao Qing had no choice but to inundate the temple with flood. During the fierce battle, Bai was finally defeated and put into a small bowl under the Leifeng Pagoda.(Wang Yibing 1999)

====Butterfly Lovers====

During the Eastern Jin Dynasty, Zhu Yingtai, a beautiful and intelligent girl born in a rich family in Shangyu County, Zhejiang Province, wanted to go to Hangzhou to study for there was no good teacher at home. Her father, seeing her eagerness to learn and her ability to disguise herself as a man, finally agreed to her request. On the way to Hangzhou, Zhu Yingtai met Liang Shanbo, a young man who had the same destination with her. He was sincere, gentle and knowledgeable and they clicked immediately. During the school years, they often talked about poetry and articles, cared for each other, and slept in the same bed at night. Zhu had gradually fallen in love with Liang, who, though did not know she was a girl, also cherished her and saw her as his best friend.（Lin Liangliang 2020, 57)

Three years passed quickly. The moment when they had to part, Zhu constantly gave delicate indications to Liang that she was a girl and she loved him, but Liang failed to take her hint. Zhu had no choice but to lied to Liang that she had a little sister who was similar to her in appearance and learning and she wondered if Liang was willing to marry her. Liang Shanbo readily consented and promised that he would come to visit soon. A months later, Liang Shanbo went to Zhu's home and he was surprised to see Zhu Yingtai dressed up as a girl. Only then did he know the truth and figured all the things out. They then confessed their love to each other and pledged to marry without the permission of parents. （Lin Liangliang 2020, 58)

But unfortunately, Zhu’s parents didn’t think much of this poor young man. They wanted to marry their daughter to Ma Wencai, the son of the local governor. Zhu Yingtai was unwilling to marry him but her protest was in vain, for her family was in financial crisis and needed Ma’s support. Hopelessly, the two young lovers was forced to part in tears. Since then, Liang slid into a depression. His spirit and health were soon crushed, and he died a few months later. On the wedding day, Zhu asked for a detour to pass by Liang 's tomb so that she could say goodbye to him. Wearing a bright red wedding dress, she knelt in front of his grave and cried bitterly. At that moment, lighting flashed, thunder rolled and the sky went dark. Liang's tomb suddenly cracked open and Ying-tai immediately jumped into it before it closed. Then under the shocked eyes of the onlookers, a pair of beautiful butterflies flied out of the graves and dancing in the sunlight. It is believed that these two butterflies are Liang Shanbo and Zhu Yingtai. They finally get rid of all the shackles and bounds and can stay together forever.(Jin Huiling 2007)

Having been adapted into many films and TV plays, these four stories are well-known in China and the rest of the world. As the crystallization of folk culture, they not only represent the rich imagination of ancient Chinese people, but also show their hatred for evil forces and their pursuit for a free and happy life, which is exactly the positive part of folk literature.

===Terms and Expressions===

Cowherd and Weaving Girl 牛郎织女

Meng Jiangnu Crying on the Great Wall 孟姜女哭长城

Butterfly Lovers 梁山伯与祝英台

the Queen Mother 王母娘娘

Stories to Warn Man 《警世通言》

The White Snake under the Leifeng Pagoda 《白娘子永镇雷峰塔》

===Questions===

1.What led to the death of Meng Jiangnu’s husband?

2.What did Xu Xian give Bai Suzhen to drink that made her reveal her snake form?

3.What did the Cowherd do to make Weaving Girl stay?

4.When did Liang Shanbo realize that Zhu Yingtai is actually a girl?

5.Why did Zhu Yingtai lie to Liang Shanbo that she has a little sister?

===Answers===

1.He was sent to build the Great Wall and died for hunger,cold and fatigue.

2.Realgar wine

3.He stole her clothes while she was taking a shower.

4.The first time Liang Shanbo went to Zhu's home,where he saw Zhu Yingtai dressed up as a girl.

5.The little sister she referred to is actually herself,and in this way she hinted at her love to Liang Shanbo.

===References===

Jin Huiling. Qin Yinan. (2007). 爱支撑的文化天堂——《罗密欧与朱丽叶》和《梁山伯与祝英台》[A Cultural Paradise Supported by Love - Romeo and Juliet and Liang Shanbo and Zhu Yingtai] 社会科学论坛：学术研究卷Social Science Forum: Academic Research Volume(5):194-197.

Wang Yibing. (1999). 白蛇传故事的文化意蕴[The Cultural Implications of the Story of the White Snake].廊坊师专学报 Journal of Langfang Teachers College(4):12-18.

Huang Ruiqi. (2003). 孟姜女故事研究[A Study of the Story of Meng Jiang Nu] 北京：中国人民大学出版社. Beijing: People's University of China Press.

Zhao Kuifu. (1990). 论牛郎织女故事的产生与主题[On the Generation and Theme of the Story of the Cowherd and the Weaver]. 西北师大学报. Northwest Normal University Journal(4):56-63.

Zhong Xiaoting.(2020). 牛郎织女故事漫谈三则Three Rambling Stories of the Cowherd and the Weaving Maiden].美与时代. Beauty and the Times(10);92-94.

Yao Kangkang.(2020). 镇原送寒衣的风俗和孟姜女的传说[The Custom of Sending Cold Clothes to Zhen Yuan and the Legend of Meng Jiang Nu].甘肃政协.Journal of Gansu Political Consultative Committee:77-79.

Zhou Xia.(2020).《白蛇转》：白娘子的前世今生.[The White Snake: The Past Life of Bai Niang Zi].中国电影报.China Film News.

Lin Liangliang. (2020).梁祝传说中的原型及其内涵阐发.The Archetype and Its Connotation in the Legend of Liang Zhu. 名作欣赏. Masterpiece Appreciation(10):56-60.

--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:39, 20 December 2020 (UTC)Xu Jia

==Architecture, Four Great Pavilions-Xu Jing 许静 202070080614 MTI英语笔译==
===Four Great Pavilions===
A pavilion, a building style with great Chinese characteristics, is not only a place for passers-by to rest their feet, but also an important landscape building with garden art. At the foot of the mountains, by the lakeside and deep in the forest, we can always see pavilions that are half-hidden, and half-exposed, subtly adding colour to the landscape scenery. (Qian Long 2009, 50)

Where there are pavilions, there are stories, and there are four famous pavilions in China - the Old Drunkard Pavilion in Chuzhou, the Tao Ran Pavilion in Beijing, the Ai Wan Pavilion in Changsha and the Hu Xin Pavilion in Hangzhou. All of them are famous for their poems and articles written by ancient writers and scholars. (Qian Long 2009, 50)

====The Old Drunkard Pavilion====

Zuiweng Ting, or the Old Drunkard Pavilion is located at the foot of the Langya Mountain in Chuzhou, Anhui Province. The Old Drunkard Pavilion was built in 1046 AD, the sixth year of the Northern Song Dynasty's reign of Emperor Renzong. This pavilion is the subject of a well-known work written by Ouyang Xiu, an essayist of the Song dynasty, called The Story of the Old Drunkard. (Liu Xuan 2012, 21)

It is said that Ouyang Xiu was demoted to Chuzhou to serve as the prefect. Feeling indignant at the time, he devoted his soul into nature. He often came with friends and guests to Langya Mountain for fun, or to Langya Temple to drink wine and express their emotion. In order to give Ouyang Xiu a rest and a drink, the Langya Monastery monk Zhisian built this pavilion halfway up the mountain. The pavilion was named 'the Old Drunkard Pavilion' by Ouyang Xiu, who called himself “ the Old Drunkard”. (Liu Xuan 2012, 21)

The pavilion has a compact layout with small, unique pavilions that are characteristic of the gardens of the south of the Yangtze River, and although the total area of the pavilion is less than 1,000 square metres, there are nine buildings——the Old Drunkard Pavilion, Bao Song Zhai, Feng Gong Ancestral Hall, Ancient Plum Blossom Pavilion, Shadow Fragrance Pavilion, Yi Zai Pavilion, Fear Pavilion, Ancient Plum Blossom Pavilion, and the View Terrace——of different styles, and are known as the “Nine Views of the Old Grunkard Pavilion”. (Liu Xuan 2012, 21)

Although the Old Drunkard pavilion has been plundered many times over the centuries, it still inviting to people. Today, the thousand-year old scenery here is even more spectacular and alluring. (Liu Xuan 2012, 21)

====Tao Ran Pavilion====

The Tao Ran Pavilion in Beijing was built in 1695, the 34th year of Emperor Kangxi's reign in the Qing dynasty, by Jiang Zao, who then served in the Ministry of Public Works. Jiang Zao named the pavilion after Bai Juyi's poem, "Waiting for the chrysanthemum to ripen, we get drunk in blitheness". This small pavilion is quite popular among ancient writers. (Qian Long 2009, 50)

The modern Taoran Pavilion is a new modern urban garden that integrates ancient architecture and modern gardening art, highlighting the Chinese national pavilion culture as its main content. In the garden, there are verdant trees, lush flowers and grasses, jagged buildings and pavilions. On the Mid-lake Island, there are Jinqiu dun, Swallow Head Hill, and Tao Ran pavilion into a tripod. On top of Jinqiu dun there is Jinqiu pavilion, the site of which was the site of the Flower Fairy Shrine. At the southern foot of the pavilion, there is Rose Hill, which is the site of the original incense mound, the parrot mound and the tomb of the golden flower. (Chang Yi 2007, 60)

In the quiet pine forest at the foot of the northern pavilion, there are the tombs of Gao Junyu and Shi Pingmei, which are famous. At the top of Swallow Head Hill, there is the Green View Pavilion, which is opposite the Jinqiu Pavilion, and at the southwest of the pavilion, there is the Chengguang Pavilion, which is the most suitable place to look at the lake and the mountains. (Qian Long 2009, 50)

====Ai Wan Pavilion====

The Ai Wan Pavilion is located in the Qingfeng Gorge at the foot of Mount Yuelu in Hunan Province, and is surrounded by mountains on three sides. The pavilion was built in 1792 by Luo Dian(罗典), Dean of the Yuelu Academy, and was originally called the Red Leaf Pavilion. It was later renamed by Bi Yuan(毕沅), Governor of Hunan and Guangzhou Province, based on a poem by Du Mu(杜牧), a poet of the Tang Dynasty, which reads, "The stone paths of the cold mountains are steep, and there are homes in the depths of the white clouds. Sitting on the Maple Forest in the evening, the frost leaves turn red in the February flowers" ("Mountain Journey"). (Qian Long 2009, 50)

After many major repairs in the reign of Tongzhi, Guangxu, Xuantong, and in Republic of China and after the founding of the People's Republic of China, it comes into its pattern today. The shape of the pavilion is eight columns with heavy eaves, glazed glass and blue tiles, the corner of the pavilion is flying, and it looks like flying from a distance. The inside is pillar in lacquer while the outside are four stone pillars made by granite. (Chang Yi 2007, 60)

Apart from painted caisson ceiling, there are gilt lettering "Ai Wan Pavilion" on a red background on the east and west sides of the pavilion, which was made by handwriting written by Mao Zedong, at the request of Li Da, the then president of Hunan University. The pavilion is surrounded by hills on three sides, and is open to the east, with a flat vertical and horizontal space of more than 33 metres, with purple and lush greenery and uninterrupted flowing springs. There is a pond in front of the pavilion, with rows of peach and willow trees. There are maple trees all around, with red leaves all over the mountains in late autumn. (Chang Yi 2007, 60)

====Hu Xin Pavilion====

Hu Xin Pavilion, or Mid-lake Pavilion is situated in the centre of the West Lake in Hangzhou, Zhejiang. Initially known as "Zhenlu Pavilion", and "Qingxi Pavilion", it was built in the 31st year of Jiajing in the Ming Dynasty (1552 AD) and was renamed “Hu Xin Pavilion” after the Ming Dynasty. (Qian Long 2009, 50)

The pavilion is built looking like a tower and is surrounded by water on all sides. When you look around, not only does the lake ripple, but also the mountains stand like a screen enveloping it. The west side of the pavilion is the south and north peaks of the West Lake, which is very spectacular. (Qian Long 2009, 50)

It is one of the 18 scenes of West Lake in Qing Dynasty. Yongzheng wrote in his Records of the West Lake: the pavilion is in the centre of the lake; in the past there was a temple and outside it were three towers, which both were destroyed in the reign of Ming Xiaozong. County said: outside the temple were three towers, while only the north tower conserved, upon which a pavilion was built, that is the Mid-lake Pavilion; the old base of the temple was rebuilt as De Sheng Hall, a place to release. According to this, the old Hu Xin Temple was the current Release Pond, and the present Hu Xin Pavilion was the base of the north tower among the other three. (Chang Yi 2007, 60)

The Qing emperor Qianlong once inscribed a plaque on the pavilion with the inscription "Quietly observe the world"(“静观万类”) and the couplet "Waves surge and the lake is far away, the mountains prompt the water is deep"(“波涌湖光远，山催水色深”). Besides, the inscription on the pavilion's pillars by Hu Laichao(胡来朝) is worth mentioning: “The four seasons are filled with music and songs, and the poor are still grieving over the moon; the six bridges are filled with flowers and willows, and there is no room for mulberry and hemp.” The meaning is even more profound to the visitor. (Qian Long 2009, 50)

===Terms and Expressions===

The Old Drunkard Pavilion 醉翁亭

Nine Views of the Old Drunkard Pavilion 醉翁九景

Tao Ran Pavilion 陶然亭

glazed glass and blue tiles 琉璃碧瓦

Ai Wan Pavilion 爱晚亭

Mountain Journey 《山行》

Hu Xin Pavilion/ Mid-lake Pavilion 湖心亭

County 《县志》

===Questions===

1. Which pavilion is named by the poem of Du Mu？

2. When Did “Hu Xin Pavilion” well established its name?

3. Which pavilion is located in Beijing?

4. Where can we enjoy maple trees in Autumn among the four pavilions?

5. What do you think is the Old Drunkard Pavilion famous for?

===Answers===
1. Ai Wan Pavilion.

2. After the Ming Dynasty.

3. Tao Ran Pavilion.

4. Ai Wan Pavilion.

5. It is said that Ouyang Xiu was demoted to Chuzhou to do the imperial guard and the Old Drunkard Pavilion was built for him and named after him.

===References===
*千龙.中国四大名亭[J].兵团建设,2009(14):50.

*刘璇.醉翁亭以中国“四大”名亭之一天下第一亭大文学家欧阳修《醉翁亭记》名声享誉中华[J].中国地名,2012(09):20-21.

*常翼.我国的四大名亭[J].新长征,2007(06):60.

*https://mp.weixin.qq.com/s/slU9b2notV9xKekROxCZuw

*https://baike.so.com/doc/6569739-6783501.html

*https://baike.so.com/doc/5632595-5845219.html

--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 00:34, 21 December 2020 (UTC)

==Architecture, Three Great Towers in China, Yang chenting 杨晨婷 No.202070080615 MTI 英语笔译==

===Three Great Towers in China===

1. Yellow Crane Tower

2. Yueyang Tower

3.The Pavilion of Prince Teng

Three great towers in China are Yellow Crane Tower in Wuhan, Hubei Province; Yueyang Tower in Yueyang, Hunan Province; and the Pavilion of Prince Teng in Nanchang, Jiangxi Province. As representatives of traditional Chinese architecture, they are the symbols of splendid culture for over five thousand years.

====Yellow Crane Tower====

The tower today we see in Wuhan is not the original building, and it has a very long and complicated history. Yellow Crane Tower, built in 223 during the Three Kingdoms period (220-280), was embodied with a perfect location. Because of this, the king of Wu, Sun Quan, held it as a watchtower for his troops. For hundreds of years, its military function has gradually been forgotten, which now mainly serves as a scenic spot, attracting millions of tourists at home and abroad. （Chen Xiansong 2018,08）

During the Tang Dynasty, many popular poets, like Cui Hao, Li Bai, and Bai Juyi wrote poems to praise Yellow Crane Tower. It can be said that due to their description and admiration of the tower, it became renowned and made people want to pay a visit. In the following centuries, unfortunately, it was destroyed and rebuilt several times. In the Ming and Qing dynasties alone, the tower was destroyed seven times and rebuilt seven times. In 1884, because of fire, it was completely destroyed and was not rebuilt until 1981. Now, it stands on the banks of the Yangtze River at the top of Snake Hill. (Zhang Chi 2002,02)

Different dynasties have greatly influenced the architectural features of it. However, the one we see today is a one rebuilt in Qing Dynasty. It is 51.4 meters (168 feet) tall, with five floors, which looks the same from any direction. The roof is covered by 100,000 yellow glazed tiles. With the tiles on the top, the design of each floor seems to resemble a yellow crane ready to fly. (English for tour guides 2017)[[File:Yellow Crane Tower.jpg|500px|thumb|right|Yellow Crane Tower]]

====Yueyang Tower====

Yueyang Tower is located at the western gate of Yueyang Ancient City, Hunan Province, overlooking Lake Dongting from its perch on the eastern shore of the lake. On the opposite side of Yueyang Tower flows the mighty Yangtze River. Therefore, it’s no doubt that its military function was important.

In 716, with the governance of Emperor Xuanzong of the Tang Dynasty, Yueyang Tower was reconstructed. Its beauty and its good place overlooking Lake Dongting made it receive a lot of literary praise. For example, in 1045, the governor of Ba Ling County, Teng Zijing, invited his friends, including one familiar with us—Fan Zhongyan, to write an essay in honor of the newly-reconstructed Yueyang Tower. (Gong Qijian 2012,13)

The current 20-meter-high pavilion with its four pillars made of rot-resistant nanmu trees, its three storeys with upturned eaves and its unique construction method stems from a major reconstruction in 1867, during the Qing Dynasty. There are two other pavilions, Sanzui Pavilion and Xianmei Pavilion, on either side of Yueyang Tower. And to the north of Yueyang Tower lies the tomb of Xiaoqiao, the wife of Zhou Yu, the famous military advisor in the Three Kingdoms Period. The splendid scenery of Yueyang Tower attracted the attention of many renowned poets of the Tang Dynasty, such as Li Bai, Du Fu, Bai Juyi and Li Shangyin, who wrote poems to paise it after paying a visit there. These works are preserved and cherished, and are on display in the Corridor of Poems and Calligraphy at Yueyang Tower. Thanks to those poets, they made Yueyang Tower keeps attracting people all the time. （Xiong Shengyuan 2015,06）

Yueyang Tower has long enjoyed the title of being the “First Tower under Heaven”, while Lake Dongting, near it, enjoys the reputation of being known as the “First Water under Heaven”. （Chinese scenery 2010）[[File:Yueyang Tower.jpg|500px|thumb|right|Yueyang Tower]]

====The Pavilion of Prince Teng====

Tengwang Pavilion, located in the northwest of Nanchang, Jiangxi Province, is an imperial building constructed more than 1,300 years ago. It was built in 659 by Li Yuanying, the son of the first emperor of Tang Dynasty and the brother of Li Shimin. Because of missing his hometown—Tengzhou, he built this pavilion. The pavilion was named “Tengwangge” after Yuanying, who was crowned “Prince of Teng” during the Zhenguan reign. Along with the Yellow Crane Tower in Wuhan, Hubei Province, and Yueyang Pavilion in Yueyang, Hunan Province, the pavilion of Prince Teng is famous as the “Three Great Pavilions” in China.（Xie Jianlin 2018,11）

What is rare to see in Chinese history is that the Pavilion of Prince Teng was destroyed and rebuilt 29 times, the same fate as Yellow Crane Tower. In January 2001, the Pavilion was named as one of the first batch of national 4A level tourist attractions and was approved as a national key scenic spot by the State Council of China in 2004. (Yin Minghui 2018,04)

For thousands of years, the Pavilion of Prince Teng, with its beautiful scenery and its abundant culture, has been an ideal place for writers and poets to create works. For thousands of years, many artists, poets and writers have paid a visit to this pavilion to get some inspiration for their works.

The Pavilion of Prince Teng has always been an auspicious building for Nanchang people. The cultural stories that have been passed down reflect people’s good wishes for good things, but also reveal the easy-going nature of the local people. Nanchang locals may not be aware of their attachment to the pavilion except when they are in a foreign land. It is at such times that they are able to feel their own cultural heritage and nostalgia for the pavilion. (Today China 2018)

[[File:The Pavilion of Prince Teng.jpg|500px|thumb|right|The Pavilion of Prince Teng]]

====Terms and Expressions====

Watchtower n. 瞭望塔

The Three King Periods 三国时期

Yangtze River 长江

Upturned eave 飞檐

4A level tourist attractions 4A级旅游景区

State Council of China 中国国务院

Nostalgia n. 怀旧

Storey n. 层

Glazed tile 琉璃瓦

====Questions====

1. What are the three great towers in China?

2. What's the function of the Yellow Crane Tower at the very beginning?

3. What's the cause of the Yellow Crane Tower’s completely destroying?

4. Where can tourists appreciate the beautiful scenery of Lake Dongting?

5. What does the Pavilion of Prince Teng mean to local people?

====Answers====

1. The three great towers are Yellow Crane Tower, Yueyang Tower, and the Pavilion of Prince Teng.

2. It served as a watchtower, i.e., military function.

3. It was because of the fire, which burned it down.

4. Tourists can appreciate the scenery from Yueyang Tower.

5. It has always been an auspicious building for Nanchang people and the story about it reflected people’s good wishes for good things.

====References====

Fang Wenhua 方华文. (2010). ''中国名山名水''[Chinese Scenery]. Anhui: Science and Technology Press 安徽科学技术出版社.

Qiu Huijun邱慧钧. (2002). 江南三大名楼[Three great towers in China]. ''风景名胜''Travel(01).

Wu Zhijun吴志军. (2008).江南三大名楼旅游形象测量与比较[The comparison of the image of three great towers]. ''江西财经大学学报''Journal of Jiangxi University of Finance & Economics (04).

Zhang Ju 张炬. (2017). ''导游英语''[Tourist Guide English]. Beijing: Beijing Institute of Technology北京理工大学.

Zheng Zhangmin 郑张敏. (2011). 关于中华古建筑专用名词翻译风格的思考.[A consideration on the translation of the name of Chinese ancient buildings] ''北京建筑工程学院学报''Journal of Beijing University of Civil Engineering and Architecture (04) 72-75.

--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 12:44, 20 December 2020 (UTC)Yang chenting

==Tourism, Nanjing-An Ancient Capital of Six Dynasties Yang Hairong 杨海容, 202070080616, MTI 英语笔译==

<center>杨海容 Yang Hairong, 202070080616</center>

===Nanjing-An Ancient Capital of Six Dynasties===

===A. Geographical Location, Economy and Military Defence===

Nanjing was also called Jinling, Moling, Jianye and Jiankang in ancient times. In the first year of Huanglong in the Eastern Wu Dynasty (229 years), Emperor Wu, Sun Quan, established the capital here, and the rise of Nanjing since then made China's political center out of the pattern of the Yellow River cultural plate, leading the development of the Yangtze River Basin and the entire southern region of China. Since then, the Song, Qi, Liang, and Chen of the Eastern Jin and Southern Dynasties successively established their capitals here, so Nanjing is known as the "Ancient Capital of the Six Dynasties". Nanjing City in the Six Dynasties has an important position in the history of China's capital city development. (Lu Haiming，2002)

''Feng Shui'' (风水) in Nanjing stands out. According to Feng Shui theory, the base site of Yang House (city, village, housing, yin house refers to tomb) is best to choose a place where ''Yin'' (阴) and ''Yang'' (阳) are embraced, meaning that there is a main mountain behind the base site; There is a crescent-shaped pond or river in front, and there is a mountain on the opposite side of the pond or river, and there is a super mountain on the opposite side of the mountain. (Lu Haiming，2002)

The main mountain of Nanjing is Jilong Mountain and Fuzhou Mountain; there is "a green dragon" on the left and "a white tiger" on the right. A Zhongshan Mountain on the left is "the green dragon", and a stone mountain on the right is "the white tiger". On the opposite, there is the Chaoshan Mountain named Niushou Mountain, and Xuanwu Lake behind Nanjing City (Sun Wu and Dong Jin dynasties called Beihu or Houhu Lake, and the name was changed by the Liu Song Dynasty). (Lu Haiming，2002)

During the Six Dynasties, Yangzhou was regarded as the economic center of the south, and the Sanwu area was the center of gravity. Sun Wu decided to make Nanjing in the early stage of material transportation. Later, a man-made canal was dug to open the waterway between Sanwu and Nanjing. As a result, Sanwu's materials no longer need to detour through the Yangtze River, and Nanjing's status as the capital is consolidated. (Lu Haiming，2002)

The Six Dynasties coexisted with the northern regimes for a long time and had the protective effect of the Yangtze River. However, the Yangtze River was not the first line of defense but the last trench. The natural peripheral military defense line of the Six Dynasties was between the Yellow River and the Yangtze River, including the Yellow River, Qinhuai River and Yangtze River. In addition, there are some important military towns. (Lu Haiming，2002)

====Terms and Expressions====

''Feng Shui'' theory 风水学

Yang House 阳宅

Yin House 阴宅

The main mountain 主山

Xuanwu Lake玄武湖

man-made canal 人工运河

Six Dynasties 六朝

Qinhuai River 秦淮河

the first line of defense 第一防线

trench 天堑

====Questions====

1.Why Feng Shui in Nanjing stands out?

2.During the Six Dynasties, which city was the economic center of the south?

3.What contributions does the man-made canal built between Sanwu and Nanjing make?

4.What kind of role does the Yangtze River play in protection?

5. What were Nanjing's natural peripheral military defense line of the Six Dynasties?

====Answers====

1.The main mountain of Nanjing is Jilong Mountain and Fuzhou Mountain; there is like a green dragon on the left, a white tiger on the right, a Zhongshan Mountain on the left is a green dragon, and a stone mountain on the right is the white tiger. On the opposite side, there is Chaoshan Mountain named Niushou Mountain, and Xuanwu Lake behind Nanjing City.

2.Yangzhou.

3.As a result, Sanwu's materials no longer need to detour through the Yangtze River, and Nanjing’s status as the capital of the country is consolidated.

4.the Yangtze River was not the first line of defense but the last trench.

5.The natural peripheral military defense line of the Six Dynasties was between the Yellow River and the Yangtze River, including the Yellow River, Qinhuai River and Yangtze River.

===B. Nature and Humanities===

The so-called "beauty" refers to the natural environment and cultural landscape in Nanjing. "Jiangnan is a beautiful land and an emperor state", which is a description of Nanjing. Nanjing is known as the metaphor of "the golden powder of the Six Dynasties is the best in the world", and there is also the tale of "Qinhuai and the blue waves reflect the beauty". There are not only beautiful natural sceneries, but also many historical monuments; there are ancient buildings and a large number of modern facilities, so it has become a famous tourist attraction at home and abroad. There are as many as 154 places of historical interest listed as national, provincial and municipal cultural relics protection units. (Zhu Yaoting, 2003)

The natural and cultural landscape here not only reveals the beauty of the south of the Yangtze River, but also maintains the majesty of the North. In Nanjing, the masculine and feminine complement each other. The strong impact of the Yellow River and the Yangtze River basin makes Nanjing unparalleled and embodies the beauty of the blending of north and south. (Zhu Yaoting, 2003)

The main folklore activities in Nanjing include Lantern Festival, Tomb-sweeping Outing, Dragon Boat Festival, Mid-Autumn Festival, Chongyang Festival, Laba Festival, New Year welcoming God of Wealth, etc. The folk customs of Nanjing are sincere and have a long history. "Fancy but not slick" is the essence of Nanjing folk customs. (Zhu Yaoting, 2003)

Nanjing embraces abundant cultures, and is integrated into folk customs; folk customs have enriched cultures, and Nanjing's folk entertainments are full of rich cultural connotations. The traditional folk entertainments including dragon lantern dance, the Huatai Festival, social fire in Lishui area, Fangshan drum in Jiangning area, hand lion dance in Jiangpu area and so on. These entertainments seem simple, but they are deeply loved by local people. Moreover, people live in Naning will have these traditional customs including climbing the Zijin Mountain, eating black rice, holding Jinling Lantern Festival and so on.(Zhu Yaoting, 2003)

====Terms and Expressions====

Lantern Festival Lantern Festival 元宵节

Tomb-sweeping Outing 清明节

Dragon Boat Festival 端午节

Mid-Autumn Festival 中秋节

Chongyang Festival 重阳节

Laba Festival porridge 腊八节

God of Wealth 财神

dragon lantern dance 舞龙灯

Fangshan drum 方山大鼓

the Huatai Festival 花台会

black rice 乌饭

historical interests 名胜古迹

====Questions====

1.How to describe Nanjing?

2.How many places of historical interest listed as national, provincial and municipal cultural relics protection units in Nanjing?

3.What are main folklore activities in Nanjing?

4.What is the essence of Nanjing folk customs?

5.People who live in Jiangning area of Nanjing like what kind of folk entertainment?

====Answer====

1.Nanjing is known as the metaphor of "the golden powder of the Six Dynasties is the best in the world", and there is also the tale of "Qinhuai and the blue waves reflect the beauty".

2.There are as many as 154 places of historical interest listed as national, provincial and municipal cultural relics protection units.

3.The main folklore activities in Nanjing include Lantern Festival Lantern Festival, Tomb-sweeping Outing, Dragon Boat Festival, Mid-Autumn Festival, Chongyang Festival, Laba Festival porridge, New Year welcoming God of Wealth, etc.

4."Fancy but not slick" is the essence of Nanjing folk customs.

5.Fangshan drum.

===C. The Lantern Festival in Nanjing===

The fifteenth day of the first lunar month is the night of the first full moon in the lunar calendar year. The Lantern Festival started as a sacrificial offering and gradually became a grand and enthusiastic entertainment festival. In ancient times, the Lantern Festival included one day. In Tang Dynasty it was 16th to 18th of the first month in the lunar calendar, which involved three days; In Song Dynasty, it was 14th to 18th which involved five days; In Ming Dynasty, as Zhu Yuanzhang became the emperor in Nanjing, the Lantern Festival was extended to ten days, that is, from 8th to 17th of the first month in the lunar calendar, and on 18th the lantern lights turned off. The food has also changed from eating bean porridge to tasting glutinous rice balls (汤圆). (Jiangsu Local Chronicles, Nanjing Culture,2015)

[[File:The Confucius Temple.jpg|300px|thumb|right|The Confucius Temple]]

During Ming and Qing Dynasties, there was a custom of playing dragon lanterns and hanging gauze lanterns. Playing Dragon Lantern is not only played by ordinary people, but also by the soldiers. The length of the lantern is not as long as other places can. The short one is more than ten feet, the long is more than a hundred knots, and it can be played by hundreds of people. Yarn lanterns have satin silk fabrics, and there are celebrities painting on them, the more painting by the masters, the higher the value. Merchants will also hold lantern riddles activities in front of the store, attracting many tourists, and those who guess the prize will be rewarded. (Jiangsu Local Chronicles, Nanjing Culture,2015)

There is a lantern shaped in horse pioneered by Nanjing people. The lantern is covered with candles inside. Using the principle of thermal expansion of the air, the lamp surface is driven to rotate. The lamp surface is painted with various postures of horses galloping like ten thousand horses. British scholar Needham called it an invention of ancient Chinese people. The dragon lanterns are majestic, the gauze lanterns are exquisite, colorful, and vigorous, attracting the long dwelling and entertaining guests out of the city, singing and laughing. In recent decades, the Lantern Festival at the Confucius Temple has become more and more prosperous, using new technology, new materials, sound and light control, and it is colorful, vivid and dazzling. The lantern festival will last for one month starting from the Spring Festival. During this period, it attracted as many as two or three million tourists from all over the world every day.(Jiangsu Local Chronicles, Nanjing Culture,2015)

====Terms and Expressions====

the first month in the lunar calendar 正月

glutinous rice balls 汤圆

satin silk fabrics 楮练纱帛

Yarn lanterns 纱灯

lantern riddles activities 猜灯谜

the Confucius Temple 夫子庙

====Questions====

1.Which day is the night of the first full moon in the lunar calendar year?

2.In Tang Dynasty, what time is the Lantern Festival?

3.In Ming Dynasty, as Zhu Yuanzhang became the emperor in Nanjing, how many days did the Lantern Festival extend to?

4.What kinds of people like playing Dragon Lantern?

5.What is the length of the lantern in Nanjing?

6.What are characteristics of a lantern-shaped in horse?

7.What did Needham call as an invention of ancient Chinese people in Nanjing?

====Answers====

1.The fifteenth day of the first lunar month.

2.In Tang Dynasty it was 16th to 18th of the first month in the lunar calendar, which involved three days.

3.In Ming Dynasty, as Zhu Yuanzhang became the emperor in Nanjing, the Lantern Festival was extended to ten days.

4.Playing Dragon Lantern is not only played by ordinary people, but also by the soldiers.

5.The length of the lantern is not as long as other places can. The short one is more than ten feet, the long is more than a hundred knots, and it can be played by hundreds of people.

6.There is a lantern-shaped in horse pioneered by Nanjing people. The lantern is covered with candles inside. Using the principle of thermal expansion of the air, the lamp surface is driven to rotate. The lamp surface is painted with various postures of horses galloping like ten thousand horses.

7.a lantern-shaped in horse.

===References===

[1]Lu Haiming 卢海鸣. (2002). ''六朝都城'' [Capital of Six Dynasties]. Nanjing: Nanjing Press 南京出版社.

[2]Yao Yifeng 姚亦锋. (2007).从南京城市地理格局研究古都风貌规划 [Research on the Planning of Ancient Capital from the Geographical Pattern of Nanjing].人文地理 Human Geography.(03)92-97.

[3]Zhu Yaoting 朱耀廷.(2003). 定都与迁都——中国七大古都比较研究之一 [Setting and Moving the Capital: One of the Comparative Studies of the Seven Ancient Capitals of China].北京联合大学学报(人文社会科学版) Journal of Beijing Union University（Humanities and Social Sciences). (01) 69-76.

[4]Jiangsu Local Chronicles, Nanjing Culture, (2015).http://jssdfz.jiangsu.gov.cn/

==Chinese Traditional Culture-Five Constant Virtues Yang Hui 阳慧英语口译 202070080646==

Owning over thousands of years of history, the Chinese have created a brilliant history and culture, and at the same time have formed their own moral code that has played an important role in social development and progress. This is what we call Traditional Virtues, which still have great significance today and whose value to the development of human civilization is now widely recognized. Benevolence , righteousness, propriety, wisdom and fidelity are the Five Constant Virtues which are the most important ones in traditional China. They all came from Confucianism and are widely acknowledged all over China. To be a moral person, the ancient Chinese cultivated and test themselves according to the Five Constant Virtues and carried them down to the modern life. The brief and concise expression of " benevolence, righteousness, propriety , wisdom and fidelity" is not only the conciseness of Chinese traditional culture, its summary and abstract form of moral category can be said to be the " brand " of Chinese traditional ethics and morality, its value in Chinese traditional culture can be compared to the market value of a commercial brand with a long history.(Xu Keqian 2005, 4）

===Benevolence (Ren)===
Benevolence is the first and most important virtue among the Five Constant Virtues. It manifests itself in the inner mind in love and compassion for people and in avoiding harm or envy toward anyone. In terms of behavior, benevolence demands that one be amiable, not argue angrily with others nor do evil deeds. To cultivate one‘s virtue of Benevolence one should use another Confucian version of the Golden Rule: What one does not wish for oneself, one ought not to do to anyone else; what one recognizes as desirable for oneself, one ought to be willing to grant to others. Virtue, in this Confucian view, is based upon harmony with other people, produced through this type of ethical practice by a growing identification of the interests of self and other. Zeng Zi once said: My three provinces are my body. Cheating? Make friends without any sincerity ?go over what I have Learned?(Zhu Xi, 2005,27). In short, as parents treat their children, the benevolent person spares no effort to help others; one even lays down one’s life to this end, with no thought of being repaid(Zhu Xi, 2005,27).

===Righteousness (Yi)===
Among his teachings, Confucius emphasized righteousness which is the ability to distinguish between right and wrong. Righteousness can be thought of as similar to what is often referred to as a “conscience or “justice”. Confucius believed that actions should be taken on the basis of whether the act is morally right or wrong as opposed to whether it will provide profit or utility to an individual or group. Above all righteousness is about preserving one’s integrity. The unjust but rich to me is as clouds(China Publishing House 2006, 56).

===Propriety (Li)===
Propriety means ceremony or correct behavior. The contents of propriety include loyalty, filial piety , fraternal duty, respect, etc. Originating in ancient sacrificial rites, propriety, in a general sense signifies behavioral norms which maintain hierarchy. Confucius urged people to restrain oneself with propriety ,be polite ,treat others with propriety, saying that people cannot act without propriety. In ancient society, besides the relation of monarch and subjects, there were also the relations of father and sons, husband and wife, the elder and the young, teacher and students, and others. These relations differ but all demand modest respect to others(China Publishing House 2006, 76).

===Wisdom (Zhi)===
Wisdom is the knowledge by which one judges right and wrong, good and evil. The saint define the personality of “the wise” as “a wise man free from confusions”. The real man of wisdom shall not only be able to distinguish truth from falsehood, but also be rational and sensible; he shall never get confused in front of profits or different paths. That is to say, the wisdom concerns not only one person's ability and aptitude, but also his moral cultivation. The Doctrine of the Mean once said that "knowledge, benevolence, courage, the world's greatest valued. Also wisdom, its basic connotation is smartness. Confucius also pointed out that the acquisition of "wisdom" lies in learning, which can be obtained from both books and life(Zi Si 2007,32 ).

===Fidelity (Xin)===
Fidelity is honesty. This means that, externally, one’s deeds match one’s words; and that internally one’s words and mind are in unison. Fidelity is a key to the perfection of human nature. Robert Schuller, an American scholar at the niyama world civilization forum, the hometown of confucius in qufu, china, said: " faith, that is, honesty, should be emphasized to the people around you, family members and the wider population. So honesty is a very important principle. Everyone should be honest with each other, and of course you need to be humble, which is also very important so that we can create a harmonious environment. Thus it is the basis without which other virtues lose their authenticity ; hence they are inseparable. Fidelity is natural in a child, but might be lost due to external influences(Robert Schuller 2016, 4).

Benevolence, righteousness, courtesy, wisdom and faith in the " Five Constant Virtues " are the fundamental requirements of the moral norms of the gentleman, the spiritual support of the individual to settle down to the era of the use of Confucianism, and the " Five Moral Goals " of the Confucian view of the gentleman can better implement the core values of socialism, so that the historical tradition and the present reality, an organic combination and a link between the past and the future. Zhang pointed out that Confucianism is not the culture of God, but the moral culture centered on people, how to be a man, be a moral, ideal and effective person ;To be honest and friendly, to be respectful: to say what you do not want. To do to others ;Be faithful and forgiving(Zhang Qizhi 2016, 53).

===Expressions and Terms===
Five Constant Virtues 五常

benevolence 仁

righteousness 义

propriety 礼

wisdom 智

fidelity 信

moral code 道德准则

filial piety 孝道

===Questions===
1.what does the Five Constant Virtues refer to ?

2.In terms of behavior. what does Benevolence demand ?

3.What do the contents of the Propriety include ?

4.What is the real man of the wisdom ?

5. Where does the Five Constant Virtues come from ?

===Answers===
1.Benevolence , righteousness, propriety, wisdom and fidelity.

2. Benevolence demands that one should be amiable, neither argue angrily with others nor do evil deeds.

3.It includes loyalty, filial piety , fraternal duty, respect, etc.

4.The real man of wisdom shall not only be able to distinguish truth from falsehood, but also be rational and sensible; he shall never get confused in front of profits or different .

5.They all came from Confucianism and are widely acknowledged all over China.

===Reference===

Wei LI 韦利. (1998). 论语[the Analects of Confucius].Beijing: Foreign Language Teaching and Research Press 外语教学与研究出版社.

Robert Schuller. （2016）. 罗伯特舒乐.人类危机与文明对话-许嘉璐与罗伯特舒乐的高端对话[Human Crisis and Dialogue of Civilization--A High-level Dialogue between Xu Jialu and Robert Schuller]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.

Xu Keqian 徐克谦. (2005）.仁义礼智信与当代道德文明建设[Five Constant Virtues and the Construction of Contemporary Moral Civilization]. Learning Forum 学习论坛

Zhu Xi 朱熹. (2005). 四书集注[Notes on Four Book]. Jiang Su: Phoenix Publishing House 凤凰出版社.

Zi Si 子思. (2007). 中庸[The Doctrine of the Mean]. Harbin: Harbin Publishing House 哈尔滨出版社.

Zhang Qizhi 张岂之. (2016).中国文化的会通精神[The Communicative Spirit of Chinese Culture ]. Chang Chun : Chang Chun Press 长春出版社.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 03:45, 21 December 2020 (UTC)

==Cheongsam - Yang Yue 杨悦 - Student No.202070080617 英语笔译==
===Cheongsam===

Cheongsam, the traditional costume of Chinese women in China and around the world, is known as the quintessence of China and female national apparel. It is one of the most splendid phenomena and forms in China's long dress culture. (Mao Jing 2009, 1)

====Brief Introduction====

Cheongsam is a classic dress with the most traditional Chinese characteristics, the most national representatives and the best expression of the beauty of Oriental female. When people think of cheongsam, the first thing that comes to mind is its chic paintings and rich poetic sentiment, which show the virtuous, elegant and gentle temperament of Chinese women in the exquisite curves, and show the unique implicit beauty of Oriental women with flowing lines. After more than 300 years of evolution, it still enjoys high reputation such as "Oriental Wonders", "Chinese Dress", and "The Best of Clothing". This has witnessed that “the classic represents eternity”. (Tong Zhijun 2007, 17).

In 1984, cheongsam was designated by the State Council as a dress for female diplomats. On May 23, 2011, approved by the State Council, the handmade craftsmanship of cheongsam became one of the third batch of national intangible cultural heritage. In November 2014, the Chinese government chose cheongsam as the dress of the leaders’ wives of the participating countries at the 22nd APEC meeting in Beijing. (Mao Jing 2009, 1)

====The History of Cheongsam====

Cheongsam is a national costume originated from Manchu women in the mid-16th century. In the early days, the cheongsam worn by banner people was generally not over their feet. Only when Manchu women get married, do they wear cheongsam as a wedding dress. Because all the Manchu noble women wear high-heeled wooden clogs, their cheongsam is so long that it can cover their feet. (Mao Jing 2009, 2)

After the Emperor Shunzhi of the Qing Dynasty entered the Shanhai Pass and moved to Beijing, cheongsam gained its popularity in the Central Plains. After the Qing Dynasty unified China and also the national clothing, men wear long gowns and mandarins, and women wear cheongsam. Later, with the integration and unity of Manchu and Han life, cheongsam was gradually absorbed by Han women and continued to be innovated. (Mao Jing 2009, 2)

Following the 1911 Revolution, cheongsam quickly gained its popularity throughout the country. From the late 1920s to the early 1930s, influenced by the short gown that was popular in western women’ s clothing, the cheongsam also became shorter. The length of the cheongsam was just over the knee, the cuffs were narrowed, and the piping became narrower. In the mid-1930s, the cheongsam gradually grew longer and even shuffled to the floor. The slits on both sides were very high, and the waist was lined with a waistcoat. The waist became extremely narrow, and even fitted, showing the curve of the female . (Chen Juanjuan, Huang Nengyu 2006, 386-387).

In the 1940s, the cheongsam was shortened again, and the sleeves were even all canceled. It almost returned to the long vest era two hundred years ago. The only difference was that it was lighter and fitter and became streamlined. Beginning in the 1950s, in order to adapt to the needs of modern life, costume designers began to continuously improve Chinese cheongsam so that this national costume not only has oriental characteristics, but also conforms to the fashion trends of the world. And in this period, cheongsam, which is elegant and virtuous, has been internationally recognized. (Hongxia Liu 2009, 1)

In the past 20 years, the improved cheongsam we see has been greatly influenced by international fashion trends. For a time, various forms of the cheongsam such as low collar, sleeveless, tight waist, high slit, ultra short, topless, nude back, etc. have changed a lot. Sequins, embroidery, fur trim, fabric printing and other craft decorations shine brightly. The colors are gorgeous, jumping, thick, and soft, boldly breaking through the old pattern of cheongsam. (Wang Di 2014, 67)

The improved cheongsam not only retains the original features, but also incorporates the sense of innovation. Since then, the traditional Manchu dress has been injected into the blood of the times and given the vitality of youth. Cheongsam and fashion co-exist together, expressing a new feeling from a new perspective and a new concept. (Wang Di 2014, 67)

====The Significance of Cheongsam====

Through the baptism of history, the cheongsam has become the most representative symbol of the elegance of Oriental women. When it comes to Oriental female, people often think of a graceful woman wearing cheongsam. The silk commonly used in cheongsam makes the feminine figure more incisive and vivid. The oriental charm and elegance of the cheongsam is astounding. Nowadays, cheongsam has become a symbol of beauty beyond ordinary clothes in general sense, becoming an immortal classic. (Mao Jing 2009, 3)

Cheongsam has been leading the pace of tradition and fashion in the course of hundreds of years of evolution, inheriting Chinese civilization, showing the self-cultivation and virtues of the wearer, and becoming a model of traditional Chinese culture in modern times. We have reason to believe that cheongsam can connect the past and the future, life and art, and brings Chinese people’ s understanding and interpretation of beauty to the world. (Mao Jing 2009, 3)

In conclusion, after modern processing and improvement, the cheongsam has become an elegant dress that is loved by the public. Its cultural and artistic value of is worthy of being studied. China’s five thousand years of splendid history and culture retain its vitality of youth on the cheongsam, and the traditional costume culture is still shining on the modern stage. This provides the possibility for the study of the history of clothing development and adds infinite charm for the spread and promotion of Chinese culture. (Tong Zhijun 2007, 137)

Nowadays, cheongsam is a Chinese female dress with traditional charm and modern vitality. Its past is unpredictable, but its present keeps pace with the times. Whether in films, television works or in wedding photography, cheongsam shows fresh vitality. (Tong Zhijun 2007, 137)

===References===

*Tong Zhijun 佟志军. (2007). 旗袍与女性 [Cheongsam and Women]. 北京：服装设计师 Beijing: Fashion Designer (1) 137.
*Chen Juanjuan, Huang Nengfu 陈娟娟, 黄能馥. (2006). 中国服装史 [History of Chinese Clothing]. Beijing: China Tourism Press 北京：中国旅游出版社 386-387.
*Mao Jing 毛敬. (2009). 中国旗袍及其向世界的传播 [The Chinese Cheongsam and Its Spread to the World]. 淮北职业技术学院学报 Journal of Huaibei Vocational and Technical College 34.
*Wang Di 王迪. (2014). 中国旗袍的历史演变 [The Historical Evolution of Chinese Cheongsam]. 美术教育研究 Research on Art Education 67.
*Hongxia Liu. The Cheongsam—the Treasure of Chinese National Apparel. 2009, 1(1)

===Terms and Expressions===

*Cheongsam 旗袍
*the quintessence of China 国粹
*national intangible cultural heritage 非物质文化遗产
*Manchu 满族
*long gowns and mandarins 长袍马褂
*the improved cheongsam 改良旗袍
*sleeveless 无袖
*fur trim 毛皮饰边
*Sequins 亮片
*fabric printing 织物印花
*embroidery 刺绣
*topless 袒胸
*nude back 裸背
*low collar 低领
*high slit 高开叉

===Questions===

1.When did the cheongsam originate from?

2. When did the cheongsam become popular in central China?

3. When did the cheongsam become popular throughout the country?

4.What is the features of the cheongsam from the late 1920s to the early 1930s?

5. What is the features of the cheongsam in the 1940s?

6. In the past 20 years, influenced by international fashion trends, what changes have taken place in cheongsam?

===Answers===

1.Cheongsam is a national costume originated from Manchu women in the mid-16th century.

2.After the Emperor Shunzhi of the Qing Dynasty entered the Shanhai Pass and moved to Beijing, cheongsam became popular in the Central Plains.

3.Following the 1911 Revolution, cheongsam quickly gained its popularity throughout the country.

4.From the late 1920s to the early 1930s, influenced by the short gown that was popular in western women's clothing, the cheongsam also became shorter. The length of the cheongsam was just over the knee, the cuffs were narrowed, and the piping became narrower.

5.In the 1940s, the cheongsam was shortened again, and the sleeves were so short that they were all canceled. It almost returned to the long vest era two hundred years ago.

6. For a time, various forms such as low collar, sleeveless, tight waist, high slit, ultra short, topless, nude back, etc. have changed a lot. Sequins, embroidery, fur trim, fabric printing and other craft decorations shine brightly.
--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 07:56, 21 December 2020 (UTC)

==The Folding Screen--Yang Ziling 杨子泠 202070080647 MTI英语口译==

====1.1 Introduction ====

Folding screens are a kind of flexible furniture and composed of several frames or panels linked together. They serve practical and decorative functions, being made from various materials and in many styles. Folding screens originated in ancient China. Written references date from around the 4th century BC, during the Han dynasty, but they were probably used earlier. (Milica Sterjova 2017, website)

====1.2 History and Technology====

The earliest surviving folding screens are Chinese. Existing Chinese screens, some of which are
paper, date from the eighth century AD, although literary references date as far back as the Zhou
dynasty (fourth to third century BC), and depictions of screens occur in Han dynasty tombs (200
BC-200 AD). However, it was in Japan that the screen form evolved into its most celebrated
variations. (Dianne Lee van der Reyden website, 2)

Chinese screens which were made originally as partitions painted with beautiful and serious works, were not designed to be moved around very often. (Emmaantiques, 2014, website)
They were initially made of wooden panels and decorated with fine art. Many themes are painted on the panels, such as mythology, scenes of palace life, and nature, making them more of a piece of furniture. It is often associated with intrigue and romance in Chinese literature, for example, a young lady in love could take a curious peek hidden from behind a folding screen. Examples of such romantic occasions can be seen in the classical novel Dream of the Red Camber of Cao Xueqin. The folding screen is also an important element in Tang literature. Li He, the Tang Poet, wrote the "Song of the Screen" (屏风曲), in which he described a folding screen of a newly-wed couple. The folding screen surrounded the bed of the young couple, and its twelve panels were adorned with butterflies alighted on China pink flowers (an allusion to lovers), and had silver hinges resembling glass coins. (Mazurkewich, Karen, 2006) There are heavy wooden structures with other decorations pulled through holes near the edges of the panels. The frame was prominent, and the image development was frequently vertical and confined to the individual panels, creating a pleasing pattern. (Dianne Lee van der Reyden website,2)

They were made flexible when an ingenious system of strong paper hinges were integrated in the panel construction, which made folding patterns reversible. The panels were brought closer by the paper hinges, which reduce the need for frames separating panels and allow a horizontal orientation of the picture plane. This provides creative approaches to the various spatial relationships of the panels. (Dianne Lee van der Reyden website, 2)

====1.3 Uses====

Although originated in China, folding screens are now used in many interior designs around the world. People first used them also in some practical ways, such as preventing draft in homes, as shown by the two characters in their name: ping(屏 "screen; blocking") and feng (风 "breeze, wind"). People would also use them to bestow a sense of privacy; in old times, they would often be placed in rooms serving as dressing screens for ladies. (Cooper Dan 1999, 30-36)

Folding screens can be put up as to divide a large space and change the configuration of the room. They could also be used as a false way set up at the entrance of a room to create a desirable atmosphere by hiding certain features like doors to a kitchen. Now that many folding screens are design with fine art, they serve the decorative purposes well in the interior features of a home.(Cooper Dan 1999, 30-36)

====1.4 Spread====

After becoming popular in China, folding screens spread to other parts of the world, including East Asia and later Europe. In the 7th century, they appeared in Japan for the first time during the reign of Emperor Tenmu, and they were presented to the Korean kingdom of Silla as a gift. By the 8th century, they had gained such popularity in Japan that Japanese artists began to make their own, very much influenced by Chinese design. Different sizes served different purposes: small 2-fold screens were often used for the tea ceremony and a larger 8-fold screen could be used as backdrops for dances. Japanese screens were lighter, often made of silk or even paper. Painted screens were a major component of traditional Japanese architecture, and their decoration reflected the leading schools and movements in Japanese art. They served many purposes, being used for tea ceremonies, as backgrounds for concerts or dances, and as enclosures for Buddhist rites. (David Leopold 2008,9)

Folding screens from the Far East spread to Europe at the very beginning of the 17th century. Owing to their practical functions and the distinguished decoration, they drew a lot of attention. The famous designer Coco Chanel was totally enchanted by Coromandel screens. She was well-known for her collection of Chinese folding screens. She possessed 32 folding screens, 8 of which were preserved in her apartment in Paris. She once stated:   “I’ve loved Chinese screens since I was eighteen years old. I nearly fainted with joy when, entering a Chinese shop, I saw a Coromandel for the first time. Screens were the first thing I bought.“ (Delay Claude 1983, 12)

By the early 18th century, European craftsmen had already begun making folding screens on their own. They made folding screens in less expensive painted versions instead using lacquer techniques. At that time, leather screens were fashionable, but their popularity didn't last long, only to be restored around 1860 during the reign of Napoleon III with the wave of Japonism that inspired a number of French artists. (Milica Sterjova 2017, website)

In the 20th century when new modern heating means were invented, the functions of the folding screen became mostly decorative.

====1.5 Expressions and Terms====

Dream of the Red Chamber 《红楼梦》

the Korean Kingdom of Silla 朝鲜新罗王国

Emperor Tenmu 天武天皇

====1.6 Questions====

1. When did folding screens first appear?

2. How are folding screens associated with romance in Chinese literature?

3. What functions do screens serve?

4. When did they spread to Europe?

5. How did European craftsmen make folding screens?

===1.7 Answers===

1. Literary references date as far back as the Zhou dynasty (fourth to third century BC).

2. For example, a young lady in love could take a curious peek hidden from behind a folding screen, as presented in the classical novel Dream of the Red Camber of Cao Xueqin.

3. Preventing draft in homes, bestowing a sense of privacy and serving as dressing screens for ladies.

4. Folding screens from the Far East spread to Europe at the very beginning of the 17th century.

5. They made folding screens in less expensive painted versions instead using lacquer techniques.

===1.8 References===

Handler, Sarah (2007). Austere luminosity of Chinese classical furniture. University of California Press. pp. 268–271, 275, 277.

Delay, Claude (1983). Chanel Solitaire. Gallimard. p. 12. Cited in: "COCO CHANEL'S APARTMENT THE COROMANDEL SCREENS". Chanel News. June 29, 2010.

Milica Sterjova (2017). A Brief history of folding screens. https://www.wallswithstories.com/uncategorized/a-brief-history-of-folding-screens.html

Emmaantiques (2014). Asian Furniture Online. https://asianfurnitureonline.wordpress.com/2014/11/19/history-of-asian-screens/

Dianne Lee van der Reyden, THE HISTORY, TECHNOLOGY, AND CARE OF FOLDING SCREENS: CASE STUDIES OF THE CONSERVATION TREATMENT OF WESTERN AND ORIENTAL SCREENS, https://www.si.edu/mci/downloads/RELACT/folding_screens.pdf

David Leopold, Unfolding the Screen (2008). https://www.solowey.com/wp/page/9/

Mazurkewich, Karen; Ong, A. Chester (2006). Chinese Furniture: A Guide to Collecting Antiques. Tuttle Publishing. pp. 144–146

Cooper, Dan (1999). "Folding Grandeur". Old House Interiors. 5 (1): 30–36.

==Yi Zichu 义子楚英语笔译 202070080618==
==='''Panda'''===--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 14:26, 2 November 2020 (UTC)

===='''1.The origin of giant pandas'''=====
The ancestor of the giant panda is Ailuaractos lufengensis. The scientific name of the giant panda is actually "cat bear", which means "a bear like a cat". The main branch of it continued to evolve in central and southern China. One species of Ailuaractos lufengensis appeared in the early Pleistocene about 3 million years ago, and it was smaller than the current panda.(Sun Chengjian,2006,163)

The ancestor of the giant panda is Ailuaractos. The scientific name of the giant panda is actually "cat bear", which means "a bear like a cat". The main branch of it continued to evolve in central and southern China. One species of Ailuaractos appeared in the early Pleistocene about 3 million years ago, and it was smaller than the current panda. (Sun Chengjian,2006,163)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

In this process, giant pandas have adapted to life in subtropical bamboo forests, gradually increasing in size and relying on bamboo for their livelihoods. In the middle and late Pleistocene, about 500,000-700,000 years ago, was the heyday of giant pandas. The Qinling giant panda has been identified as a subspecies of the giant panda. Fossils show that the ancestors of giant pandas appeared in the early 2 to 3 million years ago. (Sun Chengjian,2006,163)

In the process, giant pandas have adapted to life in subtropical bamboo forests, gradually increasing in size and relying on bamboo for their livelihoods. In the middle and late Pleistocene, about 500,000-700,000 years ago, was the heyday of giant pandas. The Qinling giant panda has been identified as a subspecies of the giant panda. Biological fossils show that the ancestors of giant pandas appeared in the early 2 to 3 million years ago. (Sun Chengjian,2006,163) --[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

The habitat of giant pandas once covered most of eastern and southern China, reaching Beijing in the north and southern Myanmar and northern Vietnam in the south. Giant panda fossils are usually found in temperate or subtropical forests at an altitude of 500 to 700 meters. Giant pandas have survived to now and maintain their original ancient characteristics. Therefore, they have a lot of scientific value and are known as "living fossils". China calls them "national treasures."(Sun Chengjian,2006,165)\

The habitat of giant pandas once covered most of east southern China, reaching Beijing in the north and southern Myanmar and northern Vietnam in the south. Giant panda fossils are usually found in temperate or subtropical forests at an altitude of 500 to 700 meters. Giant pandas have survived to now and maintain their original ancient characteristics. Therefore, they have a lot of scientific value and are known as "living fossils". China calls them "national treasures." (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

===='''2.Appearance features of giant pandas'''====
Giant pandas are fat like bears, plump and rich, round heads and short tails, with a head length of 1200-1800mm and a tail length of 100-120mm. The weight is 80-120kg, and its maximum weight can reach 180kg. The raised pandas are a little heavier, and the males are generally slightly larger than the females. The hair color of its head and body is distinct from black and white. (Sun Chengjian,2006,165)

Giant pandas are fat like bears, plump and rich, round heads and short tails, with a head length of 1200-1800mm and a tail length of 100-120mm. Its weight is 80-120kg, and its maximum can reach 180kg. The raised pandas are a little heavier, and the males are generally slightly larger than the females. The hair color of its head and body is distinct from black and white. (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

However, its black is not pure black, and white is not pure white. It is black with brown through and white with yellow. The individuals in the Qinling Mountains are relatively large, with rough body hair and slightly brownish abdominal hair. The black and white appearance is conducive to hiding in dense forest trees and snow-covered ground without being easily spotted by natural enemies. Relatively sharp claws, well-developed and powerful front and rear limbs help the giant panda to climb up tall trees quickly. (Sun Chengjian,2006,165)

However, it is not pure black, or pure white. It is black with brown through and white with yellow. The pandas in the Qinling Mountains are relatively large, with rough body hair and slightly brownish abdominal hair. The black and white appearance is conducive to hiding in dense forest trees and snow-covered ground without being easily spotted by natural enemies. Relatively sharp claws, well-developed and powerful front and rear limbs help the giant panda to climb up tall trees quickly. (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

The giant panda's skin is thick, which can be up to 10 mm at its thickest point. The skin thickness of different parts of the body is different. The back of the body is thicker than the ventral side, and the outside of the body is thicker than the inside of the body. The average thickness of the skin is about 5 mm, and it is white, elastic and tough. The vision of giant pandas is extremely underdeveloped. This is because giant pandas live in dense bamboo forests for a long time. The light is very dark and there are many obstacles, making their eyes very short and shallow. (Sun Chengjian,2006,165)

The giant panda's skin is thick, which can be up to 10 mm at its thickest point. The skin thickness of different parts of the body is different. The back of the body is thicker than the ventral side, and the outside of the body is thicker than the inside of the body. The average thickness of the skin is about 5 mm, and it is white, elastic and tough. The vision of giant pandas is extremely underdeveloped. This is because giant pandas live in dense bamboo forests for a long time. The light is very dark and there are many obstacles, making their eyes very short (Sun Chengjian,2006,166)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

In addition, because its pupils are split like cats, they can still do activities when night comes.Giant pandas live in the high mountains and deep valleys of the upper reaches of the Yangtze River in China, which are the windward side of the southeast monsoon. The climate is warm and humid, and their humidity is often above 80%. The giant pandas prefer humid environment. The 6 long and narrow areas where giant pandas live, including Minshan, Qionglai, Liangshan, Daxiangling, Xiaoxiangling and Qinling Mountains, spans 45 counties (cities) in the 3 provinces of Sichuan, Shaanxi and Gansu.(Sun Chengjian,2006,165)

In addition, because its pupils are split like cats, they can still do activities when night comes. Giant pandas live in the high mountains and deep valleys of the upper reaches of the Yangtze River in China, which are the windward side of the southeast monsoon. There is warm and humid, and their humidity is often above 80%. The giant pandas prefer humid environment. The 6 long and narrow areas where giant pandas live, including Minshan, Qionglai, Liangshan, Daxiangling, Xiaoxiangling and Qinling Mountains, spans 45 counties (cities) in the 3 provinces of Sichuan, Shaanxi and Gansu. (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

The land area of their habitats is more than 20,000 square kilometers, and the population of there is about 1,600, of which more than 80% are distributed in Sichuan.(Sun Chengjian,2006,165)

The land area of their habitats is more than 20,000 square kilometers, and the population is about 1,600, of which more than 80% are distributed in Sichuan. (Sun Chengjian,2006,167)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

===='''3.The diet features of giant pandas'''====
The recipes of giant pandas are very special, almost including all kinds of bamboo that can be found in high mountain areas. Giant pandas also occasionally eat meat (usually the carcasses of animals or sometimes of rhizomys). The unique dieting characteristics of the giant panda make it known as the "bamboo bear" by the locals. Giant pandas have gradually evolved to herbivore. As bamboo has a few nutrition that can only provide the basic nutrients needed for pandas’ survival, giant pandas eat up to 14 hours a day except for sleeping or some short-distance activities in the wild environment. A giant panda eats 12 to 38 kilograms of bamboo per day, which is close to 40% of its body weight. (Hu Jinzhi,1981,17)

The recipes of giant pandas are very special, almost including all kinds of bamboo that can be found in high mountain areas. Giant pandas also occasionally eat meat (usually the carcasses of animals or sometimes of rhizomys). The unique dieting characteristics of the giant panda make it known as "bamboo bear" by the locals. Giant pandas have gradually evolved to herbivore. As bamboo has a few nutrition that can only provide the basic nutrients needed for pandas’ survival, giant pandas eat up to 14 hours a day except for sleeping or some short-distance activities in the wild environment. A giant panda eats 12 to 38 kilograms of bamboo per day, which is close to 40% of its body weight. (Hu Jinzhi,1981,17)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

They like to eat the most nutritious and least cellulose-containing parts of bamboo, namely the tender stems, burgeons, and bamboo shoots. There are usually at least two types of bamboo in the giant panda habitat. When one kind of bamboo blooms and dies (bamboo periodically blooms and dies every 30 to 120 years), pandas can switch to other bamboos. However, the continued fragmentation of the habitat increases the possibility that there is only one kind of bamboo in the habitat. When this kind of bamboo becomes distinct, the giant pandas in this area will face the threat of starvation.(Hu Jinzhi,1981,20)

They like to eat the most nutritious and least cellulose-containing parts of bamboo, namely the tender stems, burgeons, and bamboo shoots. There are usually at least two types of bamboo in the giant panda habitat. When one kind of bamboo blooms and dies (bamboo periodically blooms and dies every 30 to 120 years), pandas can choose other bamboos. However, the continued fragmentation of the habitat increases the possibility that there is only one kind of bamboo. When this kind of bamboo becomes distinct, the giant pandas in this area will face the threat of starvation. (Hu Jinzhi,1981,20)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

====='''Terms and expressions'''====
Ailuaractos lufengensis 始熊猫

Pleistocene 更新世

rhizomys 竹鼠

cellulose 纤维素

burgeons 嫩枝

===='''Questions'''====
1.What's the ancestor of giant pandas?

2.What are the features of giant pandas' skin?

3.Do giant pandas like hot environment?

4.What part of bamboo do giant panda eat?

===References===
[1]Yan Weiran,Tang Maolin,Chen Zeyuan,Chen Peng,Zhao Qijun,Que Pinjia,Wu Kongju,Hou Rong,Zhang Zhihe. Automatically predicting giant panda mating success based on acoustic features[J]. Global Ecology and Conservation,2020,24.

[2]丛丽,吴必虎.基于网络文本分析的野生动物旅游体验研究——以成都大熊猫繁育研究基地为例[J].北京大学学报(自然科学版),2014,50(06):1087-1094.

[3]雍严格,王宽武,汪铁军.佛坪大熊猫的移动习性[J].兽类学报,1994(01):9-14.

[4]胡锦矗.大熊猫的食性研究[J].南充师院学报(自然科学版),1981(03):17-22.

[5]孙承骞,张哲邻,金学林.秦岭大熊猫局域种群的划分及数量分布[J].陕西师范大学学报(自然科学版),2006(S1):163-167.

==You Yuting 游雨婷==
==Legalism - You Yuting 游雨婷 - Student No.202070080619 英语笔译==
====Legalism====

Legalism is a prominent school of thought in Chinese history that advocates the rule of law as its core and regards enriching the country and strengthening the army as its mission. The legalists are not pure theorists, but active actionists, whose thoughts also focus on the practical effects of law. It also puts forward the idea and concept of governing the country by law which still has far-reaching influence. A review based on the evolution of theories of legal relations showed that the study of the general theory of law in China is closely associated to the historical rate of progress of the practice of rule of law in China.(Lei Lei,Chris 2020,81).

====1.Representative figures====

Legalism developed relatively slowly, but took shape very early. The earliest could be traced back to the Xia and Shang rulers, and it became mature in the Warring-States Period. Through the unremitting efforts made by Guan Zhong, Zi Chan, Li Kui, Wu Qi, Shang Yang, and others, It gradually became a school of thought. At the end of the Warring-States Period, Han Fei summarized their theories, which was the greatest achievement of legalists. Shang Yang and Han Fei are two remarkable figures of this school, and they dedicated their life to promoting and practicing the ideas of legalism. (Wang Jian 2001,51).

Shang Yang, formerly known as Wei Yang, also known as Gongsun Yang, was born in the State of Wei during the Warring States Period. He put forward three reform plans, namely "the way of emperor", "the way of king" and "the overbearing way". Shang Yang talked about the overbearing policy of reform and won the heart of Duke Xiao. Shang Yang entered the stage to display his ideal. The main contents of Shang Yang's reform are as follows: establishing a new merit-based military system; offering reward for ploughing and weaving to ensure sufficient grain and grass for the army of Qin. (Wang Jian 2001,51).

After Shang Yang's reform, The State of Qin quickly became a powerful state, which laid the foundation for later generations to unify the whole country and further enriched the thought of legalism. (Wang Jian 2001,51).

As for Han Fei, Han Fei (280 B. C. -- 233 B. C.), from Han state of the Warring States period, was a master in the legalist school. Han Feizi is the originator of the Legalism, his philosophy together significantly influenced by the “legalist ancestors”（Tingchun Ngai 2019,7）. Han Fei's thought had a strong tendency of practical rationality, and he treated the practical effect as the criterion for judging everything.(Wang Jian 2001,52).

Han Fei developed a systematic legalist thought by combining “Shi” of Shen Dao, the "Shu" of Shen Buhai, and the "Fa" of Shang Yang. Han Fei was nobleman in Han State, but his thoughts were not adopted by the king of Han State at that time. Although Han Fei failed to realize his ambition during his lifetime, he further developed his legalist thoughts and theories, which provided a powerful theoretical basis for the first emperor of Qin to unify the whole country.(Wang Jian 2001,52)

====2.Values====

Legalism in pre-Qin period, which attached great attention to law and its compulsory function among other school of thoughts. Representatives of this school discussed the origin, nature, function of law, and the relationship between law and social economy, the demand of The times, state power, population and human nature. And it turned out to be a great success. There are several beliefs that the legalist school hold and advocate .(Guo Yanting 2014,71).

First, The legalists believe that people have the nature of "being fond of the beneficial instead of the harmful" . Guan Zhong once said that a businessman who could travel thousands of miles day and night would not feel far because of the benefits that lies ahead. With this same idea in mind, Shang Yang came to the conclusion that "people can govern one's likes and dislikes in life." Legalist school, therefore, combined the humanity with the management of the country, introducing reward and punishment to drive its people to work and fight hard for their country.(Guo Yanting 2014,71).

Second, the legalists opposed the conservative idea of restoring ancient ways and advocated vigorous reform. They believe that history moves forward and that all laws and institutions should be developed along with the development of history. Shang Yang clearly put forward the proposition of "Don’t follow the practices of the ancient and the present". Han Fei, on the other hand, took Shang Yang's idea a step further by proposing that "The way of running the country stays the same as the time changes; the country will be in chaos", and dismissing old-fashioned Confucian as a fool who waits for nothing.(Guo Yanting 2014,72).

Third, The combination of Fa, Shi, Shu. Shang Yang, Shen Dao and Shen Buhai respectively advocated Fa, Shi, Shu with its own characteristics. When Han Fei, the master of legalist school, put forward the idea of combining the three closely. (Guo Yanting 2014,72).

In Han Fei’s opinion, Fa refers to the improvement of the legal system, Shi refers to the power of the monarch, the sole military and political power, Shu refers to the control over the ministers, the control of political power, the implementation of laws and strategies and means. "Shi" lays the basis for ruling the masses and gaining advantages, similar to "management authority" in modern management(Dai Shu 2002,8). The main purpose is to avoid insurrection and maintain the power of the monarch. The three ideas proposed by the legalism still exert great impact on the improvement of the modern law.(Guo Yanting 2014,72).

====3.Works====

Legalism has produced many great works such as Guan Zi, Shang Jun Shu, Shenko, Shen Zi, and Han Fei Zi. Take Han Fei Zi as an example, Han Fei inherited and summarized the thoughts and practices of legalists in the Warring States Period and put forward the theory of absolute monarchy and centralization. In this book, Han Fei pointed out that the sovereign must be powerful to govern the country. Feudal officials with rich experiences should be selected to replace the hereditary slave owners and nobles, so that the power of the state could solely lie in the hands of the sovereign. (Dai Shu 2002,8).

It is worth mentioning that in this book Han Fei Zi, it also recorded a large number of popular fable stories, such as "self-contradiction", "wait for windfalls", "safety in numbers", "sense comes with age" and so on. These fables contain deep philosophy, and inspire people through the perfect combination of ideas and artistry.(Dai Shu 2002,12).

====References====

*Lei Lei,Chris.The General Theory of Law and Its Development in China[J].Contemporary Social Sciences,2020(05):81-107.
*Tingchun Ngai.The Debates on Human Nature and Political Governance in Ancient China: Mencius, Xunzi and Han Feizi. Open Access Library Journal,2019, 6(4):1-14.
*Guo Yanting. 郭艳婷.(2014). 浅论法家思想及其现实意义.[On Legalist Thought and Its Practical Significance][J].湖北广播电视大学学报[Journal of Hubei Radio and Television University],34(02):71-72.
*Dai Shu. 戴黍.(2002). 以“势”为中心的制度设计——韩非治国思想的现代解读.[The System Design with "Shi" as the Center -- the Modern Interpretation of Han Fei's Thoughts on Governing A Country][J].华南师范大学学报[Journal of South China Normal University],(03):7-12.
*Wang Jian. 王健(2001). 法家事功思想初探——以《商君书》、《韩非子》为中心.[A Preliminary Study on the Thought of Legalist Achievement -- Centering on Shang Jun Shu and Han Feizi][J].史学月刊[The Historical Journal],(06):51-56.

====Terms and Expressions====

1.Legalism法家

2.the way of emperor帝道

3.the way of king王道

4.the overbearing way 霸道

5.being fond of the beneficial instead of the harmful 好利恶害

6.self-contradiction自相矛盾

7.wait for windfalls守株待兔

8.safety in numbers滥竽充数

9.sense comes with age老马识途

====Questions====

1.When did legalism become mature?

2.Do you know the representative figures of legalism?

3.Can you make a list of values proposed by legalism?

4.what does "being fond of the beneficial instead of the harmful" mean? Can you make some examples?

5.Does the members of legalism object the thoughts of Confucian school?

6.What are the classical works of legalism?

7.What are the popular fable stories contained in the book of Han Fei?

===Answers===

1.It became mature in the Warring-States Period.

2.Guan Zhong, Zi Chan, Li Kui, Wu Qi, Shang Yang.

3.First, The legalists believe that people have the nature of "being fond of the beneficial instead of the harmful" . Second, the legalists opposed the conservative idea of restoring ancient ways and advocated vigorous reform.Third, The combination of Fa(law), Shi(power), Shu(art). Shang Yang, Shen Dao and Shen Buhai respectively advocated Fa, Shi, Shu with its own characteristics.

4.Guan Zhong once said that a businessman who could travel thousands of miles day and night would not feel far because the attraction of the benefits. Fishermen, who was not afraid of danger and sailed against the current, not caring about a hundred miles away, pursued the benefits of fishing.

5.Yes.

6.Guan Zi, Shang Jun Shu, Shenko, Shen Zi, and Han Fei Zi. Take Han Fei Zi.

7."self-contradiction", "wait for windfalls", "safety in numbers", "sense comes with age" .
--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:12, 21 December 2020 (UTC)

20201215 cultexam 3

2020-12-21T13:20:25Z

Yang Hairong: /* Terms and Expressions */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please 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.
*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: Huadong 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.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Historical Figures, The Four Talented Women of Ancient China- Shi Haiyao 石海瑶 202070080605 英语笔译==
The Four Talented Women of Ancient China
(中国古代四大才女)

===Cai Wenji 蔡文姬===

Cai Wenji, also known as Cai Yan, was a female writer in the Eastern Han Dynasty. As the daughter of the great writer Cai Yong, Cai Wenji had received good education since childhood and got high attainments in terms of calligraphy, music and literature. Although her works are not in plenty, she is recognized as a talented woman in the late Eastern Han Dynasty.Her father, Cai Yong, was a master of calligraphy, and wenji passed it on from her father. Unfortunately, only one piece of calligraphy written by Wenji has been kept so far, and it only has 14 characters, which is a great loss in the history of Chinese calligraphy.(Wu Chanshen,2011,45)

About Wenji’s gift in Guqin, Fan Ye described her in ''The History of the Later Han Dynasty'' as "knowledgeable, talented , and excellent in melody." ''The Three Character Classic'' directly mentioned: "Cai Wenji is adept in distinguishing the sound of different qin." It is said that ''Eighteen Songs of a Nomad Flute Song'' was written by her. This famous Chinese guqin song is one of the ten famous ancient Chinese songs. " ''Eighteen Songs of a Nomad Flute Song'' " includes 18 chapters and 1,297 words in total, reflecting the theme of "Wenji returns to Han".''Eighteen Songs of a Nomad Flute Song'' tells the story of Cai Wenji's sufferings in her whole life in a touching tone. It reflects the deep disaster brought by the war, and expresses the strong feeling of missing the motherland and the countryside and of the unbearable family separation. (Wu Chanshen,2011,48)

After Cai Wenji returned to the Han Dynasty, she wrote two ''Indignant Poems'', one of which was five-character verse and another was Sao Style. The poem of five-character verse, which focuses on "sadness and disharmony", is a narrative poem based on feelings and facts, it is the first autobiographical narrative poem in the history of Chinese poetry. ''Indignant Poems'' with Sao style emphasizes on expressing emotions, descriptions of diversified natural landscapes express Wenji's sadness of leaving her hometown.In these depiction of scenery and people, Wenji has enlarged the difference between them and her hometown, so as to describe her grief and anger.(Wu Chanshen,2011,84)

Her life, immersed in the chaotic life, suffering all the trick of fates. She never gave in, even when the chaos caused by war crushed her dignity and pride. Her life force like a weed , and it is this tenacity that makes her become a miracle in troubled times.

===Zhuo Wenjun 卓文君===
Zhuo Wenjun was born beautiful, gifted and clever as well as adept at poetry and lyrics. The talented but poor Sima Xiangru and Zhuo Wenjun fell in love at first sight. Wenjun broke through the secular concept, regardless of family's obstruction, leaving behind the life of luxury and pursuing love resolutely.

With the support of Zhuo Wenjun, Sima Xiangru was able to make his way to the top, but he shifted his love to another person and had the intention of taking a concubine.In ancient China,a husband can legally marry many wife.Instead of being submissive like a cowardly woman, or being hurt and losing her mind, she wrote poetry to warn her husband and to redeem his love. Her Poem of ''Discontent and Letter of Farewell'' persuaded her husband to change his mind. After reading, her husband retrieved his original intention. Zhuo Wenjun's bold pursuit of love was a deviant act in feudal society(Lin Jing,2016:41).

In addition, Zhuo Wenjun's experience set an example of free love for later generations. Her poem of ''Bai Tou Yin'' is called a classic of love poetry.

The following is the original poem:

白头吟

皑如山上雪, 皎如云间月。

闻君有两意, 故来相决绝。

今日斗酒会, 明旦沟水头;

躞蹀御沟上, 沟水东西流。

愿得一心人，白头不相离。

竹竿何袅袅，鱼尾何簁簁。

男儿重意气，何用钱刀为？

The translated version by Xu Yuanchong is as follows:

Bai Tou Yin

Our love like snow on mountains proud,

Was bright like the moonmid the cloud.

I’m told you’ll leave the old for new;

I come to say goodbye to you.

We drink a cup of wine today;

Tomorrow we’ll go each our way.

By royal moat we’ll walk and go,

Like waters which east or west flow.

Why should I fell so sad and drear,

And like a bride shed tear on tear?

If I’d wed one with single heart,

Even white-haired, we would not part.

Long,long may be your fishing lines,

You cannot catch fishtail while shines.

If your love were constant and true,

Why so much money to go through? (Xu Yuanchong,2012:17)

===Li Qingzhao 李清照===
Li Qingzhao, also known as Yi An Jushi, was a female lyricist in Song dynasty as well as representative of graceful and restrained song lyrics. She was considered "the first talented woman through the ages". Her father, Li Gefei collected numerous books, which laid her literary foundation when she was young. After marrying, she and her husband, Zhao Mingcheng, devoted to collecting and arranging calligraphy, painting, gold and stones. When the Jin soldiers entered the Central Plains, she fled to the south with loneliness. In the early part of his works, she mostly wrote about his leisurely life, but in the later part, she mostly lamented his life and became sentimental. ''Yi An Jushi Anthology'' and ''Yi An Lyrics'' have been idle, thus, later people compile her text into ''Shuyu Lyrics''. Her lyrics emphasize the concordance, advocating elegance, opposed to the method of making words for poetry. Her poem, not many of which have survived, is partly sentimental, and partly generous, but different from the style of its lyrics.(Song Shidao,2011,18）

As a female writer in the history of ancient Chinese literature, Li Qingzhao's patriotic thought embodied in his works has positive social significance. From the historical perspective, Li Qingzhao's patriotic thought represents the ancient Chinese women's pursuit of equality between men and women, concern for state affairs and love for the motherland, so that later generations can get to know the emotional world of ancient Chinese women. From a realistic perspective, Li Qingzhao's patriotic thoughts can make people feel the important role of women in national unity and social progress.

===Ban Zhao 班昭===
Ban Zhao is a brilliant woman of great learning and virtue,she is a historian, a writer and a politician.Ban Zhao's achievements are highlighted in her research in history, continuing to complete the compilation of the Book of Han after the death of his father, Ban Biao, and his brother, Ban Gu.''The Book of Han'' is a historical masterpiece,enjoying a high reputation of the first chronicle of China's dynastic history(Jin Lulu,2009:122).

Ban Zhao came from a Confucian family, and his father, Ban Biao, was a well-known scholar at that time. Influenced by his father, Ban Zhao was very knowledgeable and talented.At the age of fourteen, Ban Zhao married Cao Shishu. After her husband died in his early years, Ban Zhaog obeyed the rules of women, behaved in with etiquette, and had very good conduct. Compared with Zhuo Wenjun, Ban Zhao's view of love is full of bondage without personal freedom(Jin Lulu,2009:105).

In her later years, Ban Zhao suffered from illness. When her daughters were just about to get married, Ban Zhao was worried that they would humiliate the clansman if they did not know women's etiquette. so she composed seven chapters of ''The Commandments for Women'' in her spare time,which,then, spread widely among the people.The concepts advocated by Ban Zhao in the book became the code of conduct for ancient Chinese women.This book confined women's thoughts and freedoms, but it also served as a guide for women's behavior at the time.

===Terms and Expressions===
Cai Wenj 蔡文姬

Cai Yong 蔡邕

Fan Ye 范晔

''The History of the Later Han Dynasty'' 《后汉书》

''Three Character Classic'' 《三字经》

''Eighteen Songs of a Nomad Flute Song'' 《胡笳十八拍》

''Indignant Poems'' 《悲愤诗》

''five-character verse'' 五言体

Sao style 骚体

autobiographical narrative poem 自传体长篇叙事诗

Li Qingzhao 李清照

''Yi An Jushi Anthology''《易安居士文集》

''Yi An Lyrics''《易安词》

''Shuyu Lyrics''《漱玉词》

Zhuo Wenjun 卓文君

''Poem of Discontent''《怨郎诗》

''Letter of Farewell''《诀别书》

''Bai Tou Yin'' 《白头吟》

''The Book of Han'' 《汉书》

''The Commandments for Women''《女诫》

===References===
[1]金璐璐.班昭及其著述研究[D].首都师范大学.2009

[2]林菁.最是人间留不住[M].北京：民主与建设出版社,2016

[3]宋师道.四大才女之李清照传[M].北京：中国华侨出版社,2011

[4]武昌盛.四大才女之蔡文姬传[M].北京：中国华侨出版社,2011

[5]许渊冲.许渊冲经典英译汉魏六朝诗[M].北京：海豚出版社,2017:17

[6]赵明哲.四大才女之卓文君传[M].北京：中国华侨出版社,2011

===Questions===
1. Who are the four talented women of ancient China?

2. Do you know any representative works written by Cai Wenji?

3. Who is Zhuo Wenjun's husband?

4. What did ZhuoWenjun do to save her marriage?

5. Who is considered "the first talented woman through the ages"?

6. Who is the writer of ''The Commandments for Women''?

7. What are the influences about ''The Commandments for Women''?

===Answers===
1. They are Cai Wenji, Zhuo Wenjun, Li Qingzhao and BanZhao.

2. ''Eighteen Songs of a Nomad Flute Song'' and ''Indignant Poems'' .

3. Sima Xiangru.

4. She wrote ''Poem of Discontent'' and ''Letter of Farewell'' to save her marriage.

5. Li Qigzhao.

6. Ban Zhao.

7. This book confined women's thoughts and freedoms, but it also served as a guide for women's behavior at the time.

==Habits, Ways of Contacting - Si Yu 司妤 Student No.202070080606 MTI笔译==

Ancient and Contemporary Ways of Contacting--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 13:27, 22 November 2020 (UTC)

===Ancient and Contemporary Ways of Contacting===

====1.Pigeon post====
Pigeon post is a method of communication among ancient people, where letters are tied to the feet of pigeons and delivered to the person who wants to deliver them. In movies, we see people in western countries using crows to deliver letters, but in China, crows are seen as an inauspicious symbol, so people used to use pigeons to deliver letters. Pigeons can fly and fly faster, can recognize directions, have a good sense of the earth's magnetic field, and are particularly home-loving, so they are used to improve the speed of delivering mail.

In order to get the ideal pigeon, besides careful selection of good breed and scientific feeding management, the most important thing is training. All three complement each other and are indispensable. The basic principle of training is based on the biological characteristics and physiological features of pigeons and the principle of "conditioned reflex".

The fundamental purpose of training is to cultivate, exercise and improve the quality of pigeons, to bring into play their inherent biological characteristics and specialties, so that they have the basic elements and conditions to complete various communication and competition tasks. The basic content of training includes: basic training, flight training, competition training, adaptation training and application training. In principle, the training should start from young pigeons, from simple to complicated, from near to far, from day to night, from basic training to professional training, in short, from easy to difficult.(Baidu Encyclopedia 百度百科：Pigeon Post,飞鸽传书）

Historically, Genghis Khan used pigeon posts to keep in touch with distant parts of his empire, and even in ancient Greece, carrier pigeons were used to announce major events, such as the Olympic Games! In the 12th century, a fairly extensive network of homing pigeons was established between Syria and Baghdad. One of the last active carrier pigeon posts was in India, but the carrier pigeon was officially retired in 2002. During the war years, carrier pigeons also played a role that could not be ignored. They were able to cross enemy lines more easily than men on horseback. This earned them the name "war pigeon". People continued to use carrier pigeons to deliver letters even up to the time of World War II.
(scienceabc 19 Oct2019)

====2.Paper Letters====

The letter is a kind of application document that transmits information and exchanges thoughts and feelings to a specific object. “Letter" in the ancient text with the meaning of audio, news, in addition, "Letter" also has a trustworthy meaning of the words transmitted by the trustee, whether it is a message sent to a person, or through the letter carrier by letter to the specific object of language and writing to convey information and exchange of ideas and feelings of the letter, there must be three elements: one is the ability to express their thoughts and feelings; two is to have the appropriate writing tools; three is someone to deliver.

Written letters to relatives and friends, not only can convey their thoughts and feelings, but also can give the recipient of the letter a feeling of intimacy; technology continues to progress, and the emergence of the telephone, telegraph, postal tape, video tape, e-mail and other means of exchange of information, it can be expected e-mail will be used by more and more people, which has actually been proven.

With the development of society, the relationship between people and society is also being reconstructed. In addition to the traditional use of correspondence, i.e., official letters and private letters, a new development is the use of personal letters to government agencies, enterprises and institutions, famous scholars, and other individuals for personal needs, and the use of this type of correspondence is gradually increasing and noteworthy. We call them personal correspondence.(Baidu Encyclopedia 百度百科：Written Letters,手写信件）

====3.E-mails====

E-mail is a way of communication that provides information exchange by electronic means and is the most widely used service of the Internet. Through the network's e-mail system, users can contact network users in any corner of the world at a very low price (no matter where they send it, they only have to pay for the network fee) and in a very fast way (it can be sent to any specified destination in the world within a few seconds).

E-mail can be in many forms such as text, images, sound, etc. At the same time, users can get a large number of free news and feature emails and easily achieve information search. The existence of e-mail greatly facilitates communication and exchange between people and promotes the development of society.

However, there are many drawbacks in using e-mail. For example, there is a risk of information being stolen and there is a lot of spam on the network. To address these two problems, the following solutions are available. Firstly, from the perspective of network security of the website itself, using hardware firewall devices is definitely the best solution. Second, a full-time network administrator should be assigned to regularly maintain the website. Thirdly, when applying for mailbox, choose a more protective username, such as a combination of English and numbers, which can be less harassed by spam. Fourth, avoid disclosing your email address. Fifth, use good mail management and screening function. outlook express, foxmail and qqmail all have good mail management function, users can screen mails by setting rules of mail domain, mail subject, source, length and so on.

The format of an e-mail address consists of three parts. The first part "USER" represents the account number of user mailbox, which must be unique for the same mail receiving server; the second part "@" is the separator; the third part is the domain name of mail receiving server of user mailbox, to mark its location.

According to Internet Week, the world's first email was a short message sent by computer scientist Professor Leonard K. to his colleagues (in October 1969, I believe), which consisted of only two letters: "LO". Professor Leonard K. explained, "Back then I was trying to communicate with a computer at the University of California and another computer at the Stanford Research Center near San Francisco. What we were doing was logging in from one computer to the other. The way to log in at that time was to type L-O-G. So we typed L and asked, 'Do you get L?' The other side replied, 'Yes.' Before we received a confirmation that the other party had received G, the system went down. So the first online message was 'LO', which means 'Hello!'"

The first e-mail from China on September 20, 1987 was sent by Werner Zorn, the "Father of the German Internet," and Wang Yunfeng at the Institute of Applied Computer Technology in Beijing to the University of Karlsruhe in Germany, in English.
Original text: Across the Great Wall we can reach every corner in the world.

It means “跨越长城，走向世界。” This is the first email sent from China to the Global Science Network through the network connection between Beijing and the University of Karlsruhe in Germany.(Baidu Encyclopedia 百度百科：E-mail 电子邮件）

===References===
1.Baidu Encyclopedia 百度百科：Pigeon Post,飞鸽传书 https://baike.baidu.com/item/%E9%A3%9E%E9%B8%BD%E4%BC%A0%E4%B9%A6/7009129?fr=aladdin

2.Baidu Encyclopedia 百度百科：Written Letters,手写信件 https://baike.baidu.com/item/%E4%B9%A6%E4%BF%A1/1095625?fr=aladdin

3.Baidu Encyclopedia 百度百科：E-mail 电子邮件 https://baike.baidu.com/item/%E7%94%B5%E5%AD%90%E9%82%AE%E4%BB%B6/111106?fr=aladdin

4.scienceabc.How Did the Pigeon Post Work?. https://www.scienceabc.com/19 Oct2019.

===Terms and Expressions===

条件反射conditioned reflex

成吉思汗 Genghis Khan

信鸽驿站pigeon post station

战鸽war pigeon

分隔符separator

服务器域名domain name

互联网周刊Internet Week

===Questions===

1.What part of pigeon is the letter tied to when you want to send a letter?

2.What animals do the western countries use to send letters in spite of pigeons?

3.Why pigeons can be used to send letters?

4.What are the three elements in writing and sending letters?

5.When did the world's first emails appear?

6.How to translate China’s first e-mail “Across the Great Wall we can reach every corner in the world.”

===Answers===

1.Letters are tied to the feet of pigeons.

2.Ravens.

3.Pigeons can fly and fly faster, can recognize directions, have a good sense of the earth's magnetic field,
and are particularly home-loving, so they are used to improve the speed of delivering mail.

4.One is the ability to express their thoughts and feelings; two is to have the appropriate writing tools; three is someone to deliver.

5.October 1969

6.跨越长城，连接世界

==Landscape, Five Famous Mountains - Tan Yuanyuan 谭媛媛 202070080642 MTI==

Wuyue (五岳) is the general name of the five famous mountains in Chinese Han culture and is the product of the combination of ancient folk mountain god reverence, the concept of the Five Elements and imperial excursions and meditation in ancient times.
The “Five Sacred Mountains” (or Wuyue – 五岳), also referred to as the Five Great Mountains, began with Emperor Wu of the Han Dynasty (157 BC – 87 BC). “Yue” in Wuyue means high mountains. During the Wei, Jin and Southern and Northern Dynasties, Buddhism and Taoism began to build temples and carry out religious activities on the Five Sacred Mountains.
Emperors of ancient China would perform excursions to the mountain peaks and offer non-human sacrifices on a regular basis. This tradition became a ritual of the state according to Confucianism and was one of the must-do activities upon becoming emperor. This tradition continued right up until the fall of the last dynasty in 1911.
While the Five Great mountains are not denoted as sacred mountains of either Buddhism or Taoism, they do have a strong Taoist presence and many Buddhist temples.
The Five Great Mountains remain places of pilgrimage to this day with many young people having the goal of climbing all five and retracing the footsteps of the ancient emperors during Imperial China. The mountains are popular tourist attractions and are well developed featuring good tourist and transport services and several are national AAAAA rated scenic sites.(Anastasiia Ilina,2017)

===Mount Tai (泰山) – Wuyue East Great Mountain===
Province: Shandong | Height: 1,533 metres (5,030 ft)
Mount Tai, or Taishan, is a mountain of historical and cultural significance located north of the city of Tai’an, in Shandong province, China. Mount Tai has been a place of worship for at least 3,000 years and is a National AAAAA level tourist attraction.
Mount Tai has been worshipped since the time of Shang culture, roughly 3,000 years ago. Emperors of China would come to this mountain to meditate and offer sacrifices, similar to writers and artists who for centuries have visited Mount Tai for inspiration. Given its long-running history of worship, the mountain has been preserved with little alteration. It is also considered one of the most climbed mountains in China. The hike is not an easy one and may take most of the day to reach the top.(Rodney,2019)

Province: Shandong | Height: 1,533 metres (5,030 ft)
Mount Tai, or Taishan, is a mountain of historical and cultural significance located north of the city of Tai’an, in Shandong province, China. Mount Tai has been a place of worship for at least 3,000 years and is a National AAAAA level tourist attraction.
Mount Tai has been worshipped since the time of Shang culture, roughly 3,000 years ago. Emperors of China would come to this mountain to meditate and offer sacrifices, similar to writers and artists who for centuries have visited Mount Tai for inspiration. Given its long-running history of worship, the mountain has been preserved with little alteration. It is also considered one of the most climbed mountains in China. The hike is not an easy one and may take most of the day to reach the top.(Rodney,2019)

===Mount Heng (Hunan) (衡山) – Wuye South Great Mountain===
Province: Hunan | Height: 1,300 metres (4,265 ft)
Hengshan, is a mountain in southcentral China’s Hunan Province known as the southern mountain of the Five Great Mountains of China. Heng Shan is a mountain range 150 kilometres (93 mi) long with 72 peaks. The Huiyan Peak is the south end of the peaks, Yuelu Mountain in Changsha City is the north end, and the Zhurong Peak is the highest at 1,300 metres (4,300 ft) above sea level. At the foot of the mountain stands the largest temple in southern China, the Grand Temple of Mount Heng (Nanyue Damiao), which is the largest group of ancient buildings in Hunan Province.
Mount Heng in the south has a total of 72 peaks all of which are covered in trees, some of which are centuries-old. It is a beautiful spot to hike in the summer to admire the blooming greenery. Among the mountain peaks, a number of Buddhist temples are scattered. Of note is the Grand Temple of Mount Heng located at the foot of the mountain. The temple has survived many dynasties, with the earliest records of its existence dating back to the 8th century AD. Although the temple was severely damaged during the Cultural Revolution, it retains its religious significance to many believers.(Anastasiia Ilina,2017)

===Mount Hua (华山) – Wuyue West Great Mountain===
Province: Shaanxi | Height: 2,160 metres (7,087 ft)
Mount Hua, or Huashan, is located near the city of Huayin in Shaanxi province, about 120 kilometres (75 mi) east of Xi’an. It is the western mountain of the Five Great Mountains of China, and has a long history of religious significance. It is a National AAAAA level scenic spot featuring skywalk, temples, stone formations, caves, waterfall etc.Mount Hua is a popular destination for those staying in the ancient capital of Xi’an. The mountain complex consists of five major peaks, all of which are accessible for hiking. Nevertheless, a number of narrow paths and rugged steps make it a challenging climb, and at the south peak, the narrow plank walk running along the side of the mountain will challenge anybody’s relationship with heights. While walking along two narrow planks (attached with a harness to the edge of the mountain), you can move along the mountain. The trick is that it’s not a one-way path, and your balance will be tested when handling traffic coming from the other direction.(Rodney,2019)

===Mount Heng (Shanxi) (恒山) – Wuyue North Great Mountain===
Province: Shanxi | Height: 2,017 metres (6,617 ft)
Mount Heng, or Hengshan, is located in north-central China’s Shanxi Province, known as the northern mountain of the Five Great Mountains of China. Heng Shan in Shanxi Province is sometimes known as the Northern Heng Shan, and the one in Hunan Province as Southern Heng Shan. Both mountains have the same pronunciation in Chinese, and the Southern Heng Shan is also one of the Five Sacred Mountains.
Similar to many other revered mountains in China, Mount Heng holds meaning for the followers of the Taoist faith. The mountain may not be as popular as the other four, given its northern location, but that can be seen as advantage for a hiker seeking peace and isolation. Located at the foot of the mountain is the Hanging Monastery (Xuankong Si) running along the side of the mountain. The wooden structure is supported by dozens of wooden pillars, and despite its feeble appearance welcomes many visitors every year.(Rodney,2019)

===Mount Song (嵩山) – Wuyue Center Great Mountain===
Province: Henan | Height: 1,500 metres (4,921 ft)
Mount Song, or Songshan, is a mountain in central China’s Henan Province, along the southern bank of the Yellow River, that is known as the central mountain of the Five Great Mountains of China. It is a National AAAAA level tourist attraction and world heritage listed site. It is noted for its rich cultural heritage as the birthplace of Zen, the Taoist holy land, and the origin of kung fu.
One of China’s central mountains, Mount Song is located on the bank of the Yellow River, close to the ancient capital of Luoyang. Mount Song is best known as the location of the Shaolin Temple, the birthplace of Chan Buddhism, and thus retains religious significance to followers of both Buddhism and Taoism. The Shaolin Temple attracts curious visitors who want to observe the practitioners of martial arts demonstrating superb strength and coordination. The area around the mountain peaks has a number of other Taoist and Buddhist monasteries.(Anastasiia Ilina,2017)

===References===
Anastasiia Ilina. The Five Great Mountains of China. https://theculturetrip.com/asia/china/articles/the-five-great-mountains-of-china/.2017

Rodney. The Five Great Mountains of China (Wuyue 五岳). https://welcometochina.com.au/.2019

===Terms and Expressions===

Taoism 道教

cultural revolution 文化大革命

plank 厚木板

Hanging Monastery 悬空寺

Zen 禅宗

Shaolin Temple 少林寺

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

practitioners of martial arts 习武之人

monastery 寺庙

===Questions===

1. What does “Wuyue（五岳）” mean？

2. Do you know any famous Chinese lyrics related to Mount Tai?

3. What is the largest temple in southern China?

4. What are the features of Mount Hua?

5. What is the structure of the Hanging Monastery?

6. What is the famous site in Mount Song?

===Answers===

1.Wuyue (五岳) is the general name of the five famous mountains in Chinese Han culture and is the product of the combination of ancient folk mountain god reverence, the concept of the Five Elements and imperial excursions and meditation in ancient times.

2.会当凌绝顶，一览众山小。——杜甫

四月上泰山，石屏御道开。——李白

泰山不要欺毫末，颜子无心羡老彭。——白居易

3. Grand Temple of Mount Heng (Nanyue Damiao).

4. It features skywalk, temples, stone formations, caves, waterfall etc.

5. It has a feeble appearance with wooden structure supported by dozens of wooden pillars.

6. The Shaolin Temple, the birthplace of Chan Buddhism.

--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:36, 9 December 2020 (UTC)

==Ancient Chinese Education - Tang Bei 汤蓓 Student No. 202070080607 英语笔译==

===Ancient Chinese Education===

====History====
China’s ancient education was one of the most splendid components of ancient Chinese culture. Chinese education had a long history dating from the Xia, Shang and Zhou Dynasties 3000/4000 years ago.(Baidu Encyclopedia: Chinese Ancient Education) In the Shang Dynasty (16th-11th century BC), formal schools emerged with the names like “Xiao” (school), “Xue”(study) and “Daxue”(higher school). Teachers then were all government officials and students were all children of the nobility, so that was the earliest “Guan Xue”(Government School/Education). Education became more popular by the Spring Autumn/Warring States period. Confucius became the earliest founder for “Private Education”. This type of private school education is often known as “Si Xue” (private institution).(Zhu Hanming, 2010,342)

From Han till Qing Dynasty, the formation of government institution had been well-established. All the teaching materials and educational training were geared towards the preparation for Imperial examination. After receiving a title in the Imperial examination, one might receive a post in the state bureaucracy. At the same time, private schools were also developing. Most of the famous philosophers and scientists were originated from private schools. Apart from schooling, “Family education” began to play an important role. Many of the famous historical figures grew up under the education and strict ‘teaching’ by their parents or other senior family members, and they studied hard in order to become successful. For instance, it was well documented that Mencius’s mother had moved three times with her son before she eventually found a proper neighborhood for the son’s education. After the Han dynasty, because of the increased status of Confucianism and its influence, the teaching of “poetry and rites” became the basic content for family education. Loyalty, Filial Piety, Benevolence and Righteousness were core values taught in family education.(Baidu Encyclopedia: Chinese Ancient Education)

In ancient Chinese education, there was another form of education system known as “Xue Shu Jiao Yu”. This belongs to neither an institute education nor a family education. These are generally “primary school for the folks”. Sometimes, they were called “Meng Guan”(primary education hall), “Si Shu ” (private school), “Zu Xue” (extended family school) , etc. Most students will first learn how to read characters, then they will learn The Three Character Classic ”, The Hundred Family Surnames, The Thousand Character Classic. Then they will learn the “Four Books”. In addition, they will also learn Chinese calligraphy and character pairing. In this type of school, the rules and regulations are especially strict. There are other methods such as Shuyuan and Guozijian, etc. They all formed a unique way of knowledge teaching and became important system for the development on “study of knowledge”, “teaching method”, etc. All of these formed the basis for today's Chinese education.(Zhu Hanming, 2010, 345)
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)

====Confucian Educational Theory====

The historical importance of education in Chinese culture is derived from the teachings of Confucius. The connection between Confucius and the official Chinese educational system thus became permanently linked right into the present time. Confucius broke the rule of “Xue Zai Guan Fu”
(learning at the government hall. He encouraged “learning for all hierarchical levels and for all ages”, and opened the door of education to the commoners. He established his own school and started to spread his teaching, thoughts and views. He became the earliest founder for “Private Education”.

In ancient Chinese education, whether they were government or private school, they all placed a great emphasis on humanities and cultural education, which focused on the teaching of morality and the development of wisdom. It covered philosophy, language, literature and other cultural subjects. The curriculum at the Great Academy was based on the Confucian Five Classics.(Chinasage:Imperial Examination）

Confucius taught his students morality, proper speech, government, and the refined arts. While he also emphasized the “Six Arts” — ritual, music, archery , chariot- riding , calligraphy , and computation — it is clear that he regarded morality as the most important subject.(Biography: Confucius) Confucius had been regarded as the pioneer founder of family education. According to The Analects of Confucius, Confucius wanted his son to learn both poetry and rites. He said, “if one does not learn poetry, one will not be able to talk properly”, “if one does not learn rites, one will never be well footed in the society.” Other than placing a strong emphasis on morality education, Chinese education also emphasized greatly on learning/teaching method and principles. Below are some common Confucian educational philosophies:
Revise the old in order to deduce new things.
Learning and Thinking are equally important.
Learn in a systematic and progressive way, from a beginner’s level to the advanced.
Inspiration and Guidance.
Teach according to students’ ability; use appropriate materials for teaching.(Baidu Encyclopedia: Confucius)

Confucius’s goal was to create gentlemen who carry themselves with grace, speak correctly, and demonstrate integrity in all things. The long The Master said in The Analects that:
“Is it not delightful to acquire knowledge and put it into practice from time to time？“Learning without thought is labor lost; thought without learning is perilous.” (Kong qiu, 2016)
Confucius’s main educational thoughts were to teach students according to their aptitude, to treat students equally and to inspire thinking. His pedagogical methods were striking. He posed questions, cited passages from the classics, or used apt analogies, and waited for his students to arrive at the right answers.

The status of education remained high in Confucian heritage cultures in East Asia. Beyond that, translations of Confucian texts influenced European thinkers of the period as well, particularly among the philosophical groups of the Enlightenment who were interested by the integration of the system of morality of Confucius into Western civilization. The French philosopher Voltaire was also influenced by Confucius, seeing the concept of Confucian rationalism as an alternative to Christian dogma. He praised Confucian ethics and politics, portraying China as a model for Europe.(Baidu Encyclopedia: Confucius)
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)

====Chinese Imperial Examination====

The Chinese Imperial Examination was an examination system in Imperial China designed to select talented people for future positions in civil service. This system had a huge influence on both society and culture in Imperial China. It was established in 605 during the Sui Dynasty and lasted more than 1,300 years until the last examination in 1904 when the last Chinese feudal kingdom—the Qing Dynasty—was coming to an end. Somehow the modern examination system for selecting civil service staff also indirectly evolved from the imperial one. It was part of the process by which candidates who passed the exams could receive a title called jinshi, or some other degree, which in turn would generally be followed by appointments to government offices.（Newworldencyclopedia: Imperial Examination）

The first three of Jinshi were ranked Zhuangyuan, Bangyan and Tanhua respectively. The examinations consisted of a battery of tests administered at the district, provincial, and imperial levels. Only three-hundred candidates could pass the imperial examinations, which would be supervised by the Emperor himself. Candidate scholars often took the examinations several times before earning a degree. Each exam taker spent three days and two nights writing “eight-legged essays” — literary compositions with eight distinct sections — in a tiny room with a makeshift bed, a desk, and a bench. There were no interruptions in those three days, nor were candidates’ allowed any communication. Since the pressure to succeed was intense, cheating and corruption were rampant. In order to obtain objectivity in evaluation, candidates were identified by number rather than name, and examination answers were recopied by a third person before being evaluated to prevent the candidate’s handwriting from being recognized. In the ancient society, class consciousness was strong and many people from lower classes would have had little chance to reach high office, not to mention having any position in the official court.（Jin zheng, 1990）

However, once the imperial examination system was introduced, any male adult in China, regardless of his wealth or social status, could become a high-ranking government official by passing the imperial examination and thus realize their self-development. In this sense, passing the imperial examination was also called “carps jumping across the dragon’s gate” . The dragon had always been regarded as the symbol of mighty power and especially that of the rights exercised by the emperor, consequently the success of examination candidates was proudly called “jumping across the dragon’s gate.”(Baidu Encyclopedia: carps jumping across the dragon’s gate)

In late imperial China, the examination system and associated methods of recruitment to the central bureaucracy were major mechanisms by which the central government captured and held the loyalty of local-level elites. The examination system also served to maintain cultural unity and consensus on basic values. The uniformity of the content of the examinations meant that the local elites and ambitious would-be members of those elites across China were taught with the same values. Despite the significant effect of promoting Confucian culture and education, it also influenced education systems in many other countries like Korea, Japan, and Vietnam, and similarities can be found in the personnel selection methods employed in France, America and Britain. Today’s education system is surely its successor.（Newworldencyclopedia: The Imperial Examination）
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)

===References===
1.1.Zhu Hanmin 朱汉民.(2010)''中国传统文化导论''[Introduction to Chinese traditional culture]. Hunan:Hunan University Press 湖南大学出版社.

2.Jing Zheng金铮.(1990)''科举制度与中国文化''[Imperial examination system and Chinese culture]. Shanghai:Shanghai People's Publishing Press 上海人民出版社.

3.Kong Qiu& Chen Dian孔丘&陈典.(2016)''论语''[The Analects of Confucius]. Jiangxi：Jiangxi People's Publishing Press 江西人民出版社.

4.Wanghui王惠.(2016)''中国社会与文化翻译教程''[A Coursebook on China’s Society and Culture Translation]. Beijing：Tsinghua University Press 清华大学出版社.

5.Baidu Encyclopedia''百度百科''：Chinese Ancient Education,中国古代教育

6.Baidu Encyclopedia''百度百科''： Confucius,孔子

7.Baidu Encyclopedia''百度百科''： The Imperial Examination,科举制度

8.https://www.biography.com/scholar/confucius

9.https://www.chinasage.info/examinations.htm

10.https://www.newworldencyclopedia.org/entry/Imperial_Examinations_(Keju)
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 11:59, 13 December 2020 (UTC)

===Terms and Expressions===
Spring Autumn/Warring States period 春秋战国时期

Loyalty 忠

Filial Piety 孝

Benevolence 仁

Righteousness 义

poetry and rites 诗礼

Xue Shu Jiao Yu 学塾教育

Meng Guan 蒙馆

Zu Xue 族学

archery 射

chariot- riding 御

calligraphy 书

computation 数

state bureaucracy 政府机构

The Three Character Classic 《三字经》

The Hundred Family Surnames 《百家姓》

The Thousand Character Classic 《千字文》

Four Books 四书

Shuyuan 书院

Guozijian 国子监

Confucian Five Classics 五经

Six Arts 六艺

Jinshi 进士

Zhuangyuan 状元

Bangyan 榜眼

Tanhua 探花--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 14:31, 7 December 2020 (UTC)

===Questions===
1.What’s Confucius educational goal?

2.What are Confucius main educational thoughts?

3.What became permanently linked right into present time?

4.Before private educationa began, only who could be taught in government schools?

What are the forms of the Chinese Imperial Examination?

6.How did examiners evaluate the examination?

7.What are the functions of the the Chinese Imperial Examination?

8.What kind of far-reaching influence does the Chinese Imperial Examination have?--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 14:31, 7 December 2020 (UTC)

===Answers===
1.Confucius’s goal was to creat gentlemen who carry themselves with grace, speak correctly, and demonstrate integrity in all things.

2.Confucius’s main educational thoughts were to teach students according to their aptitude, to treat students equally and to inspire thinking.

3.The connection between Confucius and the official Chinese educational system.

4.Noblemen’s children

5.The examinations consisted of a battery of tests administered at the district, provincial, and imperial levels. Only three-hundred candidates could pass the imperial examinations, which would be supervised by the Emperor himself. Candidate scholars often took the examinations several times before earning a degree.

6.In order to obtain objectivity in evaluation, candidates were identified by number rather than name, and examination answers were recopied by a third person before being evaluated to prevent the candidate’s handwriting from being recognized.

7.In late imperial China, the examination system and associated methods of recruitment to the central bureaucracy were major mechanisms by which the central government captured and held the loyalty of local-level elites.The examination system also served to maintain cultural unity and consensus on basic values.

8.Despite the significant effect of promoting Confucian culture and education, it also influenced education systems in many other countries like Korea, Japan, and Vietnam, and similarities can be found in the personnel selection methods employed in France, America and Britain. Today’s education system is surely its successor.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 14:31, 7 December 2020 (UTC)

==Cuisine, Chinese Dining Etiquette - Tang Yiran 汤伊然 202070080643 英语口译==

===Chinese Dining Etiquette===

China is a country with a long history of rituals and etiquette, and eating is a highly important feature of China’s culture, so naturally, dining etiquette has developed to a high degree. Dining etiquette is said to have its beginnings in the Zhou Dynasty (1045-256 BC). Through thousands of years of evolution, it has developed into a set of generally accepted dining rituals and practices. (Edward L.Davis 2005, 306)

[[File: A Chinese Dining Table.jpg|400px|thumb||Diagram of A Chinese Dining Table. Click [https://cn.bing.com/images/search?view=detailV2&ccid=NirSI%2bVR&id=F71307AA9E3664A2B8373E6E88E02E5D05C49E65&thid=OIP.NirSI-VRq1BPyCrjxboLtQHaE3&mediaurl=http%3a%2f%2fwww.hwaoconsulting.com%2fwp-content%2fuploads%2f2013%2f10%2fresize-of img_3335b.jpg&exph=567&expw=863&q=chinese+dining+etiquette&simid=608033216312313291&ck=DCAFE6250D3ADA26FE11D0CF34A4591D&selectedIndex=12&FORM=IRPRST&ajaxhist=0/File:A Chinese Dining Table.jpg] for original source.]]

====Attendance====

As a guest at a meal, one should be careful about his or her appearance and determine whether to bring small gifts or good wine, according to the degree of relationship with the master of the banquet. It is important to attend and be punctual. (Gavin Van Hinsbergh, 2020)

On arrival, one should first introduce himself or herself, or let the master of the banquet do the introduction if unknown to others, and then take a seat following the master of the banquet’s arrangement. (Gavin Van Hinsbergh, 2020)

====Seating Arrangements for a Chinese Banquet====

Dining etiquette in ancient times was enacted according to four-tier social strata (Edward L.Davis 2005, 306) :

1. the imperial court

2. local authorities

3. trade associations and

4. farmers and workers

In modern dining, seating arrangements have been simplified to:

1. master of the banquet

2. honored guest(s)

3. other guests.

The seat of honor, reserved for the master of the banquet or the guest with the highest status, is the one in the center facing east or facing the entrance. Those of higher position sit closer to the master of the banquet. The guests of the lowest position sit furthest from the seat of honor. When a family holds a banquet, the seat of honor is for the guest with the highest status and the head of the house takes the least prominent seat. (Ruru Zhou, 2018)

If the guest of honor or most senior member is not seated, other people are not allowed to be seated. If he hasn’t eaten, others should not begin to eat. When making toasts, the first toast is made from the seat of honor and continuing down the order of prominence. (Ruru Zhou, 2018)

'''A. Round Table'''

If round tables are used, the seat facing the entrance is the seat of honor. The seats on the left-hand side of the seat of honor are second, fourth, sixth, etc in importance, while those on the right rank at third, fifth, seventh, and so on. In the end, they will join together. (Ruru Zhou, 2018)

'''B. Square Table'''

In ancient times there was a piece of furniture known as an Eight Immortals table, a big square table with benches for two people on each side. If there was a seat facing the entrance, then the right-hand seat when facing the entrance was for the guest of honor. If there was no seat facing the entrance door (presumably if the meal was outside or there were two or more doors of equal importance), then the right-hand seat when facing east was the seat of honor. The seats on the left-hand side of the seat of honor were, in order of importance, second, fourth, sixth, and eighth and those on the right were third, fifth, and seventh. (Ruru Zhou, 2018)

'''C. In Grand Banquet'''

In a grand banquet of many tables, the table of honor is the one furthest from the entrance (or facing east in the event of no clear main entrance). The tables on the left-hand side of the tables of honor are, in order of importance, second, fourth, sixth, and so on, and those on the right are third, fifth, and seventh. Guests are seated according to their status and degree of relationship to the host of the banquet. (Ruru Zhou 2018)

[[File: Seating Arrangements in A Chinese Banquet.jpg|450px|thumb||Diagram of Seating Arrangements for A Chinese Banquet. Click [https://tse3-mm.cn.bing.net/th/id/OIP.qJkC9LsUyfYKOzLWkbS5JwHaGI?w=214&h=180&c=7&o=5&dpr=1.25&pid=1.7/File:Seating Arrangements in A Chinese Banquet.jpg] for original source.]]

====Chinese Table Manners====

Most table manners in China are similar to in the West. Don't be deceived by what you might see in a local restaurant on the streets. Chinese manners are more than slurping food down as quickly as possible, and shouting loudly! When eating a meal in China, people are expected to behave in a civilized manner (according to Chinese customs), pay attention to table manners, and practice good dining habits. In order to avoid offense, diners should pay attention to the following points (Gavin Van Hinsbergh, 2020):

'''A. Considering Others'''

1) Let older people eat first, or you can start to eat if you hear an elder say "let's eat". You should not steal a march on the elders. (Gavin Van Hinsbergh, 2020)

2) When helping yourself to the dishes, you should take food first from the plates in front of you rather than those in the middle of the table or in front of others. It's bad manners to use your chopsticks to burrow through the food and "dig for treasure" and keep your eyes glued to the plates. (Gavin Van Hinsbergh, 2020)

3) Even if you find your favorite dish, you should not gobble it up as quickly as possible or put the plate in front of yourself and proceed to eat like a horse. You should consider others at the table. If there is not much left on a plate and you want to finish it, you should consult others. If they say they don’t want anymore, then you can eat proceed. (Gavin Van Hinsbergh, 2020)

4) Concentrate on the meal and your companions. Watching television, using your phone, or carrying on some other activity while having a meal is considered a bad habit. (Gavin Van Hinsbergh, 2020)

4) You should try to refill your bowl with rice yourself and take the initiative to fill the bowls of elders with rice and food from the dishes. If elders fill your bowl or add food to your bowl, you should express your thanks. (Gavin Van Hinsbergh, 2020)

'''B. "Thank you" Gesture'''

Tea usually is served as soon as you have a seat in a restaurant. A waiter/waitress serves you tea while you read the menu and decide what to order. The teapot is left with you on the table after everyone around the table's cup is filled with tea. Guests then serve themselves. When someone pours tea into your cup, you can tap the table with your first two fingers two or three times, showing thanks to the pourer for the service and for being enough tea. The pourer will stop pouring when seeing the gesture. (Gavin Van Hinsbergh, 2020)

'''C. Elegance'''

1) You should pick up your bowl with your thumb on the mouth of the bowl, first finger, middle finger the third finger supporting the bottom of the bowl, and palm empty. If you don't pick up your bowl, bend over the table, and eat facing your bowl, it will be regarded as bad table manners. Moreover, it will have the consequence of compressing the stomach and restricting digestion. (Gavin Van Hinsbergh, 2020)

2) It is not good to pick up too much food at a time. You should behave elegantly. When taking food, don’t nudge or push against your neighbor. Don’t let the food splash or let soup or sauce drip onto the table. (Gavin Van Hinsbergh, 2020)

3) When eating, you should close your mouth to chew food well before you swallow it, which is not only a requirement of etiquette but also better for digestion. You should by no means open your mouth wide, fill it with large pieces of food, and eat up greedily. Don’t put too much food into your mouth at once to avoid leaving a gluttonous impression. Neither should you stretch your neck, open your mouth wide, and extend your tongue to catch food you are lifting to your mouth. (Gavin Van Hinsbergh, 2020)

4) When removing bones or other inedible parts of the meal from your mouth, use chopsticks or a hand to take them and put them on a side plate (or the table) in front of you, instead of spitting them directly onto the table or the ground. (Gavin Van Hinsbergh, 2020)

5) If there is food around your mouth, use a tissue or a napkin to wipe it, instead of licking it with your tongue. When chewing food, don't make noises. (Gavin Van Hinsbergh, 2020)

6) It is best not to talk with others with your mouth full. Be temperate in laughing lest you spew your food or the food goes down your windpipe and causes choking. If you need to talk, you should speak a little and quietly. (Gavin Van Hinsbergh, 2020)

7) If you want to cough or sneeze, use your hand or a handkerchief to cover your mouth and turn away. If you find something unpleasant in your mouth when chewing or phlegm in the throat, you should leave the dinner table to spit it out. (Gavin Van Hinsbergh, 2020)

====Rules and Conventions Relating to Chopsticks====

1) Do not stick chopsticks vertically into your food when not using them, especially not into rice, as this will make Chinese people think of funerals. At funerals, joss sticks (sticks of incense) are stuck into a pot by the rice that is put onto the ancestor altar. (Liao Huaying, 2008: 170)

2) Do not wave your chopsticks around in the air too much or play with them. (Liao Huaying, 2008: 170)

3) Do not stab or skewer food with your chopsticks. (Liao Huaying, 2008: 170)

4) Pick food up by exerting sufficient inward pressure on the chopsticks to grasp the food securely and move it smoothly to your mouth or bowl. It is considered a bad manner to drop food, so ensure it is gripped securely before carrying it. Holding one’s bowl close to the dish when serving oneself or close to the mouth when eating helps. (Liao Huaying, 2008: 170)

5) To separate a piece of food into two pieces, exert controlled pressure on the chopsticks while moving them apart from each other. This needs much practice. (Liao Huaying, 2008: 170)

6) Some consider it unhygienic to use the chopsticks that have been near (or in) one’s mouth to pick food from the central dishes. Serving spoons or chopsticks can be provided, and in this case, you will need to remember to alternate between using the serving chopsticks to move food to your bowl and your personal chopsticks for transferring the food to your mouth. (Liao Huaying, 2008: 170)

7) Knives are traditionally seen as violent in China, and breakers of the harmony, so are not provided at the table. Some restaurants in China have forks available and all of them will have spoons. If you are not good at using chopsticks, ask the restaurant staff to provide you with a fork or spoon. (Liao Huaying, 2008: 170)

[[File: Diagram of Using Chopsticks in a Bad Manner in China.jpg|700px|thumb||Diagram of Using Chopsticks in a Bad Manner in China. Click [https://tse3-mm.cn.bing.net/th/id/OIP.Mm8fEFD8whyIbD1-UdrJEwHaEn?pid=Api&rs=1/File: Diagram of Using Chopsticks in a Bad Manner in China.jpg] for original source.]]

===References===
1. Edward L. Davis. ''Encyclopedia of Contemporary Chinese Culture'' [M]. Taylor & Francis e-Library, 2005.

2. Guo Shangxing, Sheng Xingqing, ''A History of Chinese Culture'', Kaifeng: Henan Uni. Press, 1993.

3. Morton, W. Scott, & Lewis, C. M., ''China: its History and Culture'', New York: MacGraw Hill, Inc., 2005.

4. Sun Xiaoyu, ''A Chinese History Reader'', Singapore: Cengage Learning Asia Pte Ld., 2010.

5. Gavin Van Hinsbergh. How to Eat in China—Chinese Dining Etiquette. https://www.chinahighlights.com/travelguide/chinese-food/dining-etiquette.htm, 2020.

6. Ruru Zhou. Seating Arrangements for a Chinese Banquet. https://www.chinahighlights.com/travelguide/chinese-food/seating-arrangement.htm, 2018.

7. Liao Huayin廖华英主编.(2008). 《中国文化概况》 [An Glimpse of Chinese Culture] Foreign Language Teaching and Research Press 外语教学与研究出版社. 160-180.

===Terms and Expressions===

seat of honor 上座/尊位

Eight Immortals table 八仙桌

burrow through the food 乱翻食物

“dig for pleasure” 挖宝藏

side plate 小菜碟

napkin 餐巾纸

handkerchief 手帕

phlegm 痰

windpipe 气管

joss sticks （中国祭祀用的）香

ancestor altar 祖先祭坛

skewer 刺穿/串肉扦子

serving chopsticks 公筷

===Questions===

1. What do you know about the history of Chinese dining etiquette?

2. What does the “Seat of Honor” mean? Are there any commons of “Seat of Honor” in different dining situation?

3. How should we deal with our favorite food in a meal？

4. What is the way to show gratitude to the tear pourer?

5. How should we pick up the bowl when eating?

6. What manners of using chopsticks are considered bad in China?

===Answers===

1. Dining etiquette is said to have its beginnings in the Zhou Dynasty (1045-256 BC).

2. The seat of honor is reserved for the master of the banquet or the guest with the highest status. It is commonly the one in the center facing east or facing the entrance.

3. When finding your favorite dish, you should not gobble it up as quickly as possible or put the plate in front of yourself and proceed to eat like a horse. Instead, you should consider others at the table. If there is not much left on a plate and you want to finish it, you should consult others. If they say they don’t want anymore, then you can eat proceed.

4. We can tap the table with our first two fingers two or three times, showing thanks to the pourer for the service and for being enough tea. The pourer will stop pouring when seeing the gesture.

5. You should pick up your bowl with your thumb on the mouth of the bowl, first finger, middle finger the third finger supporting the bottom of the bowl and palm empty.

6. Rummaging through the food in a dish with chopsticks and searching for choice pieces, sticking chopsticks vertically into a bowl of rice, or pointing at people with them are all considered bad table manners.

==Wang Meiling 王美玲 202070080608==

===Three Giant Home Appliance Enterprises In China===

===A.Midea===

Midea is a technology group of consumer electronics, HVAC, robotics and automation systems, and smart supply chain (logistics).Founded in Shunde, China in 1968, Midea officially entered the household appliance industry in 1980. In 1981, Midea registered its brand. The group employs a total of 130000 people, whose headquarter is locate in Shunde, Guangdong Province. Midea Group has about 200 subsidiaries, more than 60 overseas branches and 10 strategic business units worldwide, and is the main shareholder of KUKA group (about 95%) in Germany . Midea now has more than ten brands such as Midea and Little Swan. and has 15 and 6 production bases separately home and abroad.( Midea Co., Ltd, 2020)

Midea's diversified development strategy can reflect its wide range of business : consumer electrical appliances mainly including kitchen appliances, refrigerators, washing machines and all kinds of small household appliances; HVAC business focusing on heating and ventilation systems such as household air conditioning and central air conditioning; robot and industrial automation system business with German KUKA group and Midea robot company as the core.Up to July 2020, Midea ranked 22nd in the list of China's Top 100 Most Valuable Brands in 2020.(Baidu Encyclopedia: Midea)

To some extent, enterprises seems like a person. Generally speaking, the style and personality of an enterprise are greatly affected by the values and behavior styles of enterprise leaders. Enterprise style and characters can determine the fate and future itself.（Liu Buchen，2016:3）

Midea focus on sound operation. If Haier and Gree went to two "extremes", Midea would choose the "middle road", which is neither extreme left nor right. It will not suddenly break the original management framework and organizational structure,which, otherwise, would place the enterprise in high risk. Midea Group’s New Vision, mission,values and business principles are not only rooted in the achievements of historical accumulation, but also the strategic blueprint for the future. The New Vision,“the perfection of science and technology lead to the perfection of life”, continues the Midea’s emphasis on science and technology and human-oriented spirit; The new mission,“connecting people and things, enlightening the world of Midea” reflects its strategic thinking on the development trend of technology, industrial chain and global layout, and makes the linkage between people and things in different scenes more advanced, thus stimulating the leapfrog development of people’s lives and production; Through the value“dare to know the future”, Midea could continue carrying forward its spirits of future orientation and embracing changes.

Midea focuses on sound operation.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 12:50, 19 December 2020 (UTC)

In the light of the wide range of its business, we can see that Midea is actively promoting diversified development（Liu Buchen，2016:2-3）: in the area of air-conditioning, Midea，since 1998，has made a series of acquisitions and mergers, expanding its air-conditioning capacity and entering the field of air-conditioning compressors. Moreover, it has produced the core components of air conditioning, increased research and development and cooperation in air conditioning, then begun to produce the core components of air conditioning compressor, increased research and development in the core components; as for small household appliances, since 2001, Midea has mastered the core components of microwave oven and become one of the three largest production bases in the world. Subsequently, the Group has reorganized the small appliance business under direct control and developed professionally on the basis of diversification.

Diversification has the advantage of spreading risk, that is the theory of “don’t put all your eggs in one basket” , and its disadvantage lies in the difficulty for firms to concentrate and, relatively speaking, to establish absolute competitive advantage in one or more specific areas.

Midea's business strategy can be described as "two-pronged approach". On the one hand, Midea relies on its own enterprise strength to continuously optimize the performance of its core products and has made earnest efforts to improve the quality of its core products.

On the other hand, through a series of acquisitions and mergers on home appliance brand，Midea has furthered its market penetration, and enhanced the market share, expanded the user group, leading to its accomplishment of “Extension Expansion” strategy. In fact, the strategy is not limited to mergers and acquisitions, but also includes the continuous paces into new industrial fields. Midea is building its own "Second Runway", that is “New Product Incubation Platform”, which is not limited to the field of home appliances. As long as meeting Midea's standards for "innovative products", any products can enter the incubation platform.

In 2020, affected by the COVID-19, the rising leverage ratio of the residential sector, the rising food prices, as well as the continuing low marriage and birth rates, the pace of further expansion of the household appliance market has been hindered. As one of the three giants in China's home appliance market, Midea is naturally deeply aware of the weakness of the home appliance market, which is reflected specifically in the decline of market demand for color TV sets, air conditioners, kitchen appliances and household appliances.

Midea will unswervingly increase R&D investment, maintain high-quality development direction, and adhere to inclusive growth and sustained and effective growth. Midea has further expanded its online market scale which has continuously diverted offline market scale. It has been developing an integrated sales channel with both online and offline, which has been promoted orderly on Suning, Gome, Jingdong, Tmall and other platforms. Facing the domestic market, Midea has been consolidated its basic system and established a unified business language and rules.

In 2020, the global trade friction continues to escalate, tariff barriers increases Midea’s risk of overseas market expansion, and the exchange rate between countries continues fluctuating. All of these factors mentioned above has increased Midea’s risk to engage in product export and to exchange loss.

Facing the overseas market, Midea will adhere to the consumer-oriented and product-leading strategy, give full play to its network advantages in global R&D and user research, grasp the differentiated needs of foreign consumer groups, improve the construction of multi-brand operation system, leading to further open-up of the foreign market and the improvement of market share.

===B.Haier===

Haier, formerly known as Haier Qingdao, is a leading global provider of solutions for a better life. Founded in 1980 and headquartered in Qingdao, Shandong Province, it was listed on the Shanghai Stock Exchange (600690) and the Frankfurt Stock Exchange (690D) in 1993 and 2018, respectively. Relentlessly centered on user experience and geared to the beat of the times, Haier has developed from an insolvent collective small factory on the verge of closure into an ecological enterprise leading the Internet of Things era. It has been the world's only IoT ecological brand for two consecutive years in the BrandZ 100 most valuable global brands. In the Internet of Things era, Haier is leading the world in terms of its ecological brand and single-unit model. Moreover, it boasts the world's largest market share in white goods R&D, production and sales, as well as in the integrated channel business of large appliances.( Haier Co., Ltd, 2020)

Haier adopts Diversification Product strategy, but it differs from Midea's in that the former has broader fields. Its business scope mainly includes the R&D, production and sales of and smart home scene solutions and smart home appliances such as refrigerators, washing machines, air conditioners, water heaters, kitchen appliances, small home appliances. It also engages in IT industry such as digital technology, intelligent technology, software technology, enterprise management services and consulting, information technology services, etc. Through a rich combination of products, brands and solutions, Haier creates a whole scene of intelligent life experience to meet users' pursuit of the good life.(Baidu Encyclopedia: Haier)

Corporate culture is the soul and gene of an enterprise. Haier's corporate culture is one of change, always following the times and continuous innovation and development, which can be summed up in four words: self-righteousness. It means everyone is constantly challenging themselves, overcoming themselves, reinventing themselves, and changing themselves according to external changes. So it can be said that Haier's corporate style is "paradigm change".

Haier has its own core values: the concept of right and wrong of "always take the user as yes, take oneself as no" is Haier's motivation to create users; the concept of development of "everyone is the creator, chain group becomes self-driven" is Haier's way of looking at sustainable development; the concept of "win-win" is the guarantee for Haier's sustainable operation. Haier's corporate spirit is "ecological integrity, win-win evolution". In the process of continuous entrepreneurship and innovation, the Haier Group always adheres to the development main line of "human value first".
Haier has formed a perfect innovation culture which is dynamic and constantly optimized. Zhang Ruimin once said, "There exist no successful enterprises, only enterprises geared to the times."

From 1992, Haier has begun to expand from one product to a variety of products, and comprehensively implemented a diversification strategy. Through mergers, acquisitions, joint ventures, and cooperation, Haier has rapidly entered the field of white goods such as freezes, air conditioners, and washing machines from a single product refrigerator.

In 1997, with the production of digital color TVs as a symbol, Haier entered the field of black home appliances from the field of white goods; in 1998, Haier ventured into the computer industry, which was known abroad as the field of beige home appliances. In 1998, Haier ventured into the computer industry, which is known abroad as the beige home appliance industry. In the process of expansion, Haier has engaged in capital operation in the way of eating "shock fish" and insisted on revitalizing tangible assets with intangible assets, which ensured the success rate of capital operation and the low-cost expansion. In this way, the goal of making Haier bigger and stronger in the shortest period of time was achieved. Haier still takes home appliance industry as its main industry, with sales accounting for about 40-70% of Haier's total sales.

Haier has adopted a parallel strategy：on the one hand: Haier will set self-innovation as the core of corporate culture, the implementation of strategic innovation to establish the corporate brand, focus on making refrigerators upgrade, adhere to the Internet of Things smart home ecological brand strategic direction; on the other hand, Haier is undergoing a large-scale enterprise change, and we can hardly continue to classify Haier as "home appliance enterprises". "After the change in the business model, Haier's many micro and small companies can decide their own development prospects, and the Haier Group does not limit or intervene in the their fields to entry. So the path of extensive expansion Haier takes is very broad.(Huang Xu,2017:2)

During the epidemic, Haier's 3Q report achieved high quality growth, which is closely related to the future layout of Haier since more than 10 years. Haier has been exploring the transformation from "selling products" to "selling scenes" to adapt to the consumption trend of experiential scenes. When realizing differentiated competition, Haier brings user experience and industry development into a new dimension. With a forward-looking strategic layout and strong landing capabilities, Haier has formed industry differentiation advantages in smart package, experience cloud and mass customization, and promoted the company's transition to a smart home ecological brand. Haier is currently the leader in the domestic Internet market, but will face challenges from crossover competitors such as Xiaomi and Huawei, and needs to focus the company's resources to win the battle.

Among the home appliance enterprises, Haier is the first to go abroad, and is also the enterprise with the highest market share in overseas markets. In 2016, Haier also acquired the American General Electric Company at a sky-high price of $5.58 billion, which is the largest overseas merger and acquisition in China's home appliance industry, making Haier leap from a Qingdao local enterprise to a multinational white goods leader, and also marking the acceleration of Haier's internationalization process again. At the same time, Haier has been ranked first in the global home appliance market share for many years, with over 10% of the global home appliance market share.According to Euromonitor, Haier has kept its leading position in the Asia-Pacific and North American markets (the two markets together account for 63.5% of global retail sales). Taking the advantage of the concerted efforts of Candy, Haier merged recently, Haier is expected to achieve its market share among the top five in the European market and to become a true leader in the home appliance industry worldwide.

===C.Gree===

Gree, founded in 1991, is an international home appliance company integrating R&D, production, sales and service, with three brands: Gree, TOSOT and Jinghong, headquartered in Zhuhai, Guangdong Province. Dong Mingzhu Gree's chairman, president and legal representative. In 1996, Gree was listed on the Shenzhen Stock Exchange. Gree has more than 90,000 employees, among whom there are 15,000 R&D personnel and 30,000 technical workers. It has 15 production bases and 15 research institutes at home and abroad. Gree has been on the Fortune Magazine's list of "China's Top 100 Listed Companies" for 9 consecutive years. The "Gree" brand of air conditioners is a "world famous brand" in China's air conditioning industry, with business in more than 100 countries and regions around the world.( Gree Co., Ltd, 2020)

Gree, founded in 1991, is an international home appliance company integrating R&D, production, sales and service, with three brands: Gree, TOSOT and Jinghong, headquartered in Zhuhai, Guangdong Province. Dong Mingzhu is Gree's chairman, president and legal representative. In 1996, Gree was listed on the Shenzhen Stock Exchange. Gree has more than 90,000 employees, among whom there are 15,000 R&D personnel and 30,000 technical workers. It has 15 production bases and 15 research institutes at home and abroad. Gree has been on the Fortune Magazine's list of "China's Top 100 Listed Companies" for 9 consecutive years. The "Gree" brand of air conditioners is a "world famous brand" in China's air conditioning industry, with business in more than 100 countries and regions around the world.( Gree Co., Ltd, 2020)--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:38, 19 December 2020 (UTC)

Its business mainly includes: sales, installation and maintenance of central air conditioning, refrigeration, air conditioning equipment, clean air conditioning, heating equipment, ventilation equipment; kitchen utensils, stainless steel products, daily-use hardware; household refrigeration appliances, household air conditioners and related parts; machinery and equipment, and wholesale of electronic products. Unlike Haier and Midea, Gree adopts a specialized product strategy and has been focusing on the research and development of various types of air conditioners. As a large appliance manufacturer focusing on air conditioning products, Gree has established itself as the leader in the domestic air conditioning market, and its brand culture is deeply rooted in the people's hearts, and is well known in the domestic air conditioning market with slogans such as "Fine air conditioning that Gree creates" and "Buy good-quality, choose Gree". Since 2005, Gree has been the global leader in the production and sales of air conditioners for 7 consecutive years.(Baidu Encyclopedia: Gree)

In implementing the strategy of creating a famous brand, Gree prioritizes the construction of corporate culture and strive for corporate culture as a unified goal: the corporate spirit of "Loyalty, Friendliness, Diligence and Progress" fully reflects Gree’s requirements to its employees; the business philosophy of "making the best air conditioners for consumers" accurately and clearly shows Gree’s commitment to the society and consumers, as well as its determination to stick to the road of specialization and its confidence in the pursuit of excellence in product quality; the service concept of "Every little thing you do is a big thing for Gree!" demonstrates that Gree puts service throughout the entire production and operation activities of the enterprise, emphasizing pre-sales, in-sales and after-sales services; the management concept of "Innovation has no limitations" enables Gree to achieve high efficiency and low cost in the production process.

Gree has delivered outstanding performance in air conditioning largely due to the fact that Gree has been focusing on air conditioning for the past few decades without any distractions. Gree have several large production bases around the world, and its research scope includes twenty major categories, more than 400 series, which can meet the various needs of consumers. Gree have so far owned thousands of technical patents of air conditioners, and decades of quality improvement work have made Gree air conditioners achieve a qualitative leap in quality, from "Made in China" to "Created in China".

On the one hand, Gree belongs to the typical intensive growth model, where the driving force for development basically comes from within the enterprise and rarely relies on external forces, such as M&A. Gree takes the path of training talents independently, and has 12 research institutes and more than 30,000 technical developers. Gree sets various series of air conditioners its main business，whose entire production chain of production, processing, sales and marketing channels are operated internally.

On the other hand, compared to Haier and Midea, Gree's outward expansion has been smaller. One of Gree's large-scale mergers and acquisitions of significance was the industrial industry integration that began in early 2004 and was completed in the same year. Gree successfully acquired the Group's shares of Lingda Compressor, Gree Small Appliances, Gree Electric and other companies, contributing to forming an industrial advantage, improving its core competitiveness and seizing the industry high ground.(Duan Qiang,2013:49)Interestingly, Gree announced its intention to enter the new energy vehicle industry by acquiring Zhuhai Yinlong New Energy, which was a huge breakthrough in Gree's long-held intensive growth model in these years.

In 2020, as air conditioners enter the era of saturation, Gree faces difficulty before market opportunities and challenges. In recent years, Gree is obviously increasing the diversification of the layout, in order to disperse the risk that the air conditioning industry may continue to slump in the next few years, Dong Mingzhu hopes to find new growth points through diversification of the layout, which is the reason why Gree cell phones, Gree (Yinlong) new energy vehicle projects have been showed in the market. If new growth points were not cultivated in time, the possibility of continued stagnation of Gree Appliances in the coming years couldn’t be ruled out.

Gree's business is expected to be a high-end intelligent manufacturing equipment in Gree's diversified business. Gree, which has diversified genes and the courage to experiment with various businesses, opened a medical equipment company during the epidemic, and product masks and air purifiers that can kill COVID-19. The enthusiasm for diversified business exploration is closely related to Dong's energetic and aggressive style. But the deeper reason lies in that Gree needs more opportunities to grab the market in areas other than white home appliances, especially air conditioners.

Gree’s air conditioners have gained international recognition for their technology, quality and price advantages,which have been exported to more than 100 countries and regions around the world. Gree's trademark has been applied for international registration in 77 countries around the world, laying a brand foundation for the internationalization of Gree's products. At the same time, Gree is extending its production lines to foreign countries to enhance the confidence of foreign dealers and consumers in Gree and improve its international image.

===Terms and Expressions===

HVAC 暖通空调 Shunde （广东）顺德

Smart supply chain 智能供应链 Intensive Growth 内生式增长

leverage ratio 杠杆率 Second Runway 第二跑道

air conditioning compressor 空调压缩机 Tmall 天猫

Qingdao （山东）青岛 Shock Fish 休克鱼

3Q report 三季报 IoT 物联网

Experience cloud 体验云 Ren Dan He Yi 人单合一

chain group 链群 Euromonitor 欧睿信息咨询公司

Candy （意大利）卡迪集团

TOSOT 大松电器公司 Jinghong 晶弘电器公司

Gree Electric 格力电工 Shenzhen Stock Exchange 深圳证券交易所

Created in China 中国创造 General Electric Company 格力电工

Zhuhai Yinlong New Energy 珠海银隆新能源有限公司 COVID-19 新型冠状病毒

Lingda Compressor 凌达压缩机

HVAC 暖通空调

Shunde （广东）顺德

Smart supply chain 智能供应链

Intensive Growth 内生式增长

leverage ratio 杠杆率

Second Runway 第二跑道

air conditioning compressor 空调压缩机

Tmall 天猫

Qingdao （山东）青岛

Shock Fish 休克鱼

3Q report 三季报

IoT 物联网

Experience cloud 体验云

Ren Dan He Yi 人单合一

chain group 链群

Euromonitor 欧睿信息咨询公司

Candy （意大利）卡迪集团

TOSOT 大松电器公司

Jinghong 晶弘电器公司

Gree Electric 格力电工

Shenzhen Stock Exchange 深圳证券交易所

Created in China 中国创造

General Electric Company 格力电工

Zhuhai Yinlong New Energy 珠海银隆新能源有限公司

COVID-19 新型冠状病毒

Lingda Compressor 凌达压缩机--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:50, 19 December 2020 (UTC)

===Questions===

1.Why does Midea implement diversified development strategy?

2.what development strategy does Midea adopt?

3.How does Midea differ from Haier and Gree in terms of its style?

4.How will Midea deal with the weakness of home appliance market?

5.What kind of home appliances does Haier focus on the most?

6.What is the difference between Haier and Midea's diversified product strategy?

7.What is Haier's "Ren Dan He Yi" model?

8. The pros and cons of Haier's extensive expansion strategy.

9. Why did Haier transform to a smart home eco-brand?

10. Why has Gree expanded its diversified layout in recent years?

11. Do you think whether Gree should acquire Zhuhai Yinlong New Energy ?

12.What is the impact of Dong Mingzhu's style of work on Gree's development?

===Answers===

1.Diversification has the advantage of spreading risk, that is the theory of “don’t put all your eggs in one basket".

2.Diversified product layout and Intensive growth model and Exclusive expansion model.

3.Midea will unswervingly increase R&D investment on such emerging home appliances, maintain high-quality development direction, and adhere to inclusive growth and sustained and effective growth.

4.Midea focus more on moderate operation.

5.White home appliances.

6.Haier’s diversified product strategy is more wide-ranging.

7.It is a business mode which refers to every employee should face users directly, create user value, and realize their own value sharing when creating value for users.

8.Pros:to expand its business scope and spreading business risk.

Cons:to have difficulty concentrating itself and, relatively speaking, to establish absolute competitive advantage in one or more specific areas.

9. To win the favor of consumers who are in the pursuit of high-quality life and become more and more dissatisfied with household appliances which can only passively follow instructions and complete tasks.

10.(1)To disperse the risk that the air conditioning industry may continue to slump in the next few years.

(2) to find new growth points through diversification of the layout.

(3)to avoid the possibility of continued stagnation of Gree in the coming years.

11.No,because air conditioning and automobile are totally different. Gree's air conditioning technology is not helpful for new energy vehicles. Gree's familiar products and sales processes are also different from those of the automobile industry. Therefore, it is rather risky to enter the automotive field.

12.Dong Mingzhu's energetic and aggressive style will put forward Gree’s diversified business exploration which will create more opportunities and possibilities and also high risks.

===References===

1.Baidu Encyclopedia百度百科：Gree,格力

2.Baidu Encyclopedia百度百科：Haier,海尔

3.Baidu Encyclopedia百度百科：Midea,美的

4.Duan Qiang段强.(2013)格力电器营销战略研究[Research on Marketing Strategy of Gree Electric Appliance]. Huazhong University of Science and Technology 华中科技大学.

5.Huang Xu黄旭.(2017)海尔产品的品牌效应和营销策略[Brand Effect and Marketing Strategy of Haier Products].Industry and Technology Forum 产业与科技论坛.

6.Liu Buchen刘步尘.(2016)中国家电三巨头,谁与争锋[Who is the Top among Three Home Appliance Enterprises in China].Chinese and Foreign Management 中外管理.

7.Haier Co., Ltd,https://www.haier.com/

8.Gree Co., Ltd,https://www.gree.com/

9.Midea Co., Ltd,https://www.midea.com/cn/

[1] Baidu Encyclopedia百度百科：Gree,格力

[2] Baidu Encyclopedia百度百科：Haier,海尔

[3] Baidu Encyclopedia百度百科：Midea,美的

[4] Duan Qiang段强.(2013)格力电器营销战略研究[Research on Marketing Strategy of Gree Electric Appliance]. Huazhong University of Science and Technology 华中科技大学.

[5] Huang Xu黄旭.(2017)海尔产品的品牌效应和营销策略[Brand Effect and Marketing Strategy of Haier Products].Industry and Technology Forum 产业与科技论坛.

[6] Liu Buchen刘步尘.(2016)中国家电三巨头,谁与争锋[Who is the Top among Three Home Appliance Enterprises in China].Chinese and Foreign Management 中外管理.

[7] Haier Co., Ltd,https://www.haier.com/

[8] Gree Co., Ltd,https://www.gree.com/

[9] Midea Co., Ltd,https://www.midea.com/cn/--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:53, 19 December 2020 (UTC)

==Wang Xuan 王轩==
===National Flag of the People’s Republic of China===
===A A brief introduction of National Flag of the People's Republic of China===
The national flag of the people's Republic of China is a five-star red flag, the symbol of the country. Zeng Liansong is the designer of the national flag. Red and rectangular, its length and height are three to two. Five yellow five pointed stars are decorated on the top left of the flag. One star is larger, and its circumscribed circle diameter is three tenths of the flag height, which is on the left; the four stars are smaller, and their circumscribed circle diameter is one tenth of the flag height, and the ring is arched to the right of the big star.
The national flag of the people's Republic of China began to solicit the design of the national flag from July 14 to August 15, 1949. On August 20, 1949, the national flag and national emblem Selection Committee received 2992 (3012) national flag designs. On September 27, 1949, deputies to the first plenary session of the National Committee of the Chinese people's Political Consultative Conference (CPPCC) passed a motion to use the five-star red flag as the national flag. On October 1, 1949, the first national flag was first raised by Mao Zedong in Tiananmen Square.
The red flag of the people's Republic of China symbolizes revolution. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party. The five pointed stars are used in yellow to show light on the red ground. Each of the four small five pointed stars faces the center of the big star, indicating unity around a center.

===B Establishment process===

===1. Solicit comments from the public===

On June 15, 1949, the Preparatory Committee for the National Committee of the Chinese people's Political Consultative Conference (CPPCC) was formally established in Peiping, shortly after Liberation. The preparatory work undertaken by this committee included the important task of formulating the national flag of new China, and designated the sixth group of the Preparatory Committee to be responsible for it.
On 4 July 1949, the sixth group held its first meeting. The meeting decided to publish newspapers to solicit the patterns of the national flag and the national emblem, and to set up a selection committee for the national flag and the national emblem pattern and the national lyrics score. In addition to the group members participating in the selection, Xu Beihong, Liang Sicheng, Ai Qing and other experts were invited to participate.
From July 14 to August 15, 1949, people's daily, Jiefang Daily, Xinhua daily and other newspapers and periodicals published the notice of the preparatory meeting of the Chinese people's Political Consultative Conference asking for the design of the national flag. The news of asking for the design of the national flag quickly spread to the whole country and overseas. Many people in their spare time, spread out the paper and began the design work. They carefully designed and drew one pattern after another with their own characteristics, marked with detailed instructions, and sent them to Beijing. They regard the design and drawing of the national flag as a glorious and noble thing to pour their boundless love for new China.

===2. Collect drafts from all walks of life===

On August 20, 1949, the national flag and national emblem Selection Committee received 2992 pieces of national flag patterns. Guo Moruo, Chen Jiageng and other members of the preparatory committee also submitted their sample designs. These designs were displayed in the temporary reading room. The selection committee selected 38 draft plans from them and incorporated them into the reference materials for the design of the national flag and submitted them to the newly established Chinese people's Political Consultative Conference for discussion.

===3. Pass a resolution===

The design of the national flag of the Chinese people's Political Consultative Conference (CPPCC) was approved in the 32nd session of the Chinese people's Political Consultative Conference. In the pattern of five-star red flag before this, there are sickles and axes in the big stars. Before the adoption of the resolution, the national flag and national emblem review group made partial modifications to the design pattern, and made a unified explanation on the significance of the national flag pattern.
On September 27, 1949, the resolution on the capital, chronology, national anthem and national flag of the people's Republic of China, adopted at the first plenary session of the CPPCC National Committee, stipulates in the fourth point that "it is unanimously adopted: the national flag of the people's Republic of China is a five-star red earth flag, which symbolizes the great unity of the revolutionary people of China." The resolution of the Chinese people's Political Consultative Conference on the capital, chronology, national anthem and national flag of the people's Republic of China and the measures for flag making adopted by the presidium of the Chinese people's Political Consultative Conference stipulate that the national flag of the people's Republic of China is a five-star red flag, which is rectangular, and symbolizes revolution.

Its length and height are three to two, and five yellow five pointed stars are on the top left of the flag, symbolizing the revolutionary unity under the leadership of the Communist Party of China The star symbolizes red with yellow, and the earth is bright. One star is larger, its circumscribed circle diameter is 3 / 10 of the flag height, which is on the left; the four stars are smaller, and their circumscribed circle diameter is 1 / 10 of the flag height, and they are circled on the right side of the big star, and each has an angle point facing the center of the big star, which expresses the aspiration of hundreds of millions of people to the great Communist Party of China, just like the northern star. The flagpole cover is white to distinguish it from the red flag.
On September 29, 1949, the people's Daily published the pattern of the new national flag and the explanation of its making method, which were provided to all walks of life for making and using.
On October 1, 1949, the first national flag of the people's Republic of China was first raised by Mao Zedong in Tiananmen Square.

===C Symbolism of the flag===
The red flag of the people's Republic of China symbolizes revolution. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party. Yellow is used to show light on the red ground. Yellow is brighter and more beautiful than white. Each of the four small Pentagram stars has a point facing the center of the big star, which means that they are united around a center and are compact and beautiful in form.

=== Terms and expressions ===

五星红旗 five-star red flag

中国共产党 the Communist Party of China(CPC)

全国政治协商会议 the Chinese People's Political Consultative Conference(CPPCC)

《人民日报》 People's Daily

《解放日报》 Jiefang Daily

《新华日报》 xinhua Daily

=== Questions ===

1. Who designed the national flag of the people's republic of China?

2. When did the national flag of the people's republic of China come into being?

3. What does the red color mean on the national flag of the people's republic of China?

4. Is there any profound meaning of the five stars on the national flag of the people's republic of China?

5. Is there any symbol meaning of the people's repuclic of China?

=== Answers ===

1. Zeng Liansong is the designer of the national flag.

2. On September 27, 1949

3. The red color of the people's Republic of China symbolizes revolution.

4. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party.

5. The red flag of the people's Republic of China symbolizes revolution. Each of the four small Pentagram stars has a point facing the center of the big star, which means that they are united around a center and are compact and beautiful in form.

=== References ===

[1] Barnabas Cristóbal. Constitution of the People's Republic of China[J]. 2011.

[2] Surhone L M , Timpledon M T , Marseken S F , et al. National Emblem of the People's Republic of Chcina[J]. 2010.

[3] Surhone L M , Timpledon M T , Marseken S F , et al. National Emblem of the People's Republic of China[J]. 2010.

[4] 高军. 中华人民共和国国旗的符号学浅析[J]. 美术教育研究, 2012, 000(011):46-47.

[5] 王哉. 五星红旗是怎样设计出来的——曾联松设计中华人民共和国国旗始末[J]. 山东农机化, 2016, 000(005):49-50.

[6] 霞飞. 中华人民共和国国旗诞生始末[J]. 党史文苑(7期):4-11.

[7] 中央档案馆. 中华人民共和国国旗国徽国歌档案[M]. 中国文史出版社, 2014.

==China's Four New Inventions -Wu Qiong 吴琼 202070080644 MTI 英语口译==

Most people must have known about China's Four Inventions: gunpowder, paper-making, compass, and printing. Those represented how wise the Chinese was and how brilliant history China had. Today, China still holds the places and influence in technology and inventions. In May,2017, teenagers from 20 nations along the Belt and Road selected China's four new inventions: high speed railway, QR code payment, sharing bikes and online shopping. Though these new inventions are not first invented by China, but it is China that makes full use of them, and introduces them to the rest of the world. The four new inventions bring incredible changes and convenience into people's life. China, at the same time, makes contributions to the development of the human beings. World's future will be bright and prosper due to more technologies and inventions such as China's Four New Inventions.

===A. High-speed railway ===

High-speed railway is a railway system with advanced design and high-speed rails run on it. The world's first official high-speed rail system is the Tokaido Shinkansen line and it goes into public in 1964, connecting the three major metropolitan circles of Japan: Tokyo, Nagoya and Osaka. The high speed railway has promoted the rapid development of Japan. Its designed speed is 200km/h, which then becomes the initial speed standard of high-speed rail. Later, with the advancement of technology, the speed of trains became faster. Different countries have different definitions of high-speed railways in different eras. According to statistics, the length of high-speed railways in operation in China has reached to more than 6,800 kilometers. China has become the country with the most comprehensive high-speed railway system technology, the strongest integration capability, the longest operating mileage, the highest operating speed, and the largest scale of construction in the world.(东海道新干线のバイパス[J].中央新干线委员会 [[File:Tokaido Shinkansen line.JPEG|600px|thumb|right|Tokaido Shinkansen line]]

====Features====

1. High-speed railways are very smooth to keep safety and comfort. With all seamless steel tracks, and a speed of more than 300 kilometers per hour，they use ballastless tracks, that is, a monolithic track bed without stones to maintain smoothness.

2. The high-speed railway has few bends, as the bend is of long radius, and the turnouts are all moveable high-speed turnouts.

3. Use a large number of viaducts and tunnels to ensure ride comfort and shorten the distance.

4. The catenary of the high-speed railway suspends the wires on the top of the train and is also different from that of ordinary railways to keep stability and durability of the high-speed EMUs

5. The signal control system of high-speed railways is higher than that of ordinary railways, because of the frequent departure and high speed of rails, it should be of high safety. (科普中国,2020)

====Merits====

1. Large passenger capacity. Generally, high speed rails can accommodate 600 people. Compared to other public tools such as bus, boat or airplane, high speed rails have more seats.

2. Less time-consuming. In addition to the maximum operating speed, passengers are more concerned about travel time. High speed rails will not operate in late night, so passengers can get off the rails almost in daytime, thus to finish their business or other private matters which helps save a lot of time.

3. Good safety. Due to the automatic operation of high-speed rails in a fully enclosed environment and a series of complete safety guarantee systems, thus no other transportation means can be matched with it. Since the advent of high-speed railway 35 years ago, Japan, Germany, and France have already transported 5 billion passengers. Although there have been major traffic accidents on high-speed railways, the accident rate is much lower than that of civil aviation and is almost negligible. It is still the safest transportation system.

4. High punctuality. All high-speed railways adopt automatic control and can operate around the clock unless there is an earthquake.

5. Comfortable and convenient. High speed rails have spacious and comfortable seats, stable operation, shock absorption, sound insulation, and quiet environment.

6. Low energy consumption. High-speed trains use electric traction, do not consume precious petroleum and other liquid fuels, and use various forms of energy, which is not a wasteful transportation mean.(Kang Tianchi 2018)

'''Terms and Expressions'''

High speed railways高速铁路 the Tokaido Shinkansen line东海道新干线[[File:highspeedrail.JPEG|600px|thumb|right|High speed rail]]

the three major metropolitan circles of Japan: Tokyo, Nagoya and Osaka.日本三大都市圈: 东京、名古屋和大阪

integration capability整合能力 operating mileage运营里程.

seamless steel tracks无缝钢轨 ballastless track无砟轨道

a monolithic track bed整体式道床 moveable high-speed turnouts.可动心高速道岔

viaducts and tunnels高架桥梁和隧道 high-speed EMUs.高速动车组

shock absorption and sound insulation减震隔音 petroleum and other liquid fuels石油等液体燃料

'''Questions'''

1. Where does the first high speed railway come from?

2. What is the name of the first high speed railway?

3. What is the advantages of high speed railway?

4. What are the features of high speed railway?

5. Which transportation carries more passengers, high speed rails or trains?

6. From Changsha to Shanghai, which transportation means will you choose?

'''Answers'''

1. The first high speed railway come from Japan

2.The name of the first high speed railway is Tokaido Shinkansen line.

3.The advantages of high speed railways are fast, smooth, safe and comfort.

4. The features of high speed railway viaducts and tunnels and signal control system.

5. High-speed rails carries more passengers.

6. High-speed rails.

===B. QR code payment===

The QR code payment model is based on the concept of mobile payment, and the first batch of payments made by mobile devices occurred in Finland in 1997. Finnish local media reported that Finland Telecom has enabled the service of operating jukeboxes and beverage vending machines by dialing a pay phone number. This service allows you to buy Coca-Cola at Helsinki Airport. The QR code, also known as "two-dimensional code" was invented in 1994 by the Japanese company DW. and nowadays, we usually use Alipay or WeChat pay to finish the process of payment.

====Background====

The rise of QR code payment methods in China is not occasionally. It is mainly related to the rapid development of IT technology and the rapid advancement of e-commerce. The maturity of IT technology has promoted the birth of mobile terminals such as smart phones and tablet computers, which makes people's mobile life more colorful. At the same time, domestic e-commerce is also closely related to "mobile", especially the development of O2O. With a large number of mobile devices and a large amount of mobile consumption, payment costs have become particularly critical. Therefore, QR code payment solutions came into being. (China's Four New Inventions 2018)

====Characteristics====

At the end of 2010, QR codes and related technologies were widely circulated on the Internet, marking the beginning of the widespread popularity of QR codes in China. The popularity of any thing must have its reasons, and so is QR code payment. [[File:Alipay.JPEG|500px|thumb|right|Alipay]]

1. Mature technology
QR code payment already has mature technical means in developed areas abroad, which has laid the foundation for the development of domestic QR code technology, and it is believed that it will quickly become popular.
2. Easy to use
After the user installs the QR code recognition software, the transaction can be completed by simply swiping the place where the QR code is posted.
3. Convenient payment
With the QR code payment method, merchants do not have to bear high cost payments such as cash on delivery, and consumers can also make real-time payments anytime, anywhere.
4. Lower cost
Due to the maturity of technology and the popularization of mobile devices, the cost of QR code payment has become very low. (科普中国，2020）

'''Terms and Expressions'''

QR code (Quick Response code)快速反应码

Finland芬兰 Telecom电信

jukebox点唱机 beverage vending machine饮料自动售货机

Helsinki Airport 赫尔辛基机场

'''Questions'''

1. What advanced the birth of QR code?

2. When did the QR code become popular in China?

3. Why does QR code cost lower?

4. When was the QR code invented?

'''Answers'''

1. The maturity of IT technology advanced the birth of QR code.

2. At the end of 2010, QR code become popular in China.

3. Merchants do not have to bear high cost payments such as cash on delivery.

4. QR code invented in 1997.

===C. Shared bikes===

As early as 1965, the Municipal Government of Amsterdam in the Netherlands proposed the "White Plan". According to the plan, the government purchased 50 bicycles and painted them with white paint as a sign and scattered them around the city for people to use. This was the earliest in the world. The unmanned shared bicycle system is invented by the Netherlands. In 2007, France also had free cycling, and it was only later that China became popular and innovative models developed and promoted overseas.

====Function and Using Steps ====

By providing services on campuses, subway stations, bus stations, residential areas, commercial districts, public service areas, etc., bicycle-sharing (bicycle) companies complete the ”last mile“ in the transportation industry and drive residents' enthusiasm for using other public transportation. Produce synergy with other public transportation methods. Shared bicycles are a time-sharing lease model and a new type of green and environmentally friendly sharing economy. (Du Yuheng, Han Wei, Kou Jingli, China Statistics 2018)

1. Find a free shared bike, download the bike sharing app, pay a deposit, and enter your password to use the bike.[[File:shared bike.JPEG|500px|thumb|right|Shared bike]]

2. Use the app to find the nearest shared bike, click on the "Use Bike Now" button and enter a set of numbers on the bike to use the bike.

3.Download the bike sharing app, find the vacant bikes, click the "Use Bike Now" button, get a set of numbers, and enter a set of numbers on the bike to use the bike.

====Development====

China's bike-sharing market has gone through three stages of development. The first phase is from 2007 to 2010. The public bicycle model that has emerged from abroad is introduced into the country, and the government will lead the management in different cities, mostly with piled bicycles. 2010-2014 is the second stage. Companies specializing in the bicycle market began to appear, but public bicycles are still dominated by piled bicycles. The third phase is from 2014 to 2018. With the rapid development of the mobile Internet, Internet shared bicycles led by Mobike came into being, and more convenient dockless bicycles began to replace docked bicycles. (Du Yuheng, Han Wei, Kou Jingli 2018)

'''Terms and Expressions'''

Amsterdam阿姆斯特丹 the unmanned shared bicycle system 无人管理的共享单车系统

free cycling 单车自由行 residential areas 居民区

last mile ”最后一公里“ green and environmentally friendly economy 绿色和环境友好型经济

the first phase第一阶段 dockless bicycles无桩单车

'''Questions'''

1. Which country invented the shared bike?

2. What is the main purpose for the invention of shared bike?

3. How many phases at present have the shared bikes experienced?

4. How's the prospect of the shared bikes?

'''Answers'''

1. Netherlands invented the shared bike.

2.To complete the ”last mile“ in the transportation industry and drive residents' enthusiasm for using other public transportation

3. There are three phases at present have the shared bikes experienced

4. With the development of the four new inventions, the shared bikes will be more and more developed.

===D. Online shopping===

Online shopping belongs to the category of e-commerce. In 1979, the British Michael Aldrich invented the concept of online shopping. Aldrich used a technology called Videotex to connect an ordinary TV set to the computer of a local retailer through a telephone line. By the 1990s, after Amazon and eBay launched their websites in 1995, e-commerce became popular around the world.

====Definition====

Retrieve product information through the Internet, and send a shopping request through an electronic order form, and then fill in a personal checking account or credit card number. The manufacturer will ship the goods by mail order or deliver the goods to the door through a courier company. For online shopping in China, the general payment method is cash on delivery (direct bank transfer, online remittance) and cash on delivery for secured transactions. (科普中国 2019） [[File:Online Shopping.JPEG|600px|thumb|right|Online Shopping]]

====Development====

As early as 1999, Chinese Internet prophets began to build B2C websites, dedicated to promoting online shopping in China. But this approach was generally questioned by the economics community at that time. (Will there be enough consumers shopping online? Can online shopping solve the problem of logistics and distribution? Can online shopping solve the problem of online payment?) However, in the future, these doubts will all go away. They have been solved by large shopping websites, courier companies other than postal services, and many third-party online payments that connect with major banks.

With the development of the economy, online shopping has gradually reappeared. In 2005, Dangdang achieved annual sales of 440 million yuan, a figure that greatly exceeded the expectations of most investment institutions two or three years ago. This number proves the success of the Amazon (famous e-commerce website) model in China, as well as the over-pessimism of economists and the greatness of market forces.

With the popularity of the Internet, the advantages of online shopping have become more prominent, and it has increasingly become an important form of shopping. The 29th Statistical Report on Internet Development in China released by the China Internet Network Information Center (CNNIC) in January 2012 shows that as of the end of December 2011, the number of Internet users in China reached 513 million, with 55.8 million new Internet users throughout the year; The penetration rate increased by 4 percentage points from the end of last year, reaching 38.3%. The number of mobile Internet users in China reached 356 million, a year-on-year increase of 17.5%. Compared with previous years, the growth of China's overall Internet users has entered a platform period.（Han Yuanjia 2017）

'''Terms and Expressions'''

retrieve product information检索商品信息 a courier company快递公司

direct bank transfer直接银行转账 online remittance在线汇款

secured transactions担保交易 cash on delivery货到付款 logistics and distribution 物流配

'''Questions'''

1. What are people concerning about before the online shopping came true?

2. How could people pay online?

3. How was the situation in the previous economic field?

'''Answers'''

1. Will there be enough consumers shopping online? Can online shopping solve the problem of logistics and distribution? Can online shopping solve the problem of online payment?

2. the general payment method is cash on delivery (direct bank transfer, online remittance) and cash on delivery for secured transactions.

3. The manufacturer will ship the goods by mail order or deliver the goods to the door through a courier company.

===References===

中国“新四大发明”(2018).时代英语. English Times.

Wu Fangyi 吴方意.(2019).浅谈中国古代四大发明与大一统性[An Introduction to the Four Great Inventions of Ancient China and Grand Uniformity].西部学刊, Western Journal (16):133-136.

Kang Tianchi 康天驰.(2018).中国“新四大发明”“走出去”研究[Research on China's "Four New Inventions" and "Going Global].知识文库,Knowledge Library (11):244.

Du Yuheng, Han Wei, Kou Jingli 杜禹珩,韩伟,寇京丽.(2018).中国新四大发明之共享单车[China's New Four Inventions of Bicycle Sharing].中国统计,China Statistics.(03):77.

Han Yuanjia 韩元佳.(2017). 看“新四大发明”如何讲述中国奇迹?[See how the "Four New Inventions" tell the story of China's miracle?].创新时代,The Age of Innovation. (12):28-29.

Wanying Xie,Zeshui Xu,Zhiliang Ren. An Analysis on the Influence of Chinese “New Four Inventions” Under the Incomplete Hybrid Probabilistic Linguistic Environment[J]. International Journal of Fuzzy Systems,2019,21(5).

Zhou Yixiang 周一翔.(2017).The “New Four Great Inventions” of China Impact on the World.校园英语,Campus English(52):255.

Deborah Strumsky,José Lobo. Identifying the sources of technological novelty in the process of invention[J]. Research Policy,2015,44(8).

东海道新干线のバイパス[J].中央新干线委员会

==Wu Yilu 吴一露 202070080610==
===Four Domestic Mobile Phones===

===A.Huawei===

Huawei is probably the name that needs no introduction among all the Chinese phone manufacturers. “It's the world's second largest smartphone company, and it's at the center of an international battle for technological dominance between Beijing and Washington.” (Sareena Dayaram, 2020)

Founded in 1987, Huawei focuses on providing information and communications technology (ICT) infrastructure and smart devices. With more than 194,000 employees, this company operates in more than 170 countries and regions, serving more than three billion people around the world. Huawei is a private company wholly owned by its employees. It means no government agency or outside organization holds shares in Huawei. (Huawei Device Co., Ltd, 2020)

Their vision and mission is to bring digital to every person, home and organization for a fully connected, intelligent world. (Huawei Device Co., Ltd, 2020) The benefits of digital technology shouldn't just be available to those who can afford it. Huawei's mission is to expand the benefits of technology to everyone, everywhere. To achieve this, they've developed a digital inclusion strategy that focuses on three areas: technology, applications, and skills. For example, three main world-changing technologies built by Huawei are 5G, Huawei cloud and Huawei AI.

"Staying customer-centric and creating value for customers" are the company's common values. (Huawei Device Co., Ltd, 2020) The company has a well-developed internal governance structure, under which all governance bodies have clear and focused authority and responsibility, but operate under checks and balances. This creates a closed cycle of authority and achieves rational and cyclical succession of authority, so as to drive the facilitation and implementation of the company's common values.

[[File:Corporate Governance Structure.jpg|650px|thumb|middle|Diagram of Huawei Corporate Governance. Click [https://www-file.huawei.com/-/media/corporate/images/about-huawei/2020/corporate-governance-structure-18en.png?la=en-us/File:Corporate Governance Structure.jpg] for original source.]]

Huawei is continuing to focus on research and innovation to seize the opportunities and address the challenges of the future intelligent world. There are many innovations and inventions of Huawei to drive the industry forward, including advanced wireless networks, optical networks, intelligent O&M, AI computing, smartphone camera, media CODEC standards, software, trustworthiness and so on. From this we can find that the main business of Huawei is communication stations，while that of Apple is consumer electronics. Today, Huawei have entered the 5G ear and embarked on 6G research. It is exploring new directions for 6G. To this end, they began research into the basic theories of 6G and initiated extensive open collaboration projects with other industry players and pushed the industry to build a consensus on 6G. (Huawei Device Co., Ltd, 2020)

Since the top executive (the daughter of the company's founder) Meng Wangzhou was arrested in Canada for an alleged violation of US sanctions with Iran, this telecommunication giant, which was unknown to most American, appeared frequently in newspapers, especially since the US Commerce Department banned American companies from doing business with Huawei without first obtaining a license. (Sareena Dayaram,2020)

For Huawei, that meant it could lose access to crucial technological parts including semiconductors, which are key components used in its base stations and phones. It also meant Huawei's handsets cannot use Google's Android operating system, which provides several popular apps including the Google Play store, Gmail, Google Maps and apps that rely on Google like Uber and eBay. (Sareena Dayaram,2020) The Mate 30 was Huawei's first major phone to launch without Google's proprietary apps. All people thought this would decrease Huawei’s sale. Of course, it does. But the company reported first-half earnings showing revenue grew more than 13% from a year ago to around $65 billion.

===Terms and Expression===

Huawei cloud 华为云 Intelligent Collaboration 协同管理技术

optical networks 光纤网络 Carrier Network 承载网络

intelligent O&M 智能委托运营 the Kunpeng 920 鲲鹏920

AI computing 人工智能计算 AppGallery 华为应用程序库

information and communications technology (ICT) 信息与通讯技术 Media CODEC standards 编解码标准

===Questions:===

1.When is Huawei founded?

2.How many countries and regions does Huawei operate?

3.Do government agency and outside organization hold shares if Huawei?

4.What is the vision and mission of Huawei? And what do they do to achieve this mission?

5.What are the three main world-changing technologies built by Huawei?

6.What are the innovations and inventions of Huawei?

7.What are the company’s common values?

8.What makes that the telecommunications giant frequently was mentioned across newspapers?

9.Which phone is the first major phone launched without Google’s proprietary apps？

10.What’s your opinion towards these two issues mention above? Will these hinder the development of Huawei?

===Answers:===

1. It is founded in 1987.

2. It operates in more than 170 countries and regions

3. No, no government agency or outside organization holds shares in Huawei.

4. Their vision and mission is to bring digital to every person, home and organization for a fully connected, intelligent world; their mission is to expand the benefits of technology to everyone, everywhere. To achieve this, they've developed a digital inclusion strategy that focuses on three areas: technology, applications, and skills.

5. 5G, Huawei cloud and Huawei AI.

6. Advanced wireless networks, optical networks, intelligent O&M, AI computing, smartphone camera, Media CODEC standards, software, trustworthiness and so on.

7. "Staying customer-centric and creating value for customers" are the company's common values.

8. ①Top executive (and daughter of the company's founder) Meng Wangzhou was arrested in Canada for an alleged violation of US sanctions with Iran.

②the US Commerce Department banned American companies from doing business with Huawei without first obtaining a license.

9. The Mate 30.

10. In my opinion, these are totally unfair to Huawei, as well as China’s companies and economy. The Meng Wanzhou case is a serious political incident orchestrated by the United States to suppress Chinese high-tech companies and Huawei. It is also a kind of protectionism, which is divorced from the trend of globalization. We cannot deny that those actions will hinder the development of Huawei, specially some necessary chips. Although Huawei made preparation in advance, the core products are guaranteed to be available for six months to two years. In addition, Huawei has self-developed a large number of chip designs. But the following three areas are difficult to replace in the short term: manufacturing, semiconductor equipment and EDA software. On the one side, these issues, obviously, will obstruct the development of Huawei, but on the other side, they also promote the process of autonomy of domestic chips.

===References===

Sareena Dayaram, Huawei, OnePlus and beyond: China's biggest smarthone brands you should know about, https://www.cnet.com/news/huawei-oneplus-china-biggest-smartphone-brands-you-should-know-about-lenovo-meizu-xiaomi-oppo-vivo/, 2020.

Huawei Device Co., Ltd, https://consumer.huawei.com/en/about-us/, 2020

===B. Xiaomi===

Xiaomi is one of China's earlier homegrown success companies. It is an internet company with smartphones and smart hardware connected by an IoT platform at its core. Founded in April 2010 and listed on the Main Board of the Hong Kong Stock Exchange on July 9, 2018, Xiaomi has matured into one of China's domestic champions. (Xiaomi, 2020)

With the vision of being friends with its users and being the “coolest company” in the hearts of its users, Xiaomi is committed to continuous innovation, with an unwavering focus on quality and efficiency. Xiaomi is currently the world's fourth-largest smartphone brand, and has established the world's largest consumer IoT platform, with more than 213.2 million smart devices (excluding smartphones and laptops) connected to its platform--- Xiaomi Vela.(Xiaomi, 2020)

[[File:Xiaomi-logo.jpg|100px|thumb|left|Xiaomi-logo. Click [https://https://upload.wikimedia.org/wikipedia/commons/thumb/2/29/Xiaomi_logo.svg/800px-Xiaomi_logo.svg.png/File:Xiaomi-logo.jpg] for original source.]]

Currently, Xiaomi products are present in more than 90 countries and regions around the world and have a leading foothold in many markets. The "MI" in its logo stands for “Mobile Internet”.(Xiaomi,2020) It also has other meanings, including "Mission Impossible", because Xiaomi faced many challenges that had seemed impossible to defy in its early days.

“Just for fans”--- that’s Xiaomi’s belief. Many of their employees were initially fans of Mi products, before they decided to join them. The company relentlessly builds amazing products with honest prices to let everyone in the world enjoy a better life through innovative technology. “This low-margin strategy has helped Xiaomi cultivate a loyal fan base, especially in price-sensitive countries in Asia like India, where its slick Android phones often sell out within hours of release.” (Sareena Dayaram,2020)

Besides selling phones, Xiaomi also generates its revenue from the sale of software and services. It also sells a portfolio of its own smart products including bedside lamps and air purifiers to help build its Mi brand internationally. But, Xiaomi also learns from many of its rivals to sell more expensive phones “This strategy seems to have paid off, with the company reporting nearly 14% revenue growth in the first quarter despite the business challenges of the coronavirus pandemic.” (Sareena Dayaram,2020) While Samsung and Apple have both warned of a challenging year ahead.

“The investment in the world’s fastest-growing mobile market, where over 300,000 people power up their first smartphone every day, has made Xiaomi India’s bestselling smartphone brand for three years running. In 2020 so far, it has sold 29 million phones, 2 million more than in China, to control a full quarter of India’s smartphone market.”(Emon Barrett & Grady Mcgregor, 2000) Another reason for its success is that when Xiaomi offered 4G services，while competitors like Samsung，Microsoft，and Indian brand Micromax were still stuck on 3G. But it does face one strong headwind: Indian consumers’ anti-China sentiment. A border skirmish between Indian and Chinese military forces in June ignited boycotts of Chinese goods. Prime Minister Narendra Modi’s nationalist government keeps stoking the backlash, which means Xiaomi’s trajectory on the subcontinent may depend on whether the roots it planted in India qualify the brand as Indian enough.

===Terms and Expression===

IoT（Internet of Things）物联网 robot vacuums 机器人吸尘器

Xiaomi 小米 powerbank 充电宝

VR glasses 虚拟现实眼镜 UAV(Unmanned Aerial Vehicle) 无人机

electric scooters 电动平衡车 WiFi rooters 无线路由器

===Questions:===

1.When is Xiaomi founded?

2.What is the core of this company？

3.What’s Xiaomi’s ranking in the world’s smartphone brands？And what are the top 4 smartphone brands？

4.What does the "MI" in its logo stand for？

5.What is Xiaomi’s belief？

6.What has helped Xiaomi cultivate a loyal fan base？

7.How does Xiaomi generate its revenue？

8.What problem does Xiaomi confront in India？and Why？

9.What’s your opinion about the future of Xiaomi in Indian market？

===Answers===

1. It is founded in April 2010.

2. The IoT platform.

3. Xiaomi is currently the world's fourth-largest smartphone brand. The top four smartphone brands are Apple, Huawei, Samsung and Xiaomi.

4. Xiaomi Vela.

5. It stands for “Mobile Internet” and "Mission Impossible".

6. “Just for fans”--- that’s Xiaomi’s belief.

7. The low-margin strategy.

8. Xiaomi generates most of its revenue from selling phones, but recurring revenue from the sale of software and services.

9. Indian consumers’ anti-China sentiment. Because a border skirmish between Indian and Chinese military forces in June ignited boycotts of Chinese goods, and then Prime Minister Narendra Modi’s nationalist government keeps stoking the backlash
10.What’s your opinion about the future of Xiaomi in Indian market？
Although we can find that Xiaomi made instant reaction to confront with this boycott by telling local media that Xiaomi was “as Indian as any other company here” , competitors like Samsung, took this chance and began flooding India with phones that could compete with Xiaomi’s features and affordability. So only if the relationship between China and India become better or Xiaomi figures a new way, otherwise, Xiaomi’s market in India will shrink gradually.

===References===

Emon Barrett & Grady Mcgregor,How Chinese phonemaker Xiaomi conquered India—and outperformed Apple, https://fortune.com/2020/12/03/xiaomi-china-phones-apple-mobile-iphone/, 2020.

Sareena Dayaram, Huawei, OnePlus and beyond: China's biggest smarthone brands you should know about, https://www.cnet.com/news/huawei-oneplus-china-biggest-smartphone-brands-you-should-know-about-lenovo-meizu-xiaomi-oppo-vivo/, 2020.

Xiaomi, About Us, https://www.mi.com/global/about/, 2020.

===C. VIVO & OPPO===

Have you ever heard about VIVO? If not, then how about its older and larger sibling OPPO. Although OPPO and VIVO aren't household brands in the West, both have vaulted up the global rankings to place within the top six smartphone manufacturers in a comparatively short period of time, due partially to the popularity of their affordable phones among young consumers. (Sareena Dayaram,2020) These two Chinese phone-makers, with similar marketing strategies like Xiaomi, use high-profile product placement and sponsorships to win over European shoppers. Besides, OPPO and VIVO smartphones are always in eye-catching glossy colors which looks good, but it’s plastic and light.So there is still much room for improvement for these two brands.

Are VIVO and OPPO same? If you didn’t know these two brands, you may say no. But yes, even though OPPO and VIVO stress that they're competitors, both companies were spun out of the same parent company. OPPO and VIVO share the same parent company mainly known as BBK Electronics Corporation (Headquarters at Dongguan, Guangdong – China). BBK Electronics Corporation is a Chinese multinational firm specializing in electronics such as television sets, MP3 players, digital cameras and cell phones too. “BBK Electronics is also considered as the world’s 2nd-largest phone manufacturer company, which manufactures some of the fastest growing smartphones brands in Asia.” (Anchit Sharma, 2019) They recently got popular in developing countries of Asia such as India, Pakistan, Bangladesh and also in developed countries like China itself.

At the 2020 Developer Conference, Color OS 11 launched by OPPO focuses on personalized creation, seamless experience, and sensory invigoration. While the Origin OS launched by VIVO carried out subversive innovations mainly in UI design. The OPPO Developer Conference focuses on the integration of people, equipment and scenes. (OPPO, 2020) VIVO’s mission is to make their consumers’ lives extraordinary through introducing innovative technology and being a trendsetter.(vivo Mobile Communication Co., Ltd. , 2020)

With the development of 5G, the interconnection of everything is the most significant trend. Both OPPO and VIVO have demonstrated cross-device synergy in the OS upgrade, and they also attach great importance to the construction of the IoT ecosystem. There are 6 research and development centers of VIVO working on leading technologies: Beijing, Nanjing, Hangzhou, Dongguan, Shenzhen and San Diego (USA), and 4 global manufacturing bases delivering premium quality products: Dongguan, Chongqing, India and Republic of Indonesia. (vivo Mobile Communication Co., Ltd. , 2020)

===Terms and Expression===

OS 操作系统（operating system） VOOC 闪充

BBK 步步高 Fingerprint unlocking 指纹解锁

accessories 配件 octa-core processor 八核心处理器

===Questions:===

1.What’s the relationship between OPPO and VIVO？

2.What are the characteristics of OPPO and VIVO smartphones？

3.Where is the headquarter of BBK Electronics Corporation？And what is it specializing in？

4.Where are the major markets of BBK Electronics Corporation？

5.Please give a example of products from each brands.

6.What does the OPPO Developer Conference focus on？

7.What’s the mission of VIVO？

8.How many research and development centers does VIVO have？And where are they？

9.How many global manufacturing bases does VIVO have？ And where are they？

--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 15:50, 4 December 2020 (UTC)

===Answers===

1. They're competitors, but they were also spun out of the same parent company.

2. Affordable and eye-catching glossy colors.

3. The headquarters locates at Dongguan, Guangdong, China. It specializing in electronics such as television sets, MP3 players, digital cameras and cell phones too.

4. Developing countries of Asia such as India, Pakistan, Bangladesh and also in developed countries like China itself.

5. OPPO: Color OS 11;VIVO: Origin OS.

6. It focuses on personalized creation, seamless experience, and sensory invigoration.

7. VIVO’s mission is to make their consumers’ lives extraordinary through introducing innovative technology and being a trendsetter.

8. 6 research and development centers. They are in Beijing, Nanjing, Hangzhou, Dongguan, Shenzhen and San Diego (USA).

9. 4 global manufacturing bases. They are in Dongguan, Chongqing, India and Republic of Indonesia.

===References===

Anchit Sharma, The Company behind OPPO, VIVO, OnePlus and Realme Smartphones is same?,https://www.techworm.net/2019/06/company-oppo-vivo-oneplus-realme.html,2019.

vivo Mobile Communication Co., Ltd. , https://www.vivo.com/in/about-vivo/culture, 2020.

OPPO, https://www.oppo.com/en/about/, 2020.

==Chinese Dialects Wu Zijia 吴子佳 202070080645 MTI 英语口译==

===A.Brief introduction of Chines dialects===

The words topolect and hibernation, all comes from Yangxiong (53-18), "Interpretation of Foreign Dialects: Light Xuan“in the Han dynasty. "Dialect" refers to different meanings in different groups, according to the Chinese , "dialect " is both a political concept and a linguistic one, and it is also known as "Vernacular ". "Accent", refers to the difference in the language standard of a certain region, such as relationship between relatives regardless of the language."Dialect",however, is a linguistic concept in Europe, subordinating under the concept of"language" at the beginning of the eighteenth century. Based on the relationship between the language (pronunciation, vocabulary and grammar),it is divided into family, group, branch and language.Considering the special national situation of China, The translation of "Chinese dialects" into English is "Varieties of Chinese".According to the European , dialect is a language that differs from the standarded language and is spoken in only one certain region.( Julie M. Groves 2008,1)

China enjoys a vast field and a long history. In the process of historical development, different divisions and unification inevitably occurred in the society, which led to the gradual emergence of diverse and complex dialects system in Chinese. There are many factors contributing to the evolution of dialect, including social, historical and geographical factors, as well as the language itself.
According to the dialects, Chinese is divided into two categories: the official dialects and the nine local dialects. Official dialects ,namely modern Chinese, are not independent dialects, because they are very similar in pronunciation, vocabulary and grammar to the common language. Other regional dialects differ greatly in pronunciation, vocabulary and grammar, thus forming their own dialect systems. The official dialects include northeast Mandarin, Beijing mandarin, Ji Lu mandarin, Jiao-Liao mandarin, Central Plains mandarin, Lan-Yin mandarin, Southwest Mandarin and Jianghuai mandarin. The nine local dialects include Wu dialect, Cantonese, Fujian dialect, Hunan dialect, Hakka, Gan dialect, Hui dialect, Jin dialect and Pinghua.(Li Rong 1989,241)

===B.Hunan dialect===

Xiangyu , also known as xiang dialect or Hunan dialect, belongs to the sino-tibetan language, and is the main language used by the hunan people who live in xiangjiang river basin and its branches. Xiangyu is divided into two categories: new Xiangyu and The old Xiangyu. The new Xiangyu is represented by Changsha dialect while the old one is represented by Shuangfeng dialect.The core area of ancient Chu language is located in the middle reaches of Yangtze River, and Chu language is the ancestor language of Xiang language. Modern Xiangyu speakers are mainly distributed in a considerable part of Hunan province in Mainland China, including Changsha, Zhuzhou, Xiangtan, Yueyang, Yiyang, Loudi, Hengyang, Shaoyang, Yongzhou and so on. In 2010, the number of Xiangyu-speaker was estimated to be about 45 million. The regional dialects of Hunan province include Hunan, Southwest Official, Gan, Hakka, and Xiangxiang, southern Hunan dialect, which have not yet been classified as belonging to the dialect. Xiangyu is the main dialect of Hunan Province. Hunan province is a region that has diverse dialects. (Peng Jianguo 2006,25)

The chu dialect ,namely Chu Yan (ancient Chu language), is popular in Chu in the pre-Qin period, and it is the most ancient origin of Xiang language. The specific appearance of ancient Chu language cannot be verified today, but it is the earliest language used by the Han people in Hunan and along the Xiangjiang river. The word "Chu Yan" first appeared in Zuo Zhuan, indicating that the Chu Yan had been formed at least in the late Spring and Autumn Period, and was a branch of Chinese language,and was different from the Central Plains Yayin XiaYan at that time.There are 20-35 initials of Xiangyu, 30 to 40 finals, 5-7tones,commonly with 6.(Peng Jianguo 2006,26)

===C. Contonese===

Yueyu ,or Cantonese, Guangdong dialect and Tang dialect, is commonly known as "baihua".It is a Chinese dialect in the Chinese-Tibetan Chinese language family. Cantonese is the mother tongue of the Guangfu nationality, an important carrier of the Guangfu culture of the Han nationality, and one of the basic symbolic cultural identities of the Guangfu nationality. Cantonese has a complete language system consisting of nine tones and six volumes of tones, retaining many characteristics of Middle Ancient Chinese . Besides Putonghua, it is the only Chinese language that has been studied independently by foreign universities. (Julie M. Groves 2008,2)

As for the origin of Cantonese, there are different opinions.Some says that it originated from the Northern Mid-plain dialect and others the Chu language from the State of Chu. Cantonese is one of the southern dialects that retains more middle Ancient Chinese elements than other dialects, among which the most prominent feature is that it relatively retains the universal middle Ancient Chinese "Ru Sheng", and its initials, finals and tones have a good correspondence with the ancient Chinese standard rhymes in"Qu Yun" and "Guang Yun".(Julie M. Groves 2008,25)

Mandarin is a dominant language in Guangdong province, and the most dominant dialect is Cantonese. Hakka dialect and Fujian dialect are the other two major Chinese dialects with great influence in the province. Hakka dialect is mainly concentrated in the northeast and north of Guangdong province, and hakka dialect is also distributed in parts of western Guangdong province. Hakka villages are scattered in most parts of the province, and the number of people using this dialect is about 20 million. (Julie M. Groves 2008,60)

Fujian dialect is mainly distributed in the coastal area of the southwest and southeast of Guangdong province ,including 6 municipalities:Chaozhou, Shantou, Jieyang, Shanwei, Zhanjiang, Maoming ,and it can be divided into to language-speaking areas: they are , Chaoshan and Leizhou .The former shares some similarities with the south Fujian dialect , while the later is close to Hainan dialect.In addition, there are 18.95 million people living in some islets in Zhongshan,Huizhou, Qingyuan, Shaoguan taking Fujian dialect as their official language.(Julie M. Groves 2008,60)

===Question===

1.How many local dialects in China?

2.What are they?

3.What is the origin of the Xiang dialect.
--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 08:23, 9 November 2020 (UTC)Wu Zijia

===Answers===
1.9

2.Wu dialect, Cantonese, Fujian dialect, Hunan dialect, Hakka, Gan dialect, Hui dialect, Jin dialect and Pinghua

3.The Chu language

===References===

* Peng Jianguo 彭建国(2006)．《湘语音韵历史层次研究》.[ A Study on the Historical perspective of Xiang Phonology].”湖南大学出版社”[Hunan University Press]．25-26.

* Li Rong 李荣(1989).汉语方言的分区.[The division of Chinese dialects] (04)：241-259.

* Julie M. Groves (2008).Language or Dialect—or Topolect? A Comparison of the Attitudes of Hong Kongers and Mainland Chinese towards the Status of Cantonese .SINO-PLATONIC PAPERS.1-60.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 14:27, 20 December 2020 (UTC)Wu Zijia

==Xiao Shuangling 肖双玲 202070080611 MTI 英语笔译==

===March of the Volunteers (National Anthem of the People's Republic of China)===

===A. Brief Introduction===

March of the Volunteers is a song composed by Tian Han and Nie Er. It is the theme song of the film Children of Troubled Times, known as the clarion call of the Liberation of the Chinese nation. Since its birth in 1935 which was the critical moment of national crisis, it has played a great role in inspiring the patriotic spirit of the Chinese people, and later became the National Anthem of the People’s Republic of China.

On May 9, 1935, the first version of the song was recorded in the recording studio of EMI Records. In 1951, in order to meet the need of playing the national anthem, the People's Record Factory recorded and published a rough record composed by a brass ensemble and an orchestral ensemble. In 1959, to celebrate the 10th anniversary of the founding of the People’s Republic of China, the China Record Factory recorded and published a full set of standard national anthem special records. In 1978, a special album for collective lyrics was released. In 1983, China Record Shanghai Company recorded and published a special record for the standard national anthem after the original word was restored.

On March 14, 2004, the Second Session of the Tenth National People’s Congress passed a constitutional amendment, officially stipulating that the national anthem of the People’s Republic of China shall be the March of Volunteers.

The National Anthem Law of the People's Republic of China was adopted at the 29th Session of the 12th National People's Congress Standing Committee on September 1st, 2017, and formally went into effect on October 1st.

===B. Creation Background===

March of the Volunteers is the theme song of the film Children of Troubled Times. In the autumn of 1934, Tian Han wrote a long poem for the film, the last verse of which was selected as the lyrics of the theme song March of the Volunteers. Shortly after the lyrics were written, Tian Han was arrested and imprisoned by the Kuomintang authorities. In February 1935, director Xu Xingzhi took over the shooting of Children of Troubled Times.

Soon after, comrades who went to prison to visit Tian Han and brought back the lyrics written by him in prison on the back of cigarette packing paper, that is, the original manuscript of March of the Volunteers. At that time, Nie Er was preparing to go to Japan to seek refuge. He learned that there was a theme song to write in the film children of the wind and cloud. He took the initiative to compose music for the song and promised to send back the song manuscript as soon as possible after he arrived in Japan.

Nie Er completed the first draft of the score soon after receiving the lyrics. On April 18, 1935, after Nie Er arrived in Tokyo, Japan, he completed the final draft of the score, and sent the final draft to Shanghai Dentsu Film Company at the end of April. Afterwards, in order to make the song tune and rhythm more powerful, Nie Er and Sun Shiyi discussed and made three changes to the lyrics, thus completing the song creation.

After the early shooting of the film of Children of Troubled Times was completed, the lyrics of Tian Han's theme song did not determine the name of the song, and Nie Er's lyric composition sent back from Japan only included the word "March". General Zhu Qinglan, as the investor of the film of Children of Troubled Times, added "Volunteers" after the words of "March", thus naming the song March of the Volunteers.

===C. Song Appreciation===

The March of the Volunteers is a very creative song; the composer Nie Er devotes himself to the creation of this song with great passion. First of all, he succeeds in handling the poetic lyrics of Tian Han’s prose in accordance with the laws of music in an extremely vivid, powerful and colloquial way. In terms of melody creation, he not only absorbs the excellent achievements of international revolutionary songs and the style characteristics of Western European march, but also makes it have strong national characteristics, so that the song could be grasped by the broad masses and play its fighting role.

The song begins as a prelude to a six-bar march. It has a sonorous rhythm, bright and majestic melody, among which the magical effect of triplet enhances the fighting atmosphere of the song. Although the prelude is short, it contains the basis for the emotional and melody development of the entire song. The song is interlocked and advanced layer by layer. This process runs through the whole song, and the end of the song is repeated many times, giving people a sense of unwavering and unstoppable.

According to the characteristics of the lyrics clause, Nie Er treated the song into a free body structure formed by six phrases of varying lengths. Although the melody and structure of each phrase are different, the cohesion between the phrases is close, the development is natural, and the singing is ups and downs, and is integrated.

March of the Volunteers, with its soaring, sonorous and powerful melody and inspiring lyrics, expresses the Chinese people's strong resentment and resistance to imperialist aggression, and embodies the heroic spirit of the great Chinese nation that is brave, strong, united as one to go through national disaster when they are facing the foreign aggression.

===D. Chinese and English Lyrics===

起来！不愿做奴隶的人们！

把我们的血肉，筑成我们新的长城！

中华民族到了最危险的时候，

每个人被迫着发出最后的吼声。

起来！起来！起来！

我们万众一心，

冒着敌人的炮火,

前进！

冒着敌人的炮火，

前进！

前进！前进、进！

Arise, you who refuse to be bond slaves!

Let’s stand up and fight for

Liberty and true democracy.

All our world is facing

The chains of the tyrants.

Everyone who works for freedom is now crying:

Arise! Arise! Arise!

With the torch of freedom,

March on!

With the torch of freedom,

March on!

March on! March on, and on!

===Terms and Expressions===

March of the Volunteers 义勇军进行曲

Children of Troubled Times 风云儿女

EMI 百代唱片

National People’s Congress 全国人民代表大会

National People's Congress Standing Committee 全国人大常委

===Questions===
‭
1. Who are the composers of March of the Volunteers?

2.Which movie's theme song does March of the Volunteers belong to?

3.When did the National Anthem Law go into effect?

4.When was the final draft completed?

5.How did the name of this song come from?

===Answers===
1.1.March of the Volunteers is a song composed by Tian Han and Nie Er.

2.It is the theme song of the film Children of Troubled Times.

3.The National Anthem Law of the People's Republic of China formally went into effect on October 1st, 2017.

4.On April 18, 1935, after Nie Er arrived in Tokyo, Japan, he completed the final draft.

5.After the early shooting of the film Children of Troubled Times was completed, the lyrics of Tian Han's theme song did not determine the name of the song, while Nie Er's lyric composition sent back from Japan only included the word "March". General Zhu Qinglan, as the investor of the film Children of Troubled Times, added "Volunteers" after the words of "March", thus naming the song March of the Volunteers.

===References===
姜龙飞. 《义勇军进行曲》在这里诞生[J]. 中国档案报, 2020,(003)

《义勇军进行曲》这样成为国歌[J]. 当代兵团，2020（19）

百度百科.义勇军进行曲

--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:26, 20 December 2020 (UTC)Xiao Shuangling

==Xiao Ting 肖婷 202070080612 MIT 英语笔译==
====Zheng He's Voyages ====

From 1405 to 1433, the Chinese imperial eunuch Zheng He led seven expeditions to the coastal territories and islands in and around South China Sea,the Indian Ocean,and beyond for the Ming emperor which is an unprecedented feat in world history.(English Encyclopedia Treasure Voyages)

====Zheng He====
Zheng He was born Ma He to a Muslim family in the far southwest, in today's Yunnan province. It is said that his original surname is Ma,his full name as Ma Sanbao .At ten years old he was captured by soldiers sent there by the first Ming emperor intent on subduing the south.(Baidu Encyclopedia Zheng He)
He was sent to the capital to be trained in military ways. Growing up to be a burly, imposing man, over six feet tall with a chest contemporaries said measured over five feet around, he was also extremely talented and intelligent. He received both literary and military training, then made his way up the military ladder with ease, making important allies at court in the process. Besides Zheng He has a background of both Buddhism and lslam.Thus,he was assumed as the perfect choice to lead the emperor’s splendid armada.(Ye Lang 2008,116)[[File:Zheng He.jpg|500px|thumb|right|Zheng He]]

====Reasons for the voyages====
The Yongle Emperor sent Zheng He to the “Western oceans”, both to demonstrate the might of the Ming Empire and to realize the diplomatic ideal of peace and harmony among all nations. Zheng He's fleet manifested the prosperity ，the imperial power ，its advanced navigation technologies and exquisite ship-building techniques of China at that time , thus many small countries and bribes agreed to recognize China as their superior and its emperor as lord of “all under Heaven”.These countries and bribes regularly gave gifts of tribute in exchange for certain benefits ,like military posts, treaties and licence to trade.(Qian Zhiqian 2005,93)
During the voyages ,Zheng He's fleet did not act as a sea ruler, but appeared in peace all over the world, laden not only with goods exchanged with those countries, but also with the friendship of peoples.(Ye Lang 2008,120)
[[File:The Yongle Emperor.jpg|500px|thumb|right|The Yongle Emperor]]
====The seven expeditions====
These expeditions were astonishing as much for their distance as for their size: during the first one, Zheng He traveled all the way from China to Southeast Asia and then on to India, all the way to major trading sites on India's southwest coast.The first expedition of this mighty armada was in 11th July of 1405, composed of 317ships and perhaps as many as sixty huge Treasure Ships and nearly 28000 men with thousands of soldiers , sailors ,diplomatic specialists ,medical personnel, astronomers and scholars.The fleet stopped in Java and then arrived at Ceylon (today’s Sri Lanka ).Compared to the first one, the second voyage(1407-1409) was smaller with only 68ships sending foreign envoys back home.(Zhen Hesheng,Zhe Yijun 1983,38)

Zheng He led the third voyage (1409-1411) visiting many of the same countries as the first one did, like Champa and Java. When fighting broke out there between his forces and those of a small kingdom, Zheng put down the fighting, captured the king and brought him back to China where he was released by the emperor and then returned home duly impressed.(Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The fourth voyage (1413-15) extended the scope of the expeditions even further. This time in addition to visiting many of the same sites, Zheng He commandeered his 40 ships and over 28,000 men to Hormuz on the Persian Gulf. This trip has 48 ships with doctors , officials ,translators and more than 27000 troops .
The fifth voyage (1417-1419) was primarily a return trip for seventeen heads of state from South Asia. They had made their way to China after Zheng He's visits to their homelands in order to present their tribute at the Ming Court. (Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The sixth voyage began in 1421 and lasted for nearly two years.Then the expeditions were halted due to the death of the Yongle emperor.It sailed to many of the previously visited Southeast Asian and Indian courts and stops in the Persian Gulf, the Red Sea, and the coast of Africa, principally in order to return nineteen ambassadors to their homelands. Zheng He returned to China after less than a year, having sent his fleet onward to pursue several separate itineraries, with some ships going perhaps as far south as Sofala in present day Mozambique.(Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The seventh and final voyage (1431-33) was sent out by the Yongle emperor's successor, his grandson the Xuande emperor.This expedition had more than one hundred large ships and over 27,000 men, and it visited all the important ports in the South China Sea and Indian Ocean as well as Aden and Hormuz. One auxiliary voyage traveled up the Red Sea to Jidda, only a few hundred miles from the holy cities of Mecca and Medina. It was on the return trip in 1433 that Zheng He died and was buried at sea, although his official grave still stands in Nanjing, China. Nearly forgotten in China until recently, he was immortalized among Chinese communities abroad, particularly in Southeast Asia where to this day he is celebrated and revered as a god.(Zhen Hesheng,Zhe Yijun 1983,43)
[[File:Route.jpg|500px|thumb|right|Route]]

====Terms and Expressions====
The Yongle emperor 永乐皇帝（明成祖）

Java 爪哇

Ceylon 锡兰（今斯里兰卡）

Champe 占城（印度支那古国）

Hormuz 霍尔木兹

The Persian Gulf 波斯湾

Medina 麦地那市（沙特阿拉伯西部城市）

Mecca 麦加（穆斯林圣地）

==== Questions====
1.What was Zheng He like?

2. Why did the Yongel Emperor sent the armada to the “Western oceans”?

3.How many people did Zheng He bring at the first voyage ,and what did these people do?

4.Why did the expeditions stopped during the 1423-1430?

5.The last trip was sented by?

===Answers===
1.Growing up to be a burly, imposing man, over six feet tall with a chest contemporaries said measured over five feet around, he was also extremely talented and intelligent.

2.Both to demonstrate the might of the Ming Empire and to realize the diplomatic ideal of peace and harmony among all nations.

3.He brought nearly 28000 men with thousands of soldiers , sailors ,diplomatic specialists ,medical personnel, astronomers and scholars.

4.The expeditions were halted due to the death of the Yongle emperor.

5.By the Yongle emperor's successor, his grandson the Xuande emperor.
===References===
Ye Lang 叶朗. 中国文化读本[A book of Chinese Culture][M].北京,2008,115-123.

Qian Zhiqian 钱志乾. 试论郑和下西洋的主要目的[On the purpose of Zheng He's Voyages to the Western Oceans] [J]. 江西社会科学,2005,(02):90-94.

Zhen Hesheng,Zhe Yijun郑鹤声 ,郑一钧. 郑和下西洋简论[A brief Introduction of Zheng He's Voyages to the Western Oceans] [J]. 吉林大学社会科学学报,1983,(01):36-48.

[Baidu Encyclopedia]百度百科.郑和 [Zheng He]

[Baidu Encyclopedia]百度百科.郑和下西洋 [Zheng He's Voyages to the Western Oceans]

[English Encyclopedia]英语百科.郑和下西洋[Treasure Voyages]
--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:42, 20 December 2020 (UTC)Xiao Ting

==Literature, China's Four Great Classical Novels - Xie Fan 解帆 202070080637 英语口译==

===China's Four Great Classical Novels===

The Four Great Works of Chinese Classical Novels, abbreviated as the Four Great Works, are ''Water Margin'', ''Romance of The Three Kingdoms'', ''Journey to the West'', and ''Dream of the Red Chamber'' (in the order of their completion).The Four Great Classical Novels are some of the classics of Chinese literature and they are considered part of the cultural heritage of the world. The status of these four masterpieces in the history of Chinese literature is difficult to distinguish with their high level of literature and artistic achievements. They are time-honored and unique among Chinese literature works, so that the stories, scenes and characters in these masterpieces have deeply influenced the thoughts and values of the Chinese people. The meticulous portrayal and the profound thoughts contained in these four masterpieces have been praised by readers in history. They can be described as the four great monuments in the history of Chinese literature.(Chen Wenxin 2019,24)

====Water Margin====

''Water Margin'', written by Shi Naian, is a novel based on an ancient peasant uprising. It vividly depicts the whole process from the occurrence, development and failure of the peasant uprising, profoundly reveals the social roots of the uprising, enthusiastically eulogues the resistance struggle of the 'heroes' of the uprising and their social ideals, and specifically reveals the internal historical reasons for the failure of the uprising. (Sun Jiancheng 2008,167)

With the occurrence and development of peasant uprising as its main line, the book describes the whole process of development for grand peasant uprising troop. Individual awakening develops into the small-scale joint resistance with the experience of different heroes, showing an inexorable law of the feudal era, that is, peasants being forced to revolt by the officials, profoundly reflecting the Song dynasty's political condition and social contradictions. Standing on the side of the oppressed, the author praised the righteous acts of the leaders of the peasant uprising, who robbed the rich to the poor and exonerated and affirmed their revolutionary spirit of daring to rebel and struggle.(Liu Keqiang 2014,96)

====Romance of the Three Kingdoms====

''Romance of The Three Kingdoms'' is a novel written by Luo Guanzhong, a novelist in the late Yuan and early Ming Dynasty. It is the first chapter novel , the first novel of historical romance, and also the first long literary novel in the history of Chinese literature. At the end of yuan dynasty and the beginning of Ming Dynasty, social contradictions were acute, peasant uprisings broke out one after another, and dynasties were divided. After years of war, Zhu Yuanzhang destroyed all the departed dynasties, overthrew the Yuan Dynasty, and established the Ming Dynasty. During the period when people were displaced, Luo Guanzhong, as a writer of zaju and stories, lived at the bottom of the society, understood and got familiar with the sufferings of the people, expected social stability and people to live and work in peace and contentment, thought as an intellectual at the bottom, and hoped to end the tragic situation caused by the turbulence. Therefore, he wrote the historical novel ''Romance of The Three Kingdoms'' on the history of the last years of the Eastern Han Dynasty. (Wang Zhiwu 2004,12)

''Romance of The Three Kingdoms'' describes the history of nearly a hundred years from the end of the Eastern Han Dynasty to the beginning of the Western Jin Dynasty. It mainly describes wars and tells the story of the warring states of the eastern Han Dynasty and the political and military struggles among The Three Kingdoms, namely, Wei, Shu and Wu. Finally, Sima Yan unified The Three Kingdoms and established the Jin Dynasty. Besides, it reflects the transformation of various social struggle and contradictions in The Three Kingdoms period, summarizes the historical changes of this era, and shapes a group of powerful heroes of The Three Kingdoms period. (Zhang Zhihe 2000,32)

====Journey to the West====

''Journey to the West'' is the first romanticism chapter novel in China, and its author is WuChenen in the Ming Dynasty. The book mainly tells a story, after the birth and havoc in heaven, Su Wukong met Tang Monk, White Dragon Horse, Zhu Bajie and Sand monk, started their journey to the West, went through 81 hardships and dangers, demons and monsters, finally arrived in the West to see the Buddha. (Chen Dakang 2000,16)

The novel is based on the historical event of Tang Monk going to study scriptures, and through the author's artistic processing, it profoundly depicts the social reality of The Ming Dynasty. The uproar in heaven in the novel reflects the resistance of the Chinese people in the feudal society through the form of fairy tales. Of course, fantasy novels reflect reality with their own characteristics, different from the general direct reflection of real life literature. The rebelin heaven erected the banner of "Monkey King", and put forward the slogan, "emperor take turns, and next is my turn" , hundreds of troops escaped, the heaven started to collapse, so that the jade emperor had to ask for external help. The plot of the fiction and fantasy based on reality of peasant uprising and peasant war. If there had not been many large-scale peasant uprisings and peasant wars that violently impacted the feudal dynasties in history, the plot of "Havoc in Heaven" could not have been so bold and the image of Sun Wukong as a rebel could not have been so brilliant. (Chen Dakang 2000,17)

====Dream of the Red Chamber====

''Dream of the Red Chamber'' was written by Cao Xueqin, a well-known writer in the Qing Dynasty. With the rise and fall of Jia, Shi, Wang as its background, with the love marriage tragedy of Jia Baoyu, Lin Daiyu, and Xue Baochai as its main line, in the perspective of rich childe Jia Baoyu, the book shows the tragic beauty, and female beauty from different angles and the phase of the ancient Chinese society of epic works. (Hu Jingzhu 2019,33)

''Dream of the Red Chamber'' was born at the end of feudal China in the 18th century. At that time, the Qing Government was closed to the outside world and the whole country was immersed in the dream of the Kang-Qian Flourishing Age and the Middle Kingdom. On the surface, the period seemed stable and peaceful, but actually all kinds of social contradictions were intensifying and developing, and the whole dynasty had reached a turning point of prosperity and decline. (Liu Mengxi 1984,41)

===Terms and Expressions===

农民起义 peasant uprising

孙悟空 Monkey King

大闹天宫 Havoc in Heaven

康乾盛世 the Kang-Qian Flourishing Age

天朝上国 the Middle Kingdom

===Questions===

1. What is the influence and status of Chinese Four Great Classical Novels?

2. What dose ''Water Margin'' mainly show?

3. Is ''Dream of the Red Chamber'' the first romanticism chapter novel in China? Which book is the first chapter novel in China?

4. Why has the plot of "Havoc in Heaven" been so bold and the image of Sun Wukong as a rebel been so brilliant?

4. What do you know about ''Dream of the Red Chamber''?

===Answers===

1. The stories, scenes and characters in these masterpieces have deeply influenced the thoughts and values of the Chinese people. They can be described as four great monuments in the history of Chinese literature.

2. It vividly depicts the whole process from the occurrence, development and failure of the peasant uprising, profoundly reveals the social roots of the uprising, enthusiastically eulogues the resistance struggle of the 'heroes' of the uprising and their social ideals, and specifically reveals the internal historical reasons for the failure of the uprising.

3. No, ''Journey to the West'' is the first romanticism chapter novel in China while ''Romance of the Three Kingdoms'' is the first chapter novel in China.

4. Because there had been many large-scale peasant uprisings and peasant wars that violently impacted the feudal dynasties in history.

4. ''Dream of the Red Chamber'' was written by Cao Xueqin, a well-known writer in the Qing Dynasty. With the rise and fall of Jia, Shi, Wang as its background, with the love marriage tragedy of Jia Baoyu, Lin Daiyu, and Xue Baochai as its main line, in the perspective of rich childe Jia Baoyu, the book shows the tragic beauty, and female beauty from different angles and the phase of the ancient Chinese society of epic works.

===References===

*Chen Dakang陈大康.(2000).《西游记》主题说的百年变迁：兼论“主题”概念的理论意义.[The Change of Theme during Hundreds of Years in ''Journey to the West'' - Discussion on the Theoretical Significance of the Theme].华东师范大学学报Journal of East China Normal University

*Chen Wenxin陈文新.(2019).中国文化视野中的“四大名著”.["The Four Great Classical Novels" from the Perspective of Chinese Culture].文化软实力研究Studies On Cultural Soft Power

*Hu Jingzhu胡静姝.(2019).《梦幻与现实的较量——浅析 < 红楼梦 > 中梦的美学意蕴》.[The Contest between Dream and Reality - A Brief Analysis of the Aesthetic Implication of ''Dream of the Red Chamber''].《汉字文化》The Culture of Chinese Characters

*Liu Keqiang刘克强.(2014).《水浒传》翻译大辞典.[The Translated Dictionary of ''Water Margin''].北京：中央编译出版社Beijing:Central Compilation Translation Press

*Liu Mengxi刘梦溪.(1984).红学三十年论文选编．[Selected Papers of Studies of Dream of the Red Chamber in the Past Three Decades].天津: 百花文艺出版社Tianjin:Baihua Literature and Art Publishing House

*Sun Jiancheng 孙建成.(2008).《水浒传》英译的语言与文化.[The Language and Culture of English Translation of ''Water Margin''].上海：复旦大学出版社Shanghai:Fudan University Press

*Wang Zhiwu王志武.(2004).《三国演义》的人物、结构和主题.[The Characters, Structure and Theme of ''Romance of The Three Kingdoms''].西北农林科技大学学报Journal of Northwest A&F University

*Zhang Zhihe张志和.(2000).《三国演义》思想意蕴试论.[Discussion on the Ideological Implication of ''Romance of The Three Kingdoms''].天津外国语学院学报Journal of Tianjin Foreign Studies University

--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:55, 20 December 2020 (UTC)

==Four Folk Stories of Ancient China，Xu Jia 徐佳 202070080613 MTI英语笔译==

Cowherd and Weaving Girl, Meng Jiangnu Crying on the Great Wall, the Story of the White Snake and Butterfly Lovers are the four major folk love stories in ancient China. As the most charming oral traditions and national intangible cultural heritage in China, the earliest of them has been popular for more than 2000 years, having a profound impact on people’s lives.

1. Cowherd and Weaving Girl

2. Meng Jiangnu Crying on the Great Wall

3. The Story of the White Snake

4. Butterfly Lovers

====Cowherd and Weaving Girl====

It is said that the story took place in the Western Zhou Dynasty. Cowherd was an artless and honest young man living in the Xiniu village of Nanyang city. Since his parents died early, he lived a miserable life with an old ox. One day, Weaving Girl, the daughter of the God of Heaven, came down with other fairies from heaven and took a bathe in a river near Cowherd’s house. The old ox told the Cowherd to steal her clothes so that she was unable to return to the heaven and would stay here to be his wife.（Zhong Xiaoting 2020,92)

With the help of the old ox, Weaving Girl married Cowherd and soon they had a son and a daughter. They led a happy life with husband laboring in the field and wife weaving at home. But their marriage didn't last long. It was discovered by the Queen Mother and incurred her wrath. Ignoring tearful Cowherd and two crying children, she broke up the couple and brought Weaving Girl back. It was the old ox that helped him again. It told Cowherd that it would die tonight and he needed to make three pair of shoes with its skin, which could help him go to heaven and find his wife. Cowherd followed. Just as the cowherd was about to catch up with them, however, the Queen Mother took off her golden hairpin and separate them by a large river, which is now called the Milky Way. Hopelessly, the two lovers can only look at each other across the river.（Zhong Xiaoting 2020,92)

Fortunately, touched by their love，hundreds of thousands of magpies flied and formed a bridge over the river. Finally the Queen Mother showed a little mercy, allowing them to meet once a year on the magpie bridge. The day was the seventh day of the seventh lunar month, which later has become the Chinese Valentine’s Day.(Zhao Kuifu 1990,61)

====Meng Jiangnu Crying on the Great Wall====

During the reign of the first emperor of Qin Dynasty, Fan Xilang, a young man living in the surrounding area of Mengjiang mountain in Lizhou County, Hunan Province, had just finished the hard labor and returned to his hometown to get married. But unfortunately, on the night of their wedding, Fan Xilang was sent to the north to build the Great Wall. He toiled away with hunger, cold and fatigue, and soon met a miserable death at the end of his efforts. His body was buried under the Great Wall. （Yao Kangkang 2020,77)

Meng Jiangnu, Fan’s new wife, got the bad news and went through all kinds of hardships to reach the Great Wall. She cried bitterly there for three days and three nights, and finally cried down the Great Wall and found her husband's remains. On her way to take him home, she suffered a lot and finally died of hunger and thirst in Tongguan County, Shaanxi Province. Sympathetic with the couple’s miserable experience and deeply moved by Meng’s spirits, the local people buried their remains and set up ancestral temples to commemorate them.(Huang Ruiqi 2003)

====The Story of the White Snake====

Created in the Southern Song Dynasty and prevailed in the Qing Dynasty, the Story of the White Snake is a model of Chinese folk collective creation. In the book Stories to Warn Man compiled by Feng Menglong, The White Snake under the Leifeng Pagoda has been acknowledged as the first version of this story.

After thousands of years of practice in Emei Mountain, two snake named Bai Suzhen and Xiaoqing translated into two beautiful girls and came to visit Hangzhou. After encountering with a young man named Xu Xian in the rain, Bai Suzhen fell in love with him and soon later they get married. But a monk called Fahai saw through Bai’s disguise and thought that it was an intrigue of the white snake to marry a man. He persuaded Xu Xian to intoxicate his wife with realgar wine on the Dragon Boat Festival. After being drunk, Bai Suzhen couldn’t control herself and showed the shape of a snake, which scared Xu Xian to death. Regardless of her own safety, Bai Suzhen went through many difficulties and got the magical grass, which finally brought Xu Xian back to life.（Zhou Xia 2020）

But Fahai did not give up. He then lured Xu Xian to the Jinshan Temple to separate the couple. Bai Suzhen and Xiao Qing had no choice but to inundate the temple with flood. During the fierce battle, Bai was finally defeated and put into a small bowl under the Leifeng Pagoda.(Wang Yibing 1999)

====Butterfly Lovers====

During the Eastern Jin Dynasty, Zhu Yingtai, a beautiful and intelligent girl born in a rich family in Shangyu County, Zhejiang Province, wanted to go to Hangzhou to study for there was no good teacher at home. Her father, seeing her eagerness to learn and her ability to disguise herself as a man, finally agreed to her request. On the way to Hangzhou, Zhu Yingtai met Liang Shanbo, a young man who had the same destination with her. He was sincere, gentle and knowledgeable and they clicked immediately. During the school years, they often talked about poetry and articles, cared for each other, and slept in the same bed at night. Zhu had gradually fallen in love with Liang, who, though did not know she was a girl, also cherished her and saw her as his best friend.（Lin Liangliang 2020, 57)

Three years passed quickly. The moment when they had to part, Zhu constantly gave delicate indications to Liang that she was a girl and she loved him, but Liang failed to take her hint. Zhu had no choice but to lied to Liang that she had a little sister who was similar to her in appearance and learning and she wondered if Liang was willing to marry her. Liang Shanbo readily consented and promised that he would come to visit soon. A months later, Liang Shanbo went to Zhu's home and he was surprised to see Zhu Yingtai dressed up as a girl. Only then did he know the truth and figured all the things out. They then confessed their love to each other and pledged to marry without the permission of parents. （Lin Liangliang 2020, 58)

But unfortunately, Zhu’s parents didn’t think much of this poor young man. They wanted to marry their daughter to Ma Wencai, the son of the local governor. Zhu Yingtai was unwilling to marry him but her protest was in vain, for her family was in financial crisis and needed Ma’s support. Hopelessly, the two young lovers was forced to part in tears. Since then, Liang slid into a depression. His spirit and health were soon crushed, and he died a few months later. On the wedding day, Zhu asked for a detour to pass by Liang 's tomb so that she could say goodbye to him. Wearing a bright red wedding dress, she knelt in front of his grave and cried bitterly. At that moment, lighting flashed, thunder rolled and the sky went dark. Liang's tomb suddenly cracked open and Ying-tai immediately jumped into it before it closed. Then under the shocked eyes of the onlookers, a pair of beautiful butterflies flied out of the graves and dancing in the sunlight. It is believed that these two butterflies are Liang Shanbo and Zhu Yingtai. They finally get rid of all the shackles and bounds and can stay together forever.(Jin Huiling 2007)

Having been adapted into many films and TV plays, these four stories are well-known in China and the rest of the world. As the crystallization of folk culture, they not only represent the rich imagination of ancient Chinese people, but also show their hatred for evil forces and their pursuit for a free and happy life, which is exactly the positive part of folk literature.

===Terms and Expressions===

Cowherd and Weaving Girl 牛郎织女

Meng Jiangnu Crying on the Great Wall 孟姜女哭长城

Butterfly Lovers 梁山伯与祝英台

the Queen Mother 王母娘娘

Stories to Warn Man 《警世通言》

The White Snake under the Leifeng Pagoda 《白娘子永镇雷峰塔》

===Questions===

1.What led to the death of Meng Jiangnu’s husband?

2.What did Xu Xian give Bai Suzhen to drink that made her reveal her snake form?

3.What did the Cowherd do to make Weaving Girl stay?

4.When did Liang Shanbo realize that Zhu Yingtai is actually a girl?

5.Why did Zhu Yingtai lie to Liang Shanbo that she has a little sister?

===Answers===

1.He was sent to build the Great Wall and died for hunger,cold and fatigue.

2.Realgar wine

3.He stole her clothes while she was taking a shower.

4.The first time Liang Shanbo went to Zhu's home,where he saw Zhu Yingtai dressed up as a girl.

5.The little sister she referred to is actually herself,and in this way she hinted at her love to Liang Shanbo.

===References===

Jin Huiling. Qin Yinan. (2007). 爱支撑的文化天堂——《罗密欧与朱丽叶》和《梁山伯与祝英台》[A Cultural Paradise Supported by Love - Romeo and Juliet and Liang Shanbo and Zhu Yingtai] 社会科学论坛：学术研究卷Social Science Forum: Academic Research Volume(5):194-197.

Wang Yibing. (1999). 白蛇传故事的文化意蕴[The Cultural Implications of the Story of the White Snake].廊坊师专学报 Journal of Langfang Teachers College(4):12-18.

Huang Ruiqi. (2003). 孟姜女故事研究[A Study of the Story of Meng Jiang Nu] 北京：中国人民大学出版社. Beijing: People's University of China Press.

Zhao Kuifu. (1990). 论牛郎织女故事的产生与主题[On the Generation and Theme of the Story of the Cowherd and the Weaver]. 西北师大学报. Northwest Normal University Journal(4):56-63.

Zhong Xiaoting.(2020). 牛郎织女故事漫谈三则Three Rambling Stories of the Cowherd and the Weaving Maiden].美与时代. Beauty and the Times(10);92-94.

Yao Kangkang.(2020). 镇原送寒衣的风俗和孟姜女的传说[The Custom of Sending Cold Clothes to Zhen Yuan and the Legend of Meng Jiang Nu].甘肃政协.Journal of Gansu Political Consultative Committee:77-79.

Zhou Xia.(2020).《白蛇转》：白娘子的前世今生.[The White Snake: The Past Life of Bai Niang Zi].中国电影报.China Film News.

Lin Liangliang. (2020).梁祝传说中的原型及其内涵阐发.The Archetype and Its Connotation in the Legend of Liang Zhu. 名作欣赏. Masterpiece Appreciation(10):56-60.

--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:39, 20 December 2020 (UTC)Xu Jia

==Architecture, Four Great Pavilions-Xu Jing 许静 202070080614 MTI英语笔译==
===Four Great Pavilions===
A pavilion, a building style with great Chinese characteristics, is not only a place for passers-by to rest their feet, but also an important landscape building with garden art. At the foot of the mountains, by the lakeside and deep in the forest, we can always see pavilions that are half-hidden, and half-exposed, subtly adding colour to the landscape scenery. (Qian Long 2009, 50)

Where there are pavilions, there are stories, and there are four famous pavilions in China - the Old Drunkard Pavilion in Chuzhou, the Tao Ran Pavilion in Beijing, the Ai Wan Pavilion in Changsha and the Hu Xin Pavilion in Hangzhou. All of them are famous for their poems and articles written by ancient writers and scholars. (Qian Long 2009, 50)

====The Old Drunkard Pavilion====

Zuiweng Ting, or the Old Drunkard Pavilion is located at the foot of the Langya Mountain in Chuzhou, Anhui Province. The Old Drunkard Pavilion was built in 1046 AD, the sixth year of the Northern Song Dynasty's reign of Emperor Renzong. This pavilion is the subject of a well-known work written by Ouyang Xiu, an essayist of the Song dynasty, called The Story of the Old Drunkard. (Liu Xuan 2012, 21)

It is said that Ouyang Xiu was demoted to Chuzhou to serve as the prefect. Feeling indignant at the time, he devoted his soul into nature. He often came with friends and guests to Langya Mountain for fun, or to Langya Temple to drink wine and express their emotion. In order to give Ouyang Xiu a rest and a drink, the Langya Monastery monk Zhisian built this pavilion halfway up the mountain. The pavilion was named 'the Old Drunkard Pavilion' by Ouyang Xiu, who called himself “ the Old Drunkard”. (Liu Xuan 2012, 21)

The pavilion has a compact layout with small, unique pavilions that are characteristic of the gardens of the south of the Yangtze River, and although the total area of the pavilion is less than 1,000 square metres, there are nine buildings——the Old Drunkard Pavilion, Bao Song Zhai, Feng Gong Ancestral Hall, Ancient Plum Blossom Pavilion, Shadow Fragrance Pavilion, Yi Zai Pavilion, Fear Pavilion, Ancient Plum Blossom Pavilion, and the View Terrace——of different styles, and are known as the “Nine Views of the Old Grunkard Pavilion”. (Liu Xuan 2012, 21)

Although the Old Drunkard pavilion has been plundered many times over the centuries, it still inviting to people. Today, the thousand-year old scenery here is even more spectacular and alluring. (Liu Xuan 2012, 21)

====Tao Ran Pavilion====

The Tao Ran Pavilion in Beijing was built in 1695, the 34th year of Emperor Kangxi's reign in the Qing dynasty, by Jiang Zao, who then served in the Ministry of Public Works. Jiang Zao named the pavilion after Bai Juyi's poem, "Waiting for the chrysanthemum to ripen, we get drunk in blitheness". This small pavilion is quite popular among ancient writers. (Qian Long 2009, 50)

The modern Taoran Pavilion is a new modern urban garden that integrates ancient architecture and modern gardening art, highlighting the Chinese national pavilion culture as its main content. In the garden, there are verdant trees, lush flowers and grasses, jagged buildings and pavilions. On the Mid-lake Island, there are Jinqiu dun, Swallow Head Hill, and Tao Ran pavilion into a tripod. On top of Jinqiu dun there is Jinqiu pavilion, the site of which was the site of the Flower Fairy Shrine. At the southern foot of the pavilion, there is Rose Hill, which is the site of the original incense mound, the parrot mound and the tomb of the golden flower. (Chang Yi 2007, 60)

In the quiet pine forest at the foot of the northern pavilion, there are the tombs of Gao Junyu and Shi Pingmei, which are famous. At the top of Swallow Head Hill, there is the Green View Pavilion, which is opposite the Jinqiu Pavilion, and at the southwest of the pavilion, there is the Chengguang Pavilion, which is the most suitable place to look at the lake and the mountains. (Qian Long 2009, 50)

====Ai Wan Pavilion====

The Ai Wan Pavilion is located in the Qingfeng Gorge at the foot of Mount Yuelu in Hunan Province, and is surrounded by mountains on three sides. The pavilion was built in 1792 by Luo Dian(罗典), Dean of the Yuelu Academy, and was originally called the Red Leaf Pavilion. It was later renamed by Bi Yuan(毕沅), Governor of Hunan and Guangzhou Province, based on a poem by Du Mu(杜牧), a poet of the Tang Dynasty, which reads, "The stone paths of the cold mountains are steep, and there are homes in the depths of the white clouds. Sitting on the Maple Forest in the evening, the frost leaves turn red in the February flowers" ("Mountain Journey"). (Qian Long 2009, 50)

After many major repairs in the reign of Tongzhi, Guangxu, Xuantong, and in Republic of China and after the founding of the People's Republic of China, it comes into its pattern today. The shape of the pavilion is eight columns with heavy eaves, glazed glass and blue tiles, the corner of the pavilion is flying, and it looks like flying from a distance. The inside is pillar in lacquer while the outside are four stone pillars made by granite. (Chang Yi 2007, 60)

Apart from painted caisson ceiling, there are gilt lettering "Ai Wan Pavilion" on a red background on the east and west sides of the pavilion, which was made by handwriting written by Mao Zedong, at the request of Li Da, the then president of Hunan University. The pavilion is surrounded by hills on three sides, and is open to the east, with a flat vertical and horizontal space of more than 33 metres, with purple and lush greenery and uninterrupted flowing springs. There is a pond in front of the pavilion, with rows of peach and willow trees. There are maple trees all around, with red leaves all over the mountains in late autumn. (Chang Yi 2007, 60)

====Hu Xin Pavilion====

Hu Xin Pavilion, or Mid-lake Pavilion is situated in the centre of the West Lake in Hangzhou, Zhejiang. Initially known as "Zhenlu Pavilion", and "Qingxi Pavilion", it was built in the 31st year of Jiajing in the Ming Dynasty (1552 AD) and was renamed “Hu Xin Pavilion” after the Ming Dynasty. (Qian Long 2009, 50)

The pavilion is built looking like a tower and is surrounded by water on all sides. When you look around, not only does the lake ripple, but also the mountains stand like a screen enveloping it. The west side of the pavilion is the south and north peaks of the West Lake, which is very spectacular. (Qian Long 2009, 50)

It is one of the 18 scenes of West Lake in Qing Dynasty. Yongzheng wrote in his Records of the West Lake: the pavilion is in the centre of the lake; in the past there was a temple and outside it were three towers, which both were destroyed in the reign of Ming Xiaozong. County said: outside the temple were three towers, while only the north tower conserved, upon which a pavilion was built, that is the Mid-lake Pavilion; the old base of the temple was rebuilt as De Sheng Hall, a place to release. According to this, the old Hu Xin Temple was the current Release Pond, and the present Hu Xin Pavilion was the base of the north tower among the other three. (Chang Yi 2007, 60)

The Qing emperor Qianlong once inscribed a plaque on the pavilion with the inscription "Quietly observe the world"(“静观万类”) and the couplet "Waves surge and the lake is far away, the mountains prompt the water is deep"(“波涌湖光远，山催水色深”). Besides, the inscription on the pavilion's pillars by Hu Laichao(胡来朝) is worth mentioning: “The four seasons are filled with music and songs, and the poor are still grieving over the moon; the six bridges are filled with flowers and willows, and there is no room for mulberry and hemp.” The meaning is even more profound to the visitor. (Qian Long 2009, 50)

===Terms and Expressions===

The Old Drunkard Pavilion 醉翁亭

Nine Views of the Old Drunkard Pavilion 醉翁九景

Tao Ran Pavilion 陶然亭

glazed glass and blue tiles 琉璃碧瓦

Ai Wan Pavilion 爱晚亭

Mountain Journey 《山行》

Hu Xin Pavilion/ Mid-lake Pavilion 湖心亭

County 《县志》

===Questions===

1. Which pavilion is named by the poem of Du Mu？

2. When Did “Hu Xin Pavilion” well established its name?

3. Which pavilion is located in Beijing?

4. Where can we enjoy maple trees in Autumn among the four pavilions?

5. What do you think is the Old Drunkard Pavilion famous for?

===Answers===
1. Ai Wan Pavilion.

2. After the Ming Dynasty.

3. Tao Ran Pavilion.

4. Ai Wan Pavilion.

5. It is said that Ouyang Xiu was demoted to Chuzhou to do the imperial guard and the Old Drunkard Pavilion was built for him and named after him.

===References===
*千龙.中国四大名亭[J].兵团建设,2009(14):50.

*刘璇.醉翁亭以中国“四大”名亭之一天下第一亭大文学家欧阳修《醉翁亭记》名声享誉中华[J].中国地名,2012(09):20-21.

*常翼.我国的四大名亭[J].新长征,2007(06):60.

*https://mp.weixin.qq.com/s/slU9b2notV9xKekROxCZuw

*https://baike.so.com/doc/6569739-6783501.html

*https://baike.so.com/doc/5632595-5845219.html

--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 00:34, 21 December 2020 (UTC)

==Architecture, Three Great Towers in China, Yang chenting 杨晨婷 No.202070080615 MTI 英语笔译==

===Three Great Towers in China===

1. Yellow Crane Tower

2. Yueyang Tower

3.The Pavilion of Prince Teng

Three great towers in China are Yellow Crane Tower in Wuhan, Hubei Province; Yueyang Tower in Yueyang, Hunan Province; and the Pavilion of Prince Teng in Nanchang, Jiangxi Province. As representatives of traditional Chinese architecture, they are the symbols of splendid culture for over five thousand years.

====Yellow Crane Tower====

The tower today we see in Wuhan is not the original building, and it has a very long and complicated history. Yellow Crane Tower, built in 223 during the Three Kingdoms period (220-280), was embodied with a perfect location. Because of this, the king of Wu, Sun Quan, held it as a watchtower for his troops. For hundreds of years, its military function has gradually been forgotten, which now mainly serves as a scenic spot, attracting millions of tourists at home and abroad. （Chen Xiansong 2018,08）

During the Tang Dynasty, many popular poets, like Cui Hao, Li Bai, and Bai Juyi wrote poems to praise Yellow Crane Tower. It can be said that due to their description and admiration of the tower, it became renowned and made people want to pay a visit. In the following centuries, unfortunately, it was destroyed and rebuilt several times. In the Ming and Qing dynasties alone, the tower was destroyed seven times and rebuilt seven times. In 1884, because of fire, it was completely destroyed and was not rebuilt until 1981. Now, it stands on the banks of the Yangtze River at the top of Snake Hill. (Zhang Chi 2002,02)

Different dynasties have greatly influenced the architectural features of it. However, the one we see today is a one rebuilt in Qing Dynasty. It is 51.4 meters (168 feet) tall, with five floors, which looks the same from any direction. The roof is covered by 100,000 yellow glazed tiles. With the tiles on the top, the design of each floor seems to resemble a yellow crane ready to fly. (English for tour guides 2017)[[File:Yellow Crane Tower.jpg|500px|thumb|right|Yellow Crane Tower]]

====Yueyang Tower====

Yueyang Tower is located at the western gate of Yueyang Ancient City, Hunan Province, overlooking Lake Dongting from its perch on the eastern shore of the lake. On the opposite side of Yueyang Tower flows the mighty Yangtze River. Therefore, it’s no doubt that its military function was important.

In 716, with the governance of Emperor Xuanzong of the Tang Dynasty, Yueyang Tower was reconstructed. Its beauty and its good place overlooking Lake Dongting made it receive a lot of literary praise. For example, in 1045, the governor of Ba Ling County, Teng Zijing, invited his friends, including one familiar with us—Fan Zhongyan, to write an essay in honor of the newly-reconstructed Yueyang Tower. (Gong Qijian 2012,13)

The current 20-meter-high pavilion with its four pillars made of rot-resistant nanmu trees, its three storeys with upturned eaves and its unique construction method stems from a major reconstruction in 1867, during the Qing Dynasty. There are two other pavilions, Sanzui Pavilion and Xianmei Pavilion, on either side of Yueyang Tower. And to the north of Yueyang Tower lies the tomb of Xiaoqiao, the wife of Zhou Yu, the famous military advisor in the Three Kingdoms Period. The splendid scenery of Yueyang Tower attracted the attention of many renowned poets of the Tang Dynasty, such as Li Bai, Du Fu, Bai Juyi and Li Shangyin, who wrote poems to paise it after paying a visit there. These works are preserved and cherished, and are on display in the Corridor of Poems and Calligraphy at Yueyang Tower. Thanks to those poets, they made Yueyang Tower keeps attracting people all the time. （Xiong Shengyuan 2015,06）

Yueyang Tower has long enjoyed the title of being the “First Tower under Heaven”, while Lake Dongting, near it, enjoys the reputation of being known as the “First Water under Heaven”. （Chinese scenery 2010）[[File:Yueyang Tower.jpg|500px|thumb|right|Yueyang Tower]]

====The Pavilion of Prince Teng====

Tengwang Pavilion, located in the northwest of Nanchang, Jiangxi Province, is an imperial building constructed more than 1,300 years ago. It was built in 659 by Li Yuanying, the son of the first emperor of Tang Dynasty and the brother of Li Shimin. Because of missing his hometown—Tengzhou, he built this pavilion. The pavilion was named “Tengwangge” after Yuanying, who was crowned “Prince of Teng” during the Zhenguan reign. Along with the Yellow Crane Tower in Wuhan, Hubei Province, and Yueyang Pavilion in Yueyang, Hunan Province, the pavilion of Prince Teng is famous as the “Three Great Pavilions” in China.（Xie Jianlin 2018,11）

What is rare to see in Chinese history is that the Pavilion of Prince Teng was destroyed and rebuilt 29 times, the same fate as Yellow Crane Tower. In January 2001, the Pavilion was named as one of the first batch of national 4A level tourist attractions and was approved as a national key scenic spot by the State Council of China in 2004. (Yin Minghui 2018,04)

For thousands of years, the Pavilion of Prince Teng, with its beautiful scenery and its abundant culture, has been an ideal place for writers and poets to create works. For thousands of years, many artists, poets and writers have paid a visit to this pavilion to get some inspiration for their works.

The Pavilion of Prince Teng has always been an auspicious building for Nanchang people. The cultural stories that have been passed down reflect people’s good wishes for good things, but also reveal the easy-going nature of the local people. Nanchang locals may not be aware of their attachment to the pavilion except when they are in a foreign land. It is at such times that they are able to feel their own cultural heritage and nostalgia for the pavilion. (Today China 2018)

[[File:The Pavilion of Prince Teng.jpg|500px|thumb|right|The Pavilion of Prince Teng]]

====Terms and Expressions====

Watchtower n. 瞭望塔

The Three King Periods 三国时期

Yangtze River 长江

Upturned eave 飞檐

4A level tourist attractions 4A级旅游景区

State Council of China 中国国务院

Nostalgia n. 怀旧

Storey n. 层

Glazed tile 琉璃瓦

====Questions====

1. What are the three great towers in China?

2. What's the function of the Yellow Crane Tower at the very beginning?

3. What's the cause of the Yellow Crane Tower’s completely destroying?

4. Where can tourists appreciate the beautiful scenery of Lake Dongting?

5. What does the Pavilion of Prince Teng mean to local people?

====Answers====

1. The three great towers are Yellow Crane Tower, Yueyang Tower, and the Pavilion of Prince Teng.

2. It served as a watchtower, i.e., military function.

3. It was because of the fire, which burned it down.

4. Tourists can appreciate the scenery from Yueyang Tower.

5. It has always been an auspicious building for Nanchang people and the story about it reflected people’s good wishes for good things.

====References====

Fang Wenhua 方华文. (2010). ''中国名山名水''[Chinese Scenery]. Anhui: Science and Technology Press 安徽科学技术出版社.

Qiu Huijun邱慧钧. (2002). 江南三大名楼[Three great towers in China]. ''风景名胜''Travel(01).

Wu Zhijun吴志军. (2008).江南三大名楼旅游形象测量与比较[The comparison of the image of three great towers]. ''江西财经大学学报''Journal of Jiangxi University of Finance & Economics (04).

Zhang Ju 张炬. (2017). ''导游英语''[Tourist Guide English]. Beijing: Beijing Institute of Technology北京理工大学.

Zheng Zhangmin 郑张敏. (2011). 关于中华古建筑专用名词翻译风格的思考.[A consideration on the translation of the name of Chinese ancient buildings] ''北京建筑工程学院学报''Journal of Beijing University of Civil Engineering and Architecture (04) 72-75.

--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 12:44, 20 December 2020 (UTC)Yang chenting

==Tourism, Nanjing-An Ancient Capital of Six Dynasties Yang Hairong 杨海容, 202070080616, MTI 英语笔译==

<center>杨海容 Yang Hairong, 202070080616</center>

===Nanjing-An Ancient Capital of Six Dynasties===

===A. Geographical Location, Economy and Military Defence===

Nanjing was also called Jinling, Moling, Jianye and Jiankang in ancient times. In the first year of Huanglong in the Eastern Wu Dynasty (229 years), Emperor Wu, Sun Quan, established the capital here, and the rise of Nanjing since then made China's political center out of the pattern of the Yellow River cultural plate, leading the development of the Yangtze River Basin and the entire southern region of China. Since then, the Song, Qi, Liang, and Chen of the Eastern Jin and Southern Dynasties successively established their capitals here, so Nanjing is known as the "Ancient Capital of the Six Dynasties". Nanjing City in the Six Dynasties has an important position in the history of China's capital city development. (Lu Haiming，2002)

''Feng Shui'' (风水) in Nanjing stands out. According to Feng Shui theory, the base site of Yang House (city, village, housing, yin house refers to tomb) is best to choose a place where ''Yin'' (阴) and ''Yang'' (阳) are embraced, meaning that there is a main mountain behind the base site; There is a crescent-shaped pond or river in front, and there is a mountain on the opposite side of the pond or river, and there is a super mountain on the opposite side of the mountain. (Lu Haiming，2002)

The main mountain of Nanjing is Jilong Mountain and Fuzhou Mountain; there is "a green dragon" on the left and "a white tiger" on the right. A Zhongshan Mountain on the left is "the green dragon", and a stone mountain on the right is "the white tiger". On the opposite, there is the Chaoshan Mountain named Niushou Mountain, and Xuanwu Lake behind Nanjing City (Sun Wu and Dong Jin dynasties called Beihu or Houhu Lake, and the name was changed by the Liu Song Dynasty). (Lu Haiming，2002)

During the Six Dynasties, Yangzhou was regarded as the economic center of the south, and the Sanwu area was the center of gravity. Sun Wu decided to make Nanjing in the early stage of material transportation. Later, a man-made canal was dug to open the waterway between Sanwu and Nanjing. As a result, Sanwu's materials no longer need to detour through the Yangtze River, and Nanjing's status as the capital is consolidated. (Lu Haiming，2002)

The Six Dynasties coexisted with the northern regimes for a long time and had the protective effect of the Yangtze River. However, the Yangtze River was not the first line of defense but the last trench. The natural peripheral military defense line of the Six Dynasties was between the Yellow River and the Yangtze River, including the Yellow River, Qinhuai River and Yangtze River. In addition, there are some important military towns. (Lu Haiming，2002)

====Terms and Expressions====

''Feng Shui'' theory 风水学

Yang House 阳宅

Yin House 阴宅

The main mountain 主山

Xuanwu Lake玄武湖

man-made canal 人工运河

Six Dynasties 六朝

Qinhuai River 秦淮河

the first line of defense 第一防线

trench 天堑

====Questions====

1.Why Feng Shui in Nanjing stands out?

2.During the Six Dynasties, which city was the economic center of the south?

3.What contributions does the man-made canal built between Sanwu and Nanjing make?

4.What kind of role does the Yangtze River play in protection?

5. What were Nanjing's natural peripheral military defense line of the Six Dynasties?

====Answers====

1.The main mountain of Nanjing is Jilong Mountain and Fuzhou Mountain; there is like a green dragon on the left, a white tiger on the right, a Zhongshan Mountain on the left is a green dragon, and a stone mountain on the right is the white tiger. On the opposite side, there is Chaoshan Mountain named Niushou Mountain, and Xuanwu Lake behind Nanjing City.

2.Yangzhou.

3.As a result, Sanwu's materials no longer need to detour through the Yangtze River, and Nanjing’s status as the capital of the country is consolidated.

4.the Yangtze River was not the first line of defense but the last trench.

5.The natural peripheral military defense line of the Six Dynasties was between the Yellow River and the Yangtze River, including the Yellow River, Qinhuai River and Yangtze River.

===B. Nature and Humanities===

The so-called "beauty" refers to the natural environment and cultural landscape in Nanjing. "Jiangnan is a beautiful land and an emperor state", which is a description of Nanjing. Nanjing is known as the metaphor of "the golden powder of the Six Dynasties is the best in the world", and there is also the tale of "Qinhuai and the blue waves reflect the beauty". There are not only beautiful natural sceneries, but also many historical monuments; there are ancient buildings and a large number of modern facilities, so it has become a famous tourist attraction at home and abroad. There are as many as 154 places of historical interest listed as national, provincial and municipal cultural relics protection units. (Zhu Yaoting, 2003)

The natural and cultural landscape here not only reveals the beauty of the south of the Yangtze River, but also maintains the majesty of the North. In Nanjing, the masculine and feminine complement each other. The strong impact of the Yellow River and the Yangtze River basin makes Nanjing unparalleled and embodies the beauty of the blending of north and south. (Zhu Yaoting, 2003)

The main folklore activities in Nanjing include Lantern Festival, Tomb-sweeping Outing, Dragon Boat Festival, Mid-Autumn Festival, Chongyang Festival, Laba Festival, New Year welcoming God of Wealth, etc. The folk customs of Nanjing are sincere and have a long history. "Fancy but not slick" is the essence of Nanjing folk customs. (Zhu Yaoting, 2003)

Nanjing embraces abundant cultures, and is integrated into folk customs; folk customs have enriched cultures, and Nanjing's folk entertainments are full of rich cultural connotations. The traditional folk entertainments including dragon lantern dance, the Huatai Festival, social fire in Lishui area, Fangshan drum in Jiangning area, hand lion dance in Jiangpu area and so on. These entertainments seem simple, but they are deeply loved by local people. Moreover, people live in Naning will have these traditional customs including climbing the Zijin Mountain, eating black rice, holding Jinling Lantern Festival and so on.(Zhu Yaoting, 2003)

====Terms and Expressions====

Lantern Festival Lantern Festival 元宵节

Tomb-sweeping Outing 清明节

Dragon Boat Festival 端午节

Mid-Autumn Festival 中秋节

Chongyang Festival 重阳节

Laba Festival porridge 腊八节

God of Wealth 财神

dragon lantern dance 舞龙灯

Fangshan drum 方山大鼓

the Huatai Festival 花台会

black rice 乌饭

historical interests 名胜古迹

====Questions====

1.How to describe Nanjing?

2.How many places of historical interest listed as national, provincial and municipal cultural relics protection units in Nanjing?

3.What are main folklore activities in Nanjing?

4.What is the essence of Nanjing folk customs?

5.People who live in Jiangning area of Nanjing like what kind of folk entertainment?

====Answer====

1.Nanjing is known as the metaphor of "the golden powder of the Six Dynasties is the best in the world", and there is also the tale of "Qinhuai and the blue waves reflect the beauty".

2.There are as many as 154 places of historical interest listed as national, provincial and municipal cultural relics protection units.

3.The main folklore activities in Nanjing include Lantern Festival Lantern Festival, Tomb-sweeping Outing, Dragon Boat Festival, Mid-Autumn Festival, Chongyang Festival, Laba Festival porridge, New Year welcoming God of Wealth, etc.

4."Fancy but not slick" is the essence of Nanjing folk customs.

5.Fangshan drum.

===C. The Lantern Festival in Nanjing===

The fifteenth day of the first lunar month is the night of the first full moon in the lunar calendar year. The Lantern Festival started as a sacrificial offering and gradually became a grand and enthusiastic entertainment festival. In ancient times, the Lantern Festival included one day. In Tang Dynasty it was 16th to 18th of the first month in the lunar calendar, which involved three days; In Song Dynasty, it was 14th to 18th which involved five days; In Ming Dynasty, as Zhu Yuanzhang became the emperor in Nanjing, the Lantern Festival was extended to ten days, that is, from 8th to 17th of the first month in the lunar calendar, and on 18th the lantern lights turned off. The food has also changed from eating bean porridge to tasting glutinous rice balls (汤圆). (Jiangsu Local Chronicles, Nanjing Culture,2015)

[[File:The Confucius Temple.jpg|300px|thumb|right|The Confucius Temple]]

During Ming and Qing Dynasties, there was a custom of playing dragon lanterns and hanging gauze lanterns. Playing Dragon Lantern is not only played by ordinary people, but also by the soldiers. The length of the lantern is not as long as other places can. The short one is more than ten feet, the long is more than a hundred knots, and it can be played by hundreds of people. Yarn lanterns have satin silk fabrics, and there are celebrities painting on them, the more painting by the masters, the higher the value. Merchants will also hold lantern riddles activities in front of the store, attracting many tourists, and those who guess the prize will be rewarded. (Jiangsu Local Chronicles, Nanjing Culture,2015)

There is a lantern shaped in horse pioneered by Nanjing people. The lantern is covered with candles inside. Using the principle of thermal expansion of the air, the lamp surface is driven to rotate. The lamp surface is painted with various postures of horses galloping like ten thousand horses. British scholar Needham called it an invention of ancient Chinese people. The dragon lanterns are majestic, the gauze lanterns are exquisite, colorful, and vigorous, attracting the long dwelling and entertaining guests out of the city, singing and laughing. In recent decades, the Lantern Festival at the Confucius Temple has become more and more prosperous, using new technology, new materials, sound and light control, and it is colorful, vivid and dazzling. The lantern festival will last for one month starting from the Spring Festival. During this period, it attracted as many as two or three million tourists from all over the world every day.(Jiangsu Local Chronicles, Nanjing Culture,2015)

====Terms and Expressions====

the first month in the lunar calendar正月

glutinous rice balls 汤圆

satin silk fabrics楮练纱帛

Yarn lanterns 纱灯

lantern riddles activities 猜灯谜

the Confucius Temple 夫子庙

====Questions====

1.Which day is the night of the first full moon in the lunar calendar year?

2.In Tang Dynasty, what time is the Lantern Festival?

3.In Ming Dynasty, as Zhu Yuanzhang became the emperor in Nanjing, how many days did the Lantern Festival extend to?

4.What kinds of people like playing Dragon Lantern?

5.What is the length of the lantern in Nanjing?

6.What are characteristics of a lantern-shaped in horse?

7.What did Needham call as an invention of ancient Chinese people in Nanjing?

====Answers====

1.The fifteenth day of the first lunar month.

2.In Tang Dynasty it was 16th to 18th of the first month in the lunar calendar, which involved three days.

3.In Ming Dynasty, as Zhu Yuanzhang became the emperor in Nanjing, the Lantern Festival was extended to ten days.

4.Playing Dragon Lantern is not only played by ordinary people, but also by the soldiers.

5.The length of the lantern is not as long as other places can. The short one is more than ten feet, the long is more than a hundred knots, and it can be played by hundreds of people.

6.There is a lantern-shaped in horse pioneered by Nanjing people. The lantern is covered with candles inside. Using the principle of thermal expansion of the air, the lamp surface is driven to rotate. The lamp surface is painted with various postures of horses galloping like ten thousand horses.

7.a lantern-shaped in horse.

===References===

[1]Lu Haiming 卢海鸣. (2002). ''六朝都城'' [Capital of Six Dynasties]. Nanjing: Nanjing Press 南京出版社.

[2]Yao Yifeng 姚亦锋. (2007).从南京城市地理格局研究古都风貌规划 [Research on the Planning of Ancient Capital from the Geographical Pattern of Nanjing].人文地理 Human Geography.(03)92-97.

[3]Zhu Yaoting 朱耀廷.(2003). 定都与迁都——中国七大古都比较研究之一 [Setting and Moving the Capital: One of the Comparative Studies of the Seven Ancient Capitals of China].北京联合大学学报(人文社会科学版) Journal of Beijing Union University（Humanities and Social Sciences). (01) 69-76.

[4]Jiangsu Local Chronicles, Nanjing Culture, (2015).http://jssdfz.jiangsu.gov.cn/

==Chinese Traditional Culture-Five Constant Virtues Yang Hui 阳慧英语口译 202070080646==

Owning over thousands of years of history, the Chinese have created a brilliant history and culture, and at the same time have formed their own moral code that has played an important role in social development and progress. This is what we call Traditional Virtues, which still have great significance today and whose value to the development of human civilization is now widely recognized. Benevolence , righteousness, propriety, wisdom and fidelity are the Five Constant Virtues which are the most important ones in traditional China. They all came from Confucianism and are widely acknowledged all over China. To be a moral person, the ancient Chinese cultivated and test themselves according to the Five Constant Virtues and carried them down to the modern life. The brief and concise expression of " benevolence, righteousness, propriety , wisdom and fidelity" is not only the conciseness of Chinese traditional culture, its summary and abstract form of moral category can be said to be the " brand " of Chinese traditional ethics and morality, its value in Chinese traditional culture can be compared to the market value of a commercial brand with a long history.(Xu Keqian 2005, 4）

===Benevolence (Ren)===
Benevolence is the first and most important virtue among the Five Constant Virtues. It manifests itself in the inner mind in love and compassion for people and in avoiding harm or envy toward anyone. In terms of behavior, benevolence demands that one be amiable, not argue angrily with others nor do evil deeds. To cultivate one‘s virtue of Benevolence one should use another Confucian version of the Golden Rule: What one does not wish for oneself, one ought not to do to anyone else; what one recognizes as desirable for oneself, one ought to be willing to grant to others. Virtue, in this Confucian view, is based upon harmony with other people, produced through this type of ethical practice by a growing identification of the interests of self and other. Zeng Zi once said: My three provinces are my body. Cheating? Make friends without any sincerity ?go over what I have Learned?(Zhu Xi, 2005,27). In short, as parents treat their children, the benevolent person spares no effort to help others; one even lays down one’s life to this end, with no thought of being repaid(Zhu Xi, 2005,27).

===Righteousness (Yi)===
Among his teachings, Confucius emphasized righteousness which is the ability to distinguish between right and wrong. Righteousness can be thought of as similar to what is often referred to as a “conscience or “justice”. Confucius believed that actions should be taken on the basis of whether the act is morally right or wrong as opposed to whether it will provide profit or utility to an individual or group. Above all righteousness is about preserving one’s integrity. The unjust but rich to me is as clouds(China Publishing House 2006, 56).

===Propriety (Li)===
Propriety means ceremony or correct behavior. The contents of propriety include loyalty, filial piety , fraternal duty, respect, etc. Originating in ancient sacrificial rites, propriety, in a general sense signifies behavioral norms which maintain hierarchy. Confucius urged people to restrain oneself with propriety ,be polite ,treat others with propriety, saying that people cannot act without propriety. In ancient society, besides the relation of monarch and subjects, there were also the relations of father and sons, husband and wife, the elder and the young, teacher and students, and others. These relations differ but all demand modest respect to others(China Publishing House 2006, 76).

===Wisdom (Zhi)===
Wisdom is the knowledge by which one judges right and wrong, good and evil. The saint define the personality of “the wise” as “a wise man free from confusions”. The real man of wisdom shall not only be able to distinguish truth from falsehood, but also be rational and sensible; he shall never get confused in front of profits or different paths. That is to say, the wisdom concerns not only one person's ability and aptitude, but also his moral cultivation. The Doctrine of the Mean once said that "knowledge, benevolence, courage, the world's greatest valued. Also wisdom, its basic connotation is smartness. Confucius also pointed out that the acquisition of "wisdom" lies in learning, which can be obtained from both books and life(Zi Si 2007,32 ).

===Fidelity (Xin)===
Fidelity is honesty. This means that, externally, one’s deeds match one’s words; and that internally one’s words and mind are in unison. Fidelity is a key to the perfection of human nature. Robert Schuller, an American scholar at the niyama world civilization forum, the hometown of confucius in qufu, china, said: " faith, that is, honesty, should be emphasized to the people around you, family members and the wider population. So honesty is a very important principle. Everyone should be honest with each other, and of course you need to be humble, which is also very important so that we can create a harmonious environment. Thus it is the basis without which other virtues lose their authenticity ; hence they are inseparable. Fidelity is natural in a child, but might be lost due to external influences(Robert Schuller 2016, 4).

Benevolence, righteousness, courtesy, wisdom and faith in the " Five Constant Virtues " are the fundamental requirements of the moral norms of the gentleman, the spiritual support of the individual to settle down to the era of the use of Confucianism, and the " Five Moral Goals " of the Confucian view of the gentleman can better implement the core values of socialism, so that the historical tradition and the present reality, an organic combination and a link between the past and the future. Zhang pointed out that Confucianism is not the culture of God, but the moral culture centered on people, how to be a man, be a moral, ideal and effective person ;To be honest and friendly, to be respectful: to say what you do not want. To do to others ;Be faithful and forgiving(Zhang Qizhi 2016, 53).

===Expressions and Terms===
Five Constant Virtues 五常

benevolence 仁

righteousness 义

propriety 礼

wisdom 智

fidelity 信

moral code 道德准则

filial piety 孝道

===Questions===
1.what does the Five Constant Virtues refer to ?

2.In terms of behavior. what does Benevolence demand ?

3.What do the contents of the Propriety include ?

4.What is the real man of the wisdom ?

5. Where does the Five Constant Virtues come from ?

===Answers===
1.Benevolence , righteousness, propriety, wisdom and fidelity.

2. Benevolence demands that one should be amiable, neither argue angrily with others nor do evil deeds.

3.It includes loyalty, filial piety , fraternal duty, respect, etc.

4.The real man of wisdom shall not only be able to distinguish truth from falsehood, but also be rational and sensible; he shall never get confused in front of profits or different .

5.They all came from Confucianism and are widely acknowledged all over China.

===Reference===

Wei LI 韦利. (1998). 论语[the Analects of Confucius].Beijing: Foreign Language Teaching and Research Press 外语教学与研究出版社.

Robert Schuller. （2016）. 罗伯特舒乐.人类危机与文明对话-许嘉璐与罗伯特舒乐的高端对话[Human Crisis and Dialogue of Civilization--A High-level Dialogue between Xu Jialu and Robert Schuller]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.

Xu Keqian 徐克谦. (2005）.仁义礼智信与当代道德文明建设[Five Constant Virtues and the Construction of Contemporary Moral Civilization]. Learning Forum 学习论坛

Zhu Xi 朱熹. (2005). 四书集注[Notes on Four Book]. Jiang Su: Phoenix Publishing House 凤凰出版社.

Zi Si 子思. (2007). 中庸[The Doctrine of the Mean]. Harbin: Harbin Publishing House 哈尔滨出版社.

Zhang Qizhi 张岂之. (2016).中国文化的会通精神[The Communicative Spirit of Chinese Culture ]. Chang Chun : Chang Chun Press 长春出版社.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 03:45, 21 December 2020 (UTC)

==Cheongsam - Yang Yue 杨悦 - Student No.202070080617 英语笔译==
===Cheongsam===

Cheongsam, the traditional costume of Chinese women in China and around the world, is known as the quintessence of China and female national apparel. It is one of the most splendid phenomena and forms in China's long dress culture. (Mao Jing 2009, 1)

====Brief Introduction====

Cheongsam is a classic dress with the most traditional Chinese characteristics, the most national representatives and the best expression of the beauty of Oriental female. When people think of cheongsam, the first thing that comes to mind is its chic paintings and rich poetic sentiment, which show the virtuous, elegant and gentle temperament of Chinese women in the exquisite curves, and show the unique implicit beauty of Oriental women with flowing lines. After more than 300 years of evolution, it still enjoys high reputation such as "Oriental Wonders", "Chinese Dress", and "The Best of Clothing". This has witnessed that “the classic represents eternity”. (Tong Zhijun 2007, 17).

In 1984, cheongsam was designated by the State Council as a dress for female diplomats. On May 23, 2011, approved by the State Council, the handmade craftsmanship of cheongsam became one of the third batch of national intangible cultural heritage. In November 2014, the Chinese government chose cheongsam as the dress of the leaders’ wives of the participating countries at the 22nd APEC meeting in Beijing. (Mao Jing 2009, 1)

====The History of Cheongsam====

Cheongsam is a national costume originated from Manchu women in the mid-16th century. In the early days, the cheongsam worn by banner people was generally not over their feet. Only when Manchu women get married, do they wear cheongsam as a wedding dress. Because all the Manchu noble women wear high-heeled wooden clogs, their cheongsam is so long that it can cover their feet. (Mao Jing 2009, 2)

After the Emperor Shunzhi of the Qing Dynasty entered the Shanhai Pass and moved to Beijing, cheongsam gained its popularity in the Central Plains. After the Qing Dynasty unified China and also the national clothing, men wear long gowns and mandarins, and women wear cheongsam. Later, with the integration and unity of Manchu and Han life, cheongsam was gradually absorbed by Han women and continued to be innovated. (Mao Jing 2009, 2)

Following the 1911 Revolution, cheongsam quickly gained its popularity throughout the country. From the late 1920s to the early 1930s, influenced by the short gown that was popular in western women’ s clothing, the cheongsam also became shorter. The length of the cheongsam was just over the knee, the cuffs were narrowed, and the piping became narrower. In the mid-1930s, the cheongsam gradually grew longer and even shuffled to the floor. The slits on both sides were very high, and the waist was lined with a waistcoat. The waist became extremely narrow, and even fitted, showing the curve of the female . (Chen Juanjuan, Huang Nengyu 2006, 386-387).

In the 1940s, the cheongsam was shortened again, and the sleeves were even all canceled. It almost returned to the long vest era two hundred years ago. The only difference was that it was lighter and fitter and became streamlined. Beginning in the 1950s, in order to adapt to the needs of modern life, costume designers began to continuously improve Chinese cheongsam so that this national costume not only has oriental characteristics, but also conforms to the fashion trends of the world. And in this period, cheongsam, which is elegant and virtuous, has been internationally recognized. (Hongxia Liu 2009, 1)

In the past 20 years, the improved cheongsam we see has been greatly influenced by international fashion trends. For a time, various forms of the cheongsam such as low collar, sleeveless, tight waist, high slit, ultra short, topless, nude back, etc. have changed a lot. Sequins, embroidery, fur trim, fabric printing and other craft decorations shine brightly. The colors are gorgeous, jumping, thick, and soft, boldly breaking through the old pattern of cheongsam. (Wang Di 2014, 67)

The improved cheongsam not only retains the original features, but also incorporates the sense of innovation. Since then, the traditional Manchu dress has been injected into the blood of the times and given the vitality of youth. Cheongsam and fashion co-exist together, expressing a new feeling from a new perspective and a new concept. (Wang Di 2014, 67)

====The Significance of Cheongsam====

Through the baptism of history, the cheongsam has become the most representative symbol of the elegance of Oriental women. When it comes to Oriental female, people often think of a graceful woman wearing cheongsam. The silk commonly used in cheongsam makes the feminine figure more incisive and vivid. The oriental charm and elegance of the cheongsam is astounding. Nowadays, cheongsam has become a symbol of beauty beyond ordinary clothes in general sense, becoming an immortal classic. (Mao Jing 2009, 3)

Cheongsam has been leading the pace of tradition and fashion in the course of hundreds of years of evolution, inheriting Chinese civilization, showing the self-cultivation and virtues of the wearer, and becoming a model of traditional Chinese culture in modern times. We have reason to believe that cheongsam can connect the past and the future, life and art, and brings Chinese people’ s understanding and interpretation of beauty to the world. (Mao Jing 2009, 3)

In conclusion, after modern processing and improvement, the cheongsam has become an elegant dress that is loved by the public. Its cultural and artistic value of is worthy of being studied. China’s five thousand years of splendid history and culture retain its vitality of youth on the cheongsam, and the traditional costume culture is still shining on the modern stage. This provides the possibility for the study of the history of clothing development and adds infinite charm for the spread and promotion of Chinese culture. (Tong Zhijun 2007, 137)

Nowadays, cheongsam is a Chinese female dress with traditional charm and modern vitality. Its past is unpredictable, but its present keeps pace with the times. Whether in films, television works or in wedding photography, cheongsam shows fresh vitality. (Tong Zhijun 2007, 137)

===References===

*Tong Zhijun 佟志军. (2007). 旗袍与女性 [Cheongsam and Women]. 北京：服装设计师 Beijing: Fashion Designer (1) 137.
*Chen Juanjuan, Huang Nengfu 陈娟娟, 黄能馥. (2006). 中国服装史 [History of Chinese Clothing]. Beijing: China Tourism Press 北京：中国旅游出版社 386-387.
*Mao Jing 毛敬. (2009). 中国旗袍及其向世界的传播 [The Chinese Cheongsam and Its Spread to the World]. 淮北职业技术学院学报 Journal of Huaibei Vocational and Technical College 34.
*Wang Di 王迪. (2014). 中国旗袍的历史演变 [The Historical Evolution of Chinese Cheongsam]. 美术教育研究 Research on Art Education 67.
*Hongxia Liu. The Cheongsam—the Treasure of Chinese National Apparel. 2009, 1(1)

===Terms and Expressions===

*Cheongsam 旗袍
*the quintessence of China 国粹
*national intangible cultural heritage 非物质文化遗产
*Manchu 满族
*long gowns and mandarins 长袍马褂
*the improved cheongsam 改良旗袍
*sleeveless 无袖
*fur trim 毛皮饰边
*Sequins 亮片
*fabric printing 织物印花
*embroidery 刺绣
*topless 袒胸
*nude back 裸背
*low collar 低领
*high slit 高开叉

===Questions===

1.When did the cheongsam originate from?

2. When did the cheongsam become popular in central China?

3. When did the cheongsam become popular throughout the country?

4.What is the features of the cheongsam from the late 1920s to the early 1930s?

5. What is the features of the cheongsam in the 1940s?

6. In the past 20 years, influenced by international fashion trends, what changes have taken place in cheongsam?

===Answers===

1.Cheongsam is a national costume originated from Manchu women in the mid-16th century.

2.After the Emperor Shunzhi of the Qing Dynasty entered the Shanhai Pass and moved to Beijing, cheongsam became popular in the Central Plains.

3.Following the 1911 Revolution, cheongsam quickly gained its popularity throughout the country.

4.From the late 1920s to the early 1930s, influenced by the short gown that was popular in western women's clothing, the cheongsam also became shorter. The length of the cheongsam was just over the knee, the cuffs were narrowed, and the piping became narrower.

5.In the 1940s, the cheongsam was shortened again, and the sleeves were so short that they were all canceled. It almost returned to the long vest era two hundred years ago.

6. For a time, various forms such as low collar, sleeveless, tight waist, high slit, ultra short, topless, nude back, etc. have changed a lot. Sequins, embroidery, fur trim, fabric printing and other craft decorations shine brightly.
--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 07:56, 21 December 2020 (UTC)

==The Folding Screen--Yang Ziling 杨子泠 202070080647 MTI英语口译==

====1.1 Introduction ====

Folding screens are a kind of flexible furniture and composed of several frames or panels linked together. They serve practical and decorative functions, being made from various materials and in many styles. Folding screens originated in ancient China. Written references date from around the 4th century BC, during the Han dynasty, but they were probably used earlier. (Milica Sterjova 2017, website)

====1.2 History and Technology====

The earliest surviving folding screens are Chinese. Existing Chinese screens, some of which are
paper, date from the eighth century AD, although literary references date as far back as the Zhou
dynasty (fourth to third century BC), and depictions of screens occur in Han dynasty tombs (200
BC-200 AD). However, it was in Japan that the screen form evolved into its most celebrated
variations. (Dianne Lee van der Reyden website, 2)

Chinese screens which were made originally as partitions painted with beautiful and serious works, were not designed to be moved around very often. (Emmaantiques, 2014, website)
They were initially made of wooden panels and decorated with fine art. Many themes are painted on the panels, such as mythology, scenes of palace life, and nature, making them more of a piece of furniture. It is often associated with intrigue and romance in Chinese literature, for example, a young lady in love could take a curious peek hidden from behind a folding screen. Examples of such romantic occasions can be seen in the classical novel Dream of the Red Camber of Cao Xueqin. The folding screen is also an important element in Tang literature. Li He, the Tang Poet, wrote the "Song of the Screen" (屏风曲), in which he described a folding screen of a newly-wed couple. The folding screen surrounded the bed of the young couple, and its twelve panels were adorned with butterflies alighted on China pink flowers (an allusion to lovers), and had silver hinges resembling glass coins. (Mazurkewich, Karen, 2006) There are heavy wooden structures with other decorations pulled through holes near the edges of the panels. The frame was prominent, and the image development was frequently vertical and confined to the individual panels, creating a pleasing pattern. (Dianne Lee van der Reyden website,2)

They were made flexible when an ingenious system of strong paper hinges were integrated in the panel construction, which made folding patterns reversible. The panels were brought closer by the paper hinges, which reduce the need for frames separating panels and allow a horizontal orientation of the picture plane. This provides creative approaches to the various spatial relationships of the panels. (Dianne Lee van der Reyden website, 2)

====1.3 Uses====

Although originated in China, folding screens are now used in many interior designs around the world. People first used them also in some practical ways, such as preventing draft in homes, as shown by the two characters in their name: ping(屏 "screen; blocking") and feng (风 "breeze, wind"). People would also use them to bestow a sense of privacy; in old times, they would often be placed in rooms serving as dressing screens for ladies. (Cooper Dan 1999, 30-36)

Folding screens can be put up as to divide a large space and change the configuration of the room. They could also be used as a false way set up at the entrance of a room to create a desirable atmosphere by hiding certain features like doors to a kitchen. Now that many folding screens are design with fine art, they serve the decorative purposes well in the interior features of a home.(Cooper Dan 1999, 30-36)

====1.4 Spread====

After becoming popular in China, folding screens spread to other parts of the world, including East Asia and later Europe. In the 7th century, they appeared in Japan for the first time during the reign of Emperor Tenmu, and they were presented to the Korean kingdom of Silla as a gift. By the 8th century, they had gained such popularity in Japan that Japanese artists began to make their own, very much influenced by Chinese design. Different sizes served different purposes: small 2-fold screens were often used for the tea ceremony and a larger 8-fold screen could be used as backdrops for dances. Japanese screens were lighter, often made of silk or even paper. Painted screens were a major component of traditional Japanese architecture, and their decoration reflected the leading schools and movements in Japanese art. They served many purposes, being used for tea ceremonies, as backgrounds for concerts or dances, and as enclosures for Buddhist rites. (David Leopold 2008,9)

Folding screens from the Far East spread to Europe at the very beginning of the 17th century. Owing to their practical functions and the distinguished decoration, they drew a lot of attention. The famous designer Coco Chanel was totally enchanted by Coromandel screens. She was well-known for her collection of Chinese folding screens. She possessed 32 folding screens, 8 of which were preserved in her apartment in Paris. She once stated:   “I’ve loved Chinese screens since I was eighteen years old. I nearly fainted with joy when, entering a Chinese shop, I saw a Coromandel for the first time. Screens were the first thing I bought.“ (Delay Claude 1983, 12)

By the early 18th century, European craftsmen had already begun making folding screens on their own. They made folding screens in less expensive painted versions instead using lacquer techniques. At that time, leather screens were fashionable, but their popularity didn't last long, only to be restored around 1860 during the reign of Napoleon III with the wave of Japonism that inspired a number of French artists. (Milica Sterjova 2017, website)

In the 20th century when new modern heating means were invented, the functions of the folding screen became mostly decorative.

====1.5 Expressions and Terms====

Dream of the Red Chamber 《红楼梦》

the Korean Kingdom of Silla 朝鲜新罗王国

Emperor Tenmu 天武天皇

====1.6 Questions====

1. When did folding screens first appear?

2. How are folding screens associated with romance in Chinese literature?

3. What functions do screens serve?

4. When did they spread to Europe?

5. How did European craftsmen make folding screens?

===1.7 Answers===

1. Literary references date as far back as the Zhou dynasty (fourth to third century BC).

2. For example, a young lady in love could take a curious peek hidden from behind a folding screen, as presented in the classical novel Dream of the Red Camber of Cao Xueqin.

3. Preventing draft in homes, bestowing a sense of privacy and serving as dressing screens for ladies.

4. Folding screens from the Far East spread to Europe at the very beginning of the 17th century.

5. They made folding screens in less expensive painted versions instead using lacquer techniques.

===1.8 References===

Handler, Sarah (2007). Austere luminosity of Chinese classical furniture. University of California Press. pp. 268–271, 275, 277.

Delay, Claude (1983). Chanel Solitaire. Gallimard. p. 12. Cited in: "COCO CHANEL'S APARTMENT THE COROMANDEL SCREENS". Chanel News. June 29, 2010.

Milica Sterjova (2017). A Brief history of folding screens. https://www.wallswithstories.com/uncategorized/a-brief-history-of-folding-screens.html

Emmaantiques (2014). Asian Furniture Online. https://asianfurnitureonline.wordpress.com/2014/11/19/history-of-asian-screens/

Dianne Lee van der Reyden, THE HISTORY, TECHNOLOGY, AND CARE OF FOLDING SCREENS: CASE STUDIES OF THE CONSERVATION TREATMENT OF WESTERN AND ORIENTAL SCREENS, https://www.si.edu/mci/downloads/RELACT/folding_screens.pdf

David Leopold, Unfolding the Screen (2008). https://www.solowey.com/wp/page/9/

Mazurkewich, Karen; Ong, A. Chester (2006). Chinese Furniture: A Guide to Collecting Antiques. Tuttle Publishing. pp. 144–146

Cooper, Dan (1999). "Folding Grandeur". Old House Interiors. 5 (1): 30–36.

==Yi Zichu 义子楚英语笔译 202070080618==
==='''Panda'''===--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 14:26, 2 November 2020 (UTC)

===='''1.The origin of giant pandas'''=====
The ancestor of the giant panda is Ailuaractos lufengensis. The scientific name of the giant panda is actually "cat bear", which means "a bear like a cat". The main branch of it continued to evolve in central and southern China. One species of Ailuaractos lufengensis appeared in the early Pleistocene about 3 million years ago, and it was smaller than the current panda.(Sun Chengjian,2006,163)

The ancestor of the giant panda is Ailuaractos. The scientific name of the giant panda is actually "cat bear", which means "a bear like a cat". The main branch of it continued to evolve in central and southern China. One species of Ailuaractos appeared in the early Pleistocene about 3 million years ago, and it was smaller than the current panda. (Sun Chengjian,2006,163)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

In this process, giant pandas have adapted to life in subtropical bamboo forests, gradually increasing in size and relying on bamboo for their livelihoods. In the middle and late Pleistocene, about 500,000-700,000 years ago, was the heyday of giant pandas. The Qinling giant panda has been identified as a subspecies of the giant panda. Fossils show that the ancestors of giant pandas appeared in the early 2 to 3 million years ago. (Sun Chengjian,2006,163)

In the process, giant pandas have adapted to life in subtropical bamboo forests, gradually increasing in size and relying on bamboo for their livelihoods. In the middle and late Pleistocene, about 500,000-700,000 years ago, was the heyday of giant pandas. The Qinling giant panda has been identified as a subspecies of the giant panda. Biological fossils show that the ancestors of giant pandas appeared in the early 2 to 3 million years ago. (Sun Chengjian,2006,163) --[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

The habitat of giant pandas once covered most of eastern and southern China, reaching Beijing in the north and southern Myanmar and northern Vietnam in the south. Giant panda fossils are usually found in temperate or subtropical forests at an altitude of 500 to 700 meters. Giant pandas have survived to now and maintain their original ancient characteristics. Therefore, they have a lot of scientific value and are known as "living fossils". China calls them "national treasures."(Sun Chengjian,2006,165)\

The habitat of giant pandas once covered most of east southern China, reaching Beijing in the north and southern Myanmar and northern Vietnam in the south. Giant panda fossils are usually found in temperate or subtropical forests at an altitude of 500 to 700 meters. Giant pandas have survived to now and maintain their original ancient characteristics. Therefore, they have a lot of scientific value and are known as "living fossils". China calls them "national treasures." (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

===='''2.Appearance features of giant pandas'''====
Giant pandas are fat like bears, plump and rich, round heads and short tails, with a head length of 1200-1800mm and a tail length of 100-120mm. The weight is 80-120kg, and its maximum weight can reach 180kg. The raised pandas are a little heavier, and the males are generally slightly larger than the females. The hair color of its head and body is distinct from black and white. (Sun Chengjian,2006,165)

Giant pandas are fat like bears, plump and rich, round heads and short tails, with a head length of 1200-1800mm and a tail length of 100-120mm. Its weight is 80-120kg, and its maximum can reach 180kg. The raised pandas are a little heavier, and the males are generally slightly larger than the females. The hair color of its head and body is distinct from black and white. (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

However, its black is not pure black, and white is not pure white. It is black with brown through and white with yellow. The individuals in the Qinling Mountains are relatively large, with rough body hair and slightly brownish abdominal hair. The black and white appearance is conducive to hiding in dense forest trees and snow-covered ground without being easily spotted by natural enemies. Relatively sharp claws, well-developed and powerful front and rear limbs help the giant panda to climb up tall trees quickly. (Sun Chengjian,2006,165)

However, it is not pure black, or pure white. It is black with brown through and white with yellow. The pandas in the Qinling Mountains are relatively large, with rough body hair and slightly brownish abdominal hair. The black and white appearance is conducive to hiding in dense forest trees and snow-covered ground without being easily spotted by natural enemies. Relatively sharp claws, well-developed and powerful front and rear limbs help the giant panda to climb up tall trees quickly. (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

The giant panda's skin is thick, which can be up to 10 mm at its thickest point. The skin thickness of different parts of the body is different. The back of the body is thicker than the ventral side, and the outside of the body is thicker than the inside of the body. The average thickness of the skin is about 5 mm, and it is white, elastic and tough. The vision of giant pandas is extremely underdeveloped. This is because giant pandas live in dense bamboo forests for a long time. The light is very dark and there are many obstacles, making their eyes very short and shallow. (Sun Chengjian,2006,165)

The giant panda's skin is thick, which can be up to 10 mm at its thickest point. The skin thickness of different parts of the body is different. The back of the body is thicker than the ventral side, and the outside of the body is thicker than the inside of the body. The average thickness of the skin is about 5 mm, and it is white, elastic and tough. The vision of giant pandas is extremely underdeveloped. This is because giant pandas live in dense bamboo forests for a long time. The light is very dark and there are many obstacles, making their eyes very short (Sun Chengjian,2006,166)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

In addition, because its pupils are split like cats, they can still do activities when night comes.Giant pandas live in the high mountains and deep valleys of the upper reaches of the Yangtze River in China, which are the windward side of the southeast monsoon. The climate is warm and humid, and their humidity is often above 80%. The giant pandas prefer humid environment. The 6 long and narrow areas where giant pandas live, including Minshan, Qionglai, Liangshan, Daxiangling, Xiaoxiangling and Qinling Mountains, spans 45 counties (cities) in the 3 provinces of Sichuan, Shaanxi and Gansu.(Sun Chengjian,2006,165)

In addition, because its pupils are split like cats, they can still do activities when night comes. Giant pandas live in the high mountains and deep valleys of the upper reaches of the Yangtze River in China, which are the windward side of the southeast monsoon. There is warm and humid, and their humidity is often above 80%. The giant pandas prefer humid environment. The 6 long and narrow areas where giant pandas live, including Minshan, Qionglai, Liangshan, Daxiangling, Xiaoxiangling and Qinling Mountains, spans 45 counties (cities) in the 3 provinces of Sichuan, Shaanxi and Gansu. (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

The land area of their habitats is more than 20,000 square kilometers, and the population of there is about 1,600, of which more than 80% are distributed in Sichuan.(Sun Chengjian,2006,165)

The land area of their habitats is more than 20,000 square kilometers, and the population is about 1,600, of which more than 80% are distributed in Sichuan. (Sun Chengjian,2006,167)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

===='''3.The diet features of giant pandas'''====
The recipes of giant pandas are very special, almost including all kinds of bamboo that can be found in high mountain areas. Giant pandas also occasionally eat meat (usually the carcasses of animals or sometimes of rhizomys). The unique dieting characteristics of the giant panda make it known as the "bamboo bear" by the locals. Giant pandas have gradually evolved to herbivore. As bamboo has a few nutrition that can only provide the basic nutrients needed for pandas’ survival, giant pandas eat up to 14 hours a day except for sleeping or some short-distance activities in the wild environment. A giant panda eats 12 to 38 kilograms of bamboo per day, which is close to 40% of its body weight. (Hu Jinzhi,1981,17)

The recipes of giant pandas are very special, almost including all kinds of bamboo that can be found in high mountain areas. Giant pandas also occasionally eat meat (usually the carcasses of animals or sometimes of rhizomys). The unique dieting characteristics of the giant panda make it known as "bamboo bear" by the locals. Giant pandas have gradually evolved to herbivore. As bamboo has a few nutrition that can only provide the basic nutrients needed for pandas’ survival, giant pandas eat up to 14 hours a day except for sleeping or some short-distance activities in the wild environment. A giant panda eats 12 to 38 kilograms of bamboo per day, which is close to 40% of its body weight. (Hu Jinzhi,1981,17)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

They like to eat the most nutritious and least cellulose-containing parts of bamboo, namely the tender stems, burgeons, and bamboo shoots. There are usually at least two types of bamboo in the giant panda habitat. When one kind of bamboo blooms and dies (bamboo periodically blooms and dies every 30 to 120 years), pandas can switch to other bamboos. However, the continued fragmentation of the habitat increases the possibility that there is only one kind of bamboo in the habitat. When this kind of bamboo becomes distinct, the giant pandas in this area will face the threat of starvation.(Hu Jinzhi,1981,20)

They like to eat the most nutritious and least cellulose-containing parts of bamboo, namely the tender stems, burgeons, and bamboo shoots. There are usually at least two types of bamboo in the giant panda habitat. When one kind of bamboo blooms and dies (bamboo periodically blooms and dies every 30 to 120 years), pandas can choose other bamboos. However, the continued fragmentation of the habitat increases the possibility that there is only one kind of bamboo. When this kind of bamboo becomes distinct, the giant pandas in this area will face the threat of starvation. (Hu Jinzhi,1981,20)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

====='''Terms and expressions'''====
Ailuaractos lufengensis 始熊猫

Pleistocene 更新世

rhizomys 竹鼠

cellulose 纤维素

burgeons 嫩枝

===='''Questions'''====
1.What's the ancestor of giant pandas?

2.What are the features of giant pandas' skin?

3.Do giant pandas like hot environment?

4.What part of bamboo do giant panda eat?

===References===
[1]Yan Weiran,Tang Maolin,Chen Zeyuan,Chen Peng,Zhao Qijun,Que Pinjia,Wu Kongju,Hou Rong,Zhang Zhihe. Automatically predicting giant panda mating success based on acoustic features[J]. Global Ecology and Conservation,2020,24.

[2]丛丽,吴必虎.基于网络文本分析的野生动物旅游体验研究——以成都大熊猫繁育研究基地为例[J].北京大学学报(自然科学版),2014,50(06):1087-1094.

[3]雍严格,王宽武,汪铁军.佛坪大熊猫的移动习性[J].兽类学报,1994(01):9-14.

[4]胡锦矗.大熊猫的食性研究[J].南充师院学报(自然科学版),1981(03):17-22.

[5]孙承骞,张哲邻,金学林.秦岭大熊猫局域种群的划分及数量分布[J].陕西师范大学学报(自然科学版),2006(S1):163-167.

==You Yuting 游雨婷==
==Legalism - You Yuting 游雨婷 - Student No.202070080619 英语笔译==
====Legalism====

Legalism is a prominent school of thought in Chinese history that advocates the rule of law as its core and regards enriching the country and strengthening the army as its mission. The legalists are not pure theorists, but active actionists, whose thoughts also focus on the practical effects of law. It also puts forward the idea and concept of governing the country by law which still has far-reaching influence. A review based on the evolution of theories of legal relations showed that the study of the general theory of law in China is closely associated to the historical rate of progress of the practice of rule of law in China.(Lei Lei,Chris 2020,81).

====1.Representative figures====

Legalism developed relatively slowly, but took shape very early. The earliest could be traced back to the Xia and Shang rulers, and it became mature in the Warring-States Period. Through the unremitting efforts made by Guan Zhong, Zi Chan, Li Kui, Wu Qi, Shang Yang, and others, It gradually became a school of thought. At the end of the Warring-States Period, Han Fei summarized their theories, which was the greatest achievement of legalists. Shang Yang and Han Fei are two remarkable figures of this school, and they dedicated their life to promoting and practicing the ideas of legalism. (Wang Jian 2001,51).

Shang Yang, formerly known as Wei Yang, also known as Gongsun Yang, was born in the State of Wei during the Warring States Period. He put forward three reform plans, namely "the way of emperor", "the way of king" and "the overbearing way". Shang Yang talked about the overbearing policy of reform and won the heart of Duke Xiao. Shang Yang entered the stage to display his ideal. The main contents of Shang Yang's reform are as follows: establishing a new merit-based military system; offering reward for ploughing and weaving to ensure sufficient grain and grass for the army of Qin. (Wang Jian 2001,51).

After Shang Yang's reform, The State of Qin quickly became a powerful state, which laid the foundation for later generations to unify the whole country and further enriched the thought of legalism. (Wang Jian 2001,51).

As for Han Fei, Han Fei (280 B. C. -- 233 B. C.), from Han state of the Warring States period, was a master in the legalist school. Han Feizi is the originator of the Legalism, his philosophy together significantly influenced by the “legalist ancestors”（Tingchun Ngai 2019,7）. Han Fei's thought had a strong tendency of practical rationality, and he treated the practical effect as the criterion for judging everything.(Wang Jian 2001,52).

Han Fei developed a systematic legalist thought by combining “Shi” of Shen Dao, the "Shu" of Shen Buhai, and the "Fa" of Shang Yang. Han Fei was nobleman in Han State, but his thoughts were not adopted by the king of Han State at that time. Although Han Fei failed to realize his ambition during his lifetime, he further developed his legalist thoughts and theories, which provided a powerful theoretical basis for the first emperor of Qin to unify the whole country.(Wang Jian 2001,52)

====2.Values====

Legalism in pre-Qin period, which attached great attention to law and its compulsory function among other school of thoughts. Representatives of this school discussed the origin, nature, function of law, and the relationship between law and social economy, the demand of The times, state power, population and human nature. And it turned out to be a great success. There are several beliefs that the legalist school hold and advocate .(Guo Yanting 2014,71).

First, The legalists believe that people have the nature of "being fond of the beneficial instead of the harmful" . Guan Zhong once said that a businessman who could travel thousands of miles day and night would not feel far because of the benefits that lies ahead. With this same idea in mind, Shang Yang came to the conclusion that "people can govern one's likes and dislikes in life." Legalist school, therefore, combined the humanity with the management of the country, introducing reward and punishment to drive its people to work and fight hard for their country.(Guo Yanting 2014,71).

Second, the legalists opposed the conservative idea of restoring ancient ways and advocated vigorous reform. They believe that history moves forward and that all laws and institutions should be developed along with the development of history. Shang Yang clearly put forward the proposition of "Don’t follow the practices of the ancient and the present". Han Fei, on the other hand, took Shang Yang's idea a step further by proposing that "The way of running the country stays the same as the time changes; the country will be in chaos", and dismissing old-fashioned Confucian as a fool who waits for nothing.(Guo Yanting 2014,72).

Third, The combination of Fa, Shi, Shu. Shang Yang, Shen Dao and Shen Buhai respectively advocated Fa, Shi, Shu with its own characteristics. When Han Fei, the master of legalist school, put forward the idea of combining the three closely. (Guo Yanting 2014,72).

In Han Fei’s opinion, Fa refers to the improvement of the legal system, Shi refers to the power of the monarch, the sole military and political power, Shu refers to the control over the ministers, the control of political power, the implementation of laws and strategies and means. "Shi" lays the basis for ruling the masses and gaining advantages, similar to "management authority" in modern management(Dai Shu 2002,8). The main purpose is to avoid insurrection and maintain the power of the monarch. The three ideas proposed by the legalism still exert great impact on the improvement of the modern law.(Guo Yanting 2014,72).

====3.Works====

Legalism has produced many great works such as Guan Zi, Shang Jun Shu, Shenko, Shen Zi, and Han Fei Zi. Take Han Fei Zi as an example, Han Fei inherited and summarized the thoughts and practices of legalists in the Warring States Period and put forward the theory of absolute monarchy and centralization. In this book, Han Fei pointed out that the sovereign must be powerful to govern the country. Feudal officials with rich experiences should be selected to replace the hereditary slave owners and nobles, so that the power of the state could solely lie in the hands of the sovereign. (Dai Shu 2002,8).

It is worth mentioning that in this book Han Fei Zi, it also recorded a large number of popular fable stories, such as "self-contradiction", "wait for windfalls", "safety in numbers", "sense comes with age" and so on. These fables contain deep philosophy, and inspire people through the perfect combination of ideas and artistry.(Dai Shu 2002,12).

====References====

*Lei Lei,Chris.The General Theory of Law and Its Development in China[J].Contemporary Social Sciences,2020(05):81-107.
*Tingchun Ngai.The Debates on Human Nature and Political Governance in Ancient China: Mencius, Xunzi and Han Feizi. Open Access Library Journal,2019, 6(4):1-14.
*Guo Yanting. 郭艳婷.(2014). 浅论法家思想及其现实意义.[On Legalist Thought and Its Practical Significance][J].湖北广播电视大学学报[Journal of Hubei Radio and Television University],34(02):71-72.
*Dai Shu. 戴黍.(2002). 以“势”为中心的制度设计——韩非治国思想的现代解读.[The System Design with "Shi" as the Center -- the Modern Interpretation of Han Fei's Thoughts on Governing A Country][J].华南师范大学学报[Journal of South China Normal University],(03):7-12.
*Wang Jian. 王健(2001). 法家事功思想初探——以《商君书》、《韩非子》为中心.[A Preliminary Study on the Thought of Legalist Achievement -- Centering on Shang Jun Shu and Han Feizi][J].史学月刊[The Historical Journal],(06):51-56.

====Terms and Expressions====

1.Legalism法家

2.the way of emperor帝道

3.the way of king王道

4.the overbearing way 霸道

5.being fond of the beneficial instead of the harmful 好利恶害

6.self-contradiction自相矛盾

7.wait for windfalls守株待兔

8.safety in numbers滥竽充数

9.sense comes with age老马识途

====Questions====

1.When did legalism become mature?

2.Do you know the representative figures of legalism?

3.Can you make a list of values proposed by legalism?

4.what does "being fond of the beneficial instead of the harmful" mean? Can you make some examples?

5.Does the members of legalism object the thoughts of Confucian school?

6.What are the classical works of legalism?

7.What are the popular fable stories contained in the book of Han Fei?

===Answers===

1.It became mature in the Warring-States Period.

2.Guan Zhong, Zi Chan, Li Kui, Wu Qi, Shang Yang.

3.First, The legalists believe that people have the nature of "being fond of the beneficial instead of the harmful" . Second, the legalists opposed the conservative idea of restoring ancient ways and advocated vigorous reform.Third, The combination of Fa(law), Shi(power), Shu(art). Shang Yang, Shen Dao and Shen Buhai respectively advocated Fa, Shi, Shu with its own characteristics.

4.Guan Zhong once said that a businessman who could travel thousands of miles day and night would not feel far because the attraction of the benefits. Fishermen, who was not afraid of danger and sailed against the current, not caring about a hundred miles away, pursued the benefits of fishing.

5.Yes.

6.Guan Zi, Shang Jun Shu, Shenko, Shen Zi, and Han Fei Zi. Take Han Fei Zi.

7."self-contradiction", "wait for windfalls", "safety in numbers", "sense comes with age" .
--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:12, 21 December 2020 (UTC)

20201215 cultexam 3

2020-12-21T13:19:42Z

Yang Hairong: /* Questions */

*Link to return to [https://bou.de/u/wiki/Chinese_Languages_and_Cultures Course Homepage].
*Link to the other Final Exam paper pages: [https://bou.de/u/wiki/20201215_cultexam_1 1 Alsied, Saffana - Jiang Qiwei]; [https://bou.de/u/wiki/20201215_cultexam_2 2 Kang Haoyu - Sagara Seydou]; [https://bou.de/u/wiki/20201215_cultexam_3 3 Shi Haiyao - You Yuting]; [https://bou.de/u/wiki/20201215_cultexam_4 4 Yu Ni - Zubareva, Ekaterina]. This page has become too large. Do not write on this page any more, but on one of the smaller pages.

'''Final Exam Paper. Please write now and improve until grading on 2020 12 15'''
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please 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.
*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: Huadong 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.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

==Historical Figures, The Four Talented Women of Ancient China- Shi Haiyao 石海瑶 202070080605 英语笔译==
The Four Talented Women of Ancient China
(中国古代四大才女)

===Cai Wenji 蔡文姬===

Cai Wenji, also known as Cai Yan, was a female writer in the Eastern Han Dynasty. As the daughter of the great writer Cai Yong, Cai Wenji had received good education since childhood and got high attainments in terms of calligraphy, music and literature. Although her works are not in plenty, she is recognized as a talented woman in the late Eastern Han Dynasty.Her father, Cai Yong, was a master of calligraphy, and wenji passed it on from her father. Unfortunately, only one piece of calligraphy written by Wenji has been kept so far, and it only has 14 characters, which is a great loss in the history of Chinese calligraphy.(Wu Chanshen,2011,45)

About Wenji’s gift in Guqin, Fan Ye described her in ''The History of the Later Han Dynasty'' as "knowledgeable, talented , and excellent in melody." ''The Three Character Classic'' directly mentioned: "Cai Wenji is adept in distinguishing the sound of different qin." It is said that ''Eighteen Songs of a Nomad Flute Song'' was written by her. This famous Chinese guqin song is one of the ten famous ancient Chinese songs. " ''Eighteen Songs of a Nomad Flute Song'' " includes 18 chapters and 1,297 words in total, reflecting the theme of "Wenji returns to Han".''Eighteen Songs of a Nomad Flute Song'' tells the story of Cai Wenji's sufferings in her whole life in a touching tone. It reflects the deep disaster brought by the war, and expresses the strong feeling of missing the motherland and the countryside and of the unbearable family separation. (Wu Chanshen,2011,48)

After Cai Wenji returned to the Han Dynasty, she wrote two ''Indignant Poems'', one of which was five-character verse and another was Sao Style. The poem of five-character verse, which focuses on "sadness and disharmony", is a narrative poem based on feelings and facts, it is the first autobiographical narrative poem in the history of Chinese poetry. ''Indignant Poems'' with Sao style emphasizes on expressing emotions, descriptions of diversified natural landscapes express Wenji's sadness of leaving her hometown.In these depiction of scenery and people, Wenji has enlarged the difference between them and her hometown, so as to describe her grief and anger.(Wu Chanshen,2011,84)

Her life, immersed in the chaotic life, suffering all the trick of fates. She never gave in, even when the chaos caused by war crushed her dignity and pride. Her life force like a weed , and it is this tenacity that makes her become a miracle in troubled times.

===Zhuo Wenjun 卓文君===
Zhuo Wenjun was born beautiful, gifted and clever as well as adept at poetry and lyrics. The talented but poor Sima Xiangru and Zhuo Wenjun fell in love at first sight. Wenjun broke through the secular concept, regardless of family's obstruction, leaving behind the life of luxury and pursuing love resolutely.

With the support of Zhuo Wenjun, Sima Xiangru was able to make his way to the top, but he shifted his love to another person and had the intention of taking a concubine.In ancient China,a husband can legally marry many wife.Instead of being submissive like a cowardly woman, or being hurt and losing her mind, she wrote poetry to warn her husband and to redeem his love. Her Poem of ''Discontent and Letter of Farewell'' persuaded her husband to change his mind. After reading, her husband retrieved his original intention. Zhuo Wenjun's bold pursuit of love was a deviant act in feudal society(Lin Jing,2016:41).

In addition, Zhuo Wenjun's experience set an example of free love for later generations. Her poem of ''Bai Tou Yin'' is called a classic of love poetry.

The following is the original poem:

白头吟

皑如山上雪, 皎如云间月。

闻君有两意, 故来相决绝。

今日斗酒会, 明旦沟水头;

躞蹀御沟上, 沟水东西流。

愿得一心人，白头不相离。

竹竿何袅袅，鱼尾何簁簁。

男儿重意气，何用钱刀为？

The translated version by Xu Yuanchong is as follows:

Bai Tou Yin

Our love like snow on mountains proud,

Was bright like the moonmid the cloud.

I’m told you’ll leave the old for new;

I come to say goodbye to you.

We drink a cup of wine today;

Tomorrow we’ll go each our way.

By royal moat we’ll walk and go,

Like waters which east or west flow.

Why should I fell so sad and drear,

And like a bride shed tear on tear?

If I’d wed one with single heart,

Even white-haired, we would not part.

Long,long may be your fishing lines,

You cannot catch fishtail while shines.

If your love were constant and true,

Why so much money to go through? (Xu Yuanchong,2012:17)

===Li Qingzhao 李清照===
Li Qingzhao, also known as Yi An Jushi, was a female lyricist in Song dynasty as well as representative of graceful and restrained song lyrics. She was considered "the first talented woman through the ages". Her father, Li Gefei collected numerous books, which laid her literary foundation when she was young. After marrying, she and her husband, Zhao Mingcheng, devoted to collecting and arranging calligraphy, painting, gold and stones. When the Jin soldiers entered the Central Plains, she fled to the south with loneliness. In the early part of his works, she mostly wrote about his leisurely life, but in the later part, she mostly lamented his life and became sentimental. ''Yi An Jushi Anthology'' and ''Yi An Lyrics'' have been idle, thus, later people compile her text into ''Shuyu Lyrics''. Her lyrics emphasize the concordance, advocating elegance, opposed to the method of making words for poetry. Her poem, not many of which have survived, is partly sentimental, and partly generous, but different from the style of its lyrics.(Song Shidao,2011,18）

As a female writer in the history of ancient Chinese literature, Li Qingzhao's patriotic thought embodied in his works has positive social significance. From the historical perspective, Li Qingzhao's patriotic thought represents the ancient Chinese women's pursuit of equality between men and women, concern for state affairs and love for the motherland, so that later generations can get to know the emotional world of ancient Chinese women. From a realistic perspective, Li Qingzhao's patriotic thoughts can make people feel the important role of women in national unity and social progress.

===Ban Zhao 班昭===
Ban Zhao is a brilliant woman of great learning and virtue,she is a historian, a writer and a politician.Ban Zhao's achievements are highlighted in her research in history, continuing to complete the compilation of the Book of Han after the death of his father, Ban Biao, and his brother, Ban Gu.''The Book of Han'' is a historical masterpiece,enjoying a high reputation of the first chronicle of China's dynastic history(Jin Lulu,2009:122).

Ban Zhao came from a Confucian family, and his father, Ban Biao, was a well-known scholar at that time. Influenced by his father, Ban Zhao was very knowledgeable and talented.At the age of fourteen, Ban Zhao married Cao Shishu. After her husband died in his early years, Ban Zhaog obeyed the rules of women, behaved in with etiquette, and had very good conduct. Compared with Zhuo Wenjun, Ban Zhao's view of love is full of bondage without personal freedom(Jin Lulu,2009:105).

In her later years, Ban Zhao suffered from illness. When her daughters were just about to get married, Ban Zhao was worried that they would humiliate the clansman if they did not know women's etiquette. so she composed seven chapters of ''The Commandments for Women'' in her spare time,which,then, spread widely among the people.The concepts advocated by Ban Zhao in the book became the code of conduct for ancient Chinese women.This book confined women's thoughts and freedoms, but it also served as a guide for women's behavior at the time.

===Terms and Expressions===
Cai Wenj 蔡文姬

Cai Yong 蔡邕

Fan Ye 范晔

''The History of the Later Han Dynasty'' 《后汉书》

''Three Character Classic'' 《三字经》

''Eighteen Songs of a Nomad Flute Song'' 《胡笳十八拍》

''Indignant Poems'' 《悲愤诗》

''five-character verse'' 五言体

Sao style 骚体

autobiographical narrative poem 自传体长篇叙事诗

Li Qingzhao 李清照

''Yi An Jushi Anthology''《易安居士文集》

''Yi An Lyrics''《易安词》

''Shuyu Lyrics''《漱玉词》

Zhuo Wenjun 卓文君

''Poem of Discontent''《怨郎诗》

''Letter of Farewell''《诀别书》

''Bai Tou Yin'' 《白头吟》

''The Book of Han'' 《汉书》

''The Commandments for Women''《女诫》

===References===
[1]金璐璐.班昭及其著述研究[D].首都师范大学.2009

[2]林菁.最是人间留不住[M].北京：民主与建设出版社,2016

[3]宋师道.四大才女之李清照传[M].北京：中国华侨出版社,2011

[4]武昌盛.四大才女之蔡文姬传[M].北京：中国华侨出版社,2011

[5]许渊冲.许渊冲经典英译汉魏六朝诗[M].北京：海豚出版社,2017:17

[6]赵明哲.四大才女之卓文君传[M].北京：中国华侨出版社,2011

===Questions===
1. Who are the four talented women of ancient China?

2. Do you know any representative works written by Cai Wenji?

3. Who is Zhuo Wenjun's husband?

4. What did ZhuoWenjun do to save her marriage?

5. Who is considered "the first talented woman through the ages"?

6. Who is the writer of ''The Commandments for Women''?

7. What are the influences about ''The Commandments for Women''?

===Answers===
1. They are Cai Wenji, Zhuo Wenjun, Li Qingzhao and BanZhao.

2. ''Eighteen Songs of a Nomad Flute Song'' and ''Indignant Poems'' .

3. Sima Xiangru.

4. She wrote ''Poem of Discontent'' and ''Letter of Farewell'' to save her marriage.

5. Li Qigzhao.

6. Ban Zhao.

7. This book confined women's thoughts and freedoms, but it also served as a guide for women's behavior at the time.

==Habits, Ways of Contacting - Si Yu 司妤 Student No.202070080606 MTI笔译==

Ancient and Contemporary Ways of Contacting--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 13:27, 22 November 2020 (UTC)

===Ancient and Contemporary Ways of Contacting===

====1.Pigeon post====
Pigeon post is a method of communication among ancient people, where letters are tied to the feet of pigeons and delivered to the person who wants to deliver them. In movies, we see people in western countries using crows to deliver letters, but in China, crows are seen as an inauspicious symbol, so people used to use pigeons to deliver letters. Pigeons can fly and fly faster, can recognize directions, have a good sense of the earth's magnetic field, and are particularly home-loving, so they are used to improve the speed of delivering mail.

In order to get the ideal pigeon, besides careful selection of good breed and scientific feeding management, the most important thing is training. All three complement each other and are indispensable. The basic principle of training is based on the biological characteristics and physiological features of pigeons and the principle of "conditioned reflex".

The fundamental purpose of training is to cultivate, exercise and improve the quality of pigeons, to bring into play their inherent biological characteristics and specialties, so that they have the basic elements and conditions to complete various communication and competition tasks. The basic content of training includes: basic training, flight training, competition training, adaptation training and application training. In principle, the training should start from young pigeons, from simple to complicated, from near to far, from day to night, from basic training to professional training, in short, from easy to difficult.(Baidu Encyclopedia 百度百科：Pigeon Post,飞鸽传书）

Historically, Genghis Khan used pigeon posts to keep in touch with distant parts of his empire, and even in ancient Greece, carrier pigeons were used to announce major events, such as the Olympic Games! In the 12th century, a fairly extensive network of homing pigeons was established between Syria and Baghdad. One of the last active carrier pigeon posts was in India, but the carrier pigeon was officially retired in 2002. During the war years, carrier pigeons also played a role that could not be ignored. They were able to cross enemy lines more easily than men on horseback. This earned them the name "war pigeon". People continued to use carrier pigeons to deliver letters even up to the time of World War II.
(scienceabc 19 Oct2019)

====2.Paper Letters====

The letter is a kind of application document that transmits information and exchanges thoughts and feelings to a specific object. “Letter" in the ancient text with the meaning of audio, news, in addition, "Letter" also has a trustworthy meaning of the words transmitted by the trustee, whether it is a message sent to a person, or through the letter carrier by letter to the specific object of language and writing to convey information and exchange of ideas and feelings of the letter, there must be three elements: one is the ability to express their thoughts and feelings; two is to have the appropriate writing tools; three is someone to deliver.

Written letters to relatives and friends, not only can convey their thoughts and feelings, but also can give the recipient of the letter a feeling of intimacy; technology continues to progress, and the emergence of the telephone, telegraph, postal tape, video tape, e-mail and other means of exchange of information, it can be expected e-mail will be used by more and more people, which has actually been proven.

With the development of society, the relationship between people and society is also being reconstructed. In addition to the traditional use of correspondence, i.e., official letters and private letters, a new development is the use of personal letters to government agencies, enterprises and institutions, famous scholars, and other individuals for personal needs, and the use of this type of correspondence is gradually increasing and noteworthy. We call them personal correspondence.(Baidu Encyclopedia 百度百科：Written Letters,手写信件）

====3.E-mails====

E-mail is a way of communication that provides information exchange by electronic means and is the most widely used service of the Internet. Through the network's e-mail system, users can contact network users in any corner of the world at a very low price (no matter where they send it, they only have to pay for the network fee) and in a very fast way (it can be sent to any specified destination in the world within a few seconds).

E-mail can be in many forms such as text, images, sound, etc. At the same time, users can get a large number of free news and feature emails and easily achieve information search. The existence of e-mail greatly facilitates communication and exchange between people and promotes the development of society.

However, there are many drawbacks in using e-mail. For example, there is a risk of information being stolen and there is a lot of spam on the network. To address these two problems, the following solutions are available. Firstly, from the perspective of network security of the website itself, using hardware firewall devices is definitely the best solution. Second, a full-time network administrator should be assigned to regularly maintain the website. Thirdly, when applying for mailbox, choose a more protective username, such as a combination of English and numbers, which can be less harassed by spam. Fourth, avoid disclosing your email address. Fifth, use good mail management and screening function. outlook express, foxmail and qqmail all have good mail management function, users can screen mails by setting rules of mail domain, mail subject, source, length and so on.

The format of an e-mail address consists of three parts. The first part "USER" represents the account number of user mailbox, which must be unique for the same mail receiving server; the second part "@" is the separator; the third part is the domain name of mail receiving server of user mailbox, to mark its location.

According to Internet Week, the world's first email was a short message sent by computer scientist Professor Leonard K. to his colleagues (in October 1969, I believe), which consisted of only two letters: "LO". Professor Leonard K. explained, "Back then I was trying to communicate with a computer at the University of California and another computer at the Stanford Research Center near San Francisco. What we were doing was logging in from one computer to the other. The way to log in at that time was to type L-O-G. So we typed L and asked, 'Do you get L?' The other side replied, 'Yes.' Before we received a confirmation that the other party had received G, the system went down. So the first online message was 'LO', which means 'Hello!'"

The first e-mail from China on September 20, 1987 was sent by Werner Zorn, the "Father of the German Internet," and Wang Yunfeng at the Institute of Applied Computer Technology in Beijing to the University of Karlsruhe in Germany, in English.
Original text: Across the Great Wall we can reach every corner in the world.

It means “跨越长城，走向世界。” This is the first email sent from China to the Global Science Network through the network connection between Beijing and the University of Karlsruhe in Germany.(Baidu Encyclopedia 百度百科：E-mail 电子邮件）

===References===
1.Baidu Encyclopedia 百度百科：Pigeon Post,飞鸽传书 https://baike.baidu.com/item/%E9%A3%9E%E9%B8%BD%E4%BC%A0%E4%B9%A6/7009129?fr=aladdin

2.Baidu Encyclopedia 百度百科：Written Letters,手写信件 https://baike.baidu.com/item/%E4%B9%A6%E4%BF%A1/1095625?fr=aladdin

3.Baidu Encyclopedia 百度百科：E-mail 电子邮件 https://baike.baidu.com/item/%E7%94%B5%E5%AD%90%E9%82%AE%E4%BB%B6/111106?fr=aladdin

4.scienceabc.How Did the Pigeon Post Work?. https://www.scienceabc.com/19 Oct2019.

===Terms and Expressions===

条件反射conditioned reflex

成吉思汗 Genghis Khan

信鸽驿站pigeon post station

战鸽war pigeon

分隔符separator

服务器域名domain name

互联网周刊Internet Week

===Questions===

1.What part of pigeon is the letter tied to when you want to send a letter?

2.What animals do the western countries use to send letters in spite of pigeons?

3.Why pigeons can be used to send letters?

4.What are the three elements in writing and sending letters?

5.When did the world's first emails appear?

6.How to translate China’s first e-mail “Across the Great Wall we can reach every corner in the world.”

===Answers===

1.Letters are tied to the feet of pigeons.

2.Ravens.

3.Pigeons can fly and fly faster, can recognize directions, have a good sense of the earth's magnetic field,
and are particularly home-loving, so they are used to improve the speed of delivering mail.

4.One is the ability to express their thoughts and feelings; two is to have the appropriate writing tools; three is someone to deliver.

5.October 1969

6.跨越长城，连接世界

==Landscape, Five Famous Mountains - Tan Yuanyuan 谭媛媛 202070080642 MTI==

Wuyue (五岳) is the general name of the five famous mountains in Chinese Han culture and is the product of the combination of ancient folk mountain god reverence, the concept of the Five Elements and imperial excursions and meditation in ancient times.
The “Five Sacred Mountains” (or Wuyue – 五岳), also referred to as the Five Great Mountains, began with Emperor Wu of the Han Dynasty (157 BC – 87 BC). “Yue” in Wuyue means high mountains. During the Wei, Jin and Southern and Northern Dynasties, Buddhism and Taoism began to build temples and carry out religious activities on the Five Sacred Mountains.
Emperors of ancient China would perform excursions to the mountain peaks and offer non-human sacrifices on a regular basis. This tradition became a ritual of the state according to Confucianism and was one of the must-do activities upon becoming emperor. This tradition continued right up until the fall of the last dynasty in 1911.
While the Five Great mountains are not denoted as sacred mountains of either Buddhism or Taoism, they do have a strong Taoist presence and many Buddhist temples.
The Five Great Mountains remain places of pilgrimage to this day with many young people having the goal of climbing all five and retracing the footsteps of the ancient emperors during Imperial China. The mountains are popular tourist attractions and are well developed featuring good tourist and transport services and several are national AAAAA rated scenic sites.(Anastasiia Ilina,2017)

===Mount Tai (泰山) – Wuyue East Great Mountain===
Province: Shandong | Height: 1,533 metres (5,030 ft)
Mount Tai, or Taishan, is a mountain of historical and cultural significance located north of the city of Tai’an, in Shandong province, China. Mount Tai has been a place of worship for at least 3,000 years and is a National AAAAA level tourist attraction.
Mount Tai has been worshipped since the time of Shang culture, roughly 3,000 years ago. Emperors of China would come to this mountain to meditate and offer sacrifices, similar to writers and artists who for centuries have visited Mount Tai for inspiration. Given its long-running history of worship, the mountain has been preserved with little alteration. It is also considered one of the most climbed mountains in China. The hike is not an easy one and may take most of the day to reach the top.(Rodney,2019)

Province: Shandong | Height: 1,533 metres (5,030 ft)
Mount Tai, or Taishan, is a mountain of historical and cultural significance located north of the city of Tai’an, in Shandong province, China. Mount Tai has been a place of worship for at least 3,000 years and is a National AAAAA level tourist attraction.
Mount Tai has been worshipped since the time of Shang culture, roughly 3,000 years ago. Emperors of China would come to this mountain to meditate and offer sacrifices, similar to writers and artists who for centuries have visited Mount Tai for inspiration. Given its long-running history of worship, the mountain has been preserved with little alteration. It is also considered one of the most climbed mountains in China. The hike is not an easy one and may take most of the day to reach the top.(Rodney,2019)

===Mount Heng (Hunan) (衡山) – Wuye South Great Mountain===
Province: Hunan | Height: 1,300 metres (4,265 ft)
Hengshan, is a mountain in southcentral China’s Hunan Province known as the southern mountain of the Five Great Mountains of China. Heng Shan is a mountain range 150 kilometres (93 mi) long with 72 peaks. The Huiyan Peak is the south end of the peaks, Yuelu Mountain in Changsha City is the north end, and the Zhurong Peak is the highest at 1,300 metres (4,300 ft) above sea level. At the foot of the mountain stands the largest temple in southern China, the Grand Temple of Mount Heng (Nanyue Damiao), which is the largest group of ancient buildings in Hunan Province.
Mount Heng in the south has a total of 72 peaks all of which are covered in trees, some of which are centuries-old. It is a beautiful spot to hike in the summer to admire the blooming greenery. Among the mountain peaks, a number of Buddhist temples are scattered. Of note is the Grand Temple of Mount Heng located at the foot of the mountain. The temple has survived many dynasties, with the earliest records of its existence dating back to the 8th century AD. Although the temple was severely damaged during the Cultural Revolution, it retains its religious significance to many believers.(Anastasiia Ilina,2017)

===Mount Hua (华山) – Wuyue West Great Mountain===
Province: Shaanxi | Height: 2,160 metres (7,087 ft)
Mount Hua, or Huashan, is located near the city of Huayin in Shaanxi province, about 120 kilometres (75 mi) east of Xi’an. It is the western mountain of the Five Great Mountains of China, and has a long history of religious significance. It is a National AAAAA level scenic spot featuring skywalk, temples, stone formations, caves, waterfall etc.Mount Hua is a popular destination for those staying in the ancient capital of Xi’an. The mountain complex consists of five major peaks, all of which are accessible for hiking. Nevertheless, a number of narrow paths and rugged steps make it a challenging climb, and at the south peak, the narrow plank walk running along the side of the mountain will challenge anybody’s relationship with heights. While walking along two narrow planks (attached with a harness to the edge of the mountain), you can move along the mountain. The trick is that it’s not a one-way path, and your balance will be tested when handling traffic coming from the other direction.(Rodney,2019)

===Mount Heng (Shanxi) (恒山) – Wuyue North Great Mountain===
Province: Shanxi | Height: 2,017 metres (6,617 ft)
Mount Heng, or Hengshan, is located in north-central China’s Shanxi Province, known as the northern mountain of the Five Great Mountains of China. Heng Shan in Shanxi Province is sometimes known as the Northern Heng Shan, and the one in Hunan Province as Southern Heng Shan. Both mountains have the same pronunciation in Chinese, and the Southern Heng Shan is also one of the Five Sacred Mountains.
Similar to many other revered mountains in China, Mount Heng holds meaning for the followers of the Taoist faith. The mountain may not be as popular as the other four, given its northern location, but that can be seen as advantage for a hiker seeking peace and isolation. Located at the foot of the mountain is the Hanging Monastery (Xuankong Si) running along the side of the mountain. The wooden structure is supported by dozens of wooden pillars, and despite its feeble appearance welcomes many visitors every year.(Rodney,2019)

===Mount Song (嵩山) – Wuyue Center Great Mountain===
Province: Henan | Height: 1,500 metres (4,921 ft)
Mount Song, or Songshan, is a mountain in central China’s Henan Province, along the southern bank of the Yellow River, that is known as the central mountain of the Five Great Mountains of China. It is a National AAAAA level tourist attraction and world heritage listed site. It is noted for its rich cultural heritage as the birthplace of Zen, the Taoist holy land, and the origin of kung fu.
One of China’s central mountains, Mount Song is located on the bank of the Yellow River, close to the ancient capital of Luoyang. Mount Song is best known as the location of the Shaolin Temple, the birthplace of Chan Buddhism, and thus retains religious significance to followers of both Buddhism and Taoism. The Shaolin Temple attracts curious visitors who want to observe the practitioners of martial arts demonstrating superb strength and coordination. The area around the mountain peaks has a number of other Taoist and Buddhist monasteries.(Anastasiia Ilina,2017)

===References===
Anastasiia Ilina. The Five Great Mountains of China. https://theculturetrip.com/asia/china/articles/the-five-great-mountains-of-china/.2017

Rodney. The Five Great Mountains of China (Wuyue 五岳). https://welcometochina.com.au/.2019

===Terms and Expressions===

Taoism 道教

cultural revolution 文化大革命

plank 厚木板

Hanging Monastery 悬空寺

Zen 禅宗

Shaolin Temple 少林寺

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

practitioners of martial arts 习武之人

monastery 寺庙

===Questions===

1. What does “Wuyue（五岳）” mean？

2. Do you know any famous Chinese lyrics related to Mount Tai?

3. What is the largest temple in southern China?

4. What are the features of Mount Hua?

5. What is the structure of the Hanging Monastery?

6. What is the famous site in Mount Song?

===Answers===

1.Wuyue (五岳) is the general name of the five famous mountains in Chinese Han culture and is the product of the combination of ancient folk mountain god reverence, the concept of the Five Elements and imperial excursions and meditation in ancient times.

2.会当凌绝顶，一览众山小。——杜甫

四月上泰山，石屏御道开。——李白

泰山不要欺毫末，颜子无心羡老彭。——白居易

3. Grand Temple of Mount Heng (Nanyue Damiao).

4. It features skywalk, temples, stone formations, caves, waterfall etc.

5. It has a feeble appearance with wooden structure supported by dozens of wooden pillars.

6. The Shaolin Temple, the birthplace of Chan Buddhism.

--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:36, 9 December 2020 (UTC)

==Ancient Chinese Education - Tang Bei 汤蓓 Student No. 202070080607 英语笔译==

===Ancient Chinese Education===

====History====
China’s ancient education was one of the most splendid components of ancient Chinese culture. Chinese education had a long history dating from the Xia, Shang and Zhou Dynasties 3000/4000 years ago.(Baidu Encyclopedia: Chinese Ancient Education) In the Shang Dynasty (16th-11th century BC), formal schools emerged with the names like “Xiao” (school), “Xue”(study) and “Daxue”(higher school). Teachers then were all government officials and students were all children of the nobility, so that was the earliest “Guan Xue”(Government School/Education). Education became more popular by the Spring Autumn/Warring States period. Confucius became the earliest founder for “Private Education”. This type of private school education is often known as “Si Xue” (private institution).(Zhu Hanming, 2010,342)

From Han till Qing Dynasty, the formation of government institution had been well-established. All the teaching materials and educational training were geared towards the preparation for Imperial examination. After receiving a title in the Imperial examination, one might receive a post in the state bureaucracy. At the same time, private schools were also developing. Most of the famous philosophers and scientists were originated from private schools. Apart from schooling, “Family education” began to play an important role. Many of the famous historical figures grew up under the education and strict ‘teaching’ by their parents or other senior family members, and they studied hard in order to become successful. For instance, it was well documented that Mencius’s mother had moved three times with her son before she eventually found a proper neighborhood for the son’s education. After the Han dynasty, because of the increased status of Confucianism and its influence, the teaching of “poetry and rites” became the basic content for family education. Loyalty, Filial Piety, Benevolence and Righteousness were core values taught in family education.(Baidu Encyclopedia: Chinese Ancient Education)

In ancient Chinese education, there was another form of education system known as “Xue Shu Jiao Yu”. This belongs to neither an institute education nor a family education. These are generally “primary school for the folks”. Sometimes, they were called “Meng Guan”(primary education hall), “Si Shu ” (private school), “Zu Xue” (extended family school) , etc. Most students will first learn how to read characters, then they will learn The Three Character Classic ”, The Hundred Family Surnames, The Thousand Character Classic. Then they will learn the “Four Books”. In addition, they will also learn Chinese calligraphy and character pairing. In this type of school, the rules and regulations are especially strict. There are other methods such as Shuyuan and Guozijian, etc. They all formed a unique way of knowledge teaching and became important system for the development on “study of knowledge”, “teaching method”, etc. All of these formed the basis for today's Chinese education.(Zhu Hanming, 2010, 345)
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)

====Confucian Educational Theory====

The historical importance of education in Chinese culture is derived from the teachings of Confucius. The connection between Confucius and the official Chinese educational system thus became permanently linked right into the present time. Confucius broke the rule of “Xue Zai Guan Fu”
(learning at the government hall. He encouraged “learning for all hierarchical levels and for all ages”, and opened the door of education to the commoners. He established his own school and started to spread his teaching, thoughts and views. He became the earliest founder for “Private Education”.

In ancient Chinese education, whether they were government or private school, they all placed a great emphasis on humanities and cultural education, which focused on the teaching of morality and the development of wisdom. It covered philosophy, language, literature and other cultural subjects. The curriculum at the Great Academy was based on the Confucian Five Classics.(Chinasage:Imperial Examination）

Confucius taught his students morality, proper speech, government, and the refined arts. While he also emphasized the “Six Arts” — ritual, music, archery , chariot- riding , calligraphy , and computation — it is clear that he regarded morality as the most important subject.(Biography: Confucius) Confucius had been regarded as the pioneer founder of family education. According to The Analects of Confucius, Confucius wanted his son to learn both poetry and rites. He said, “if one does not learn poetry, one will not be able to talk properly”, “if one does not learn rites, one will never be well footed in the society.” Other than placing a strong emphasis on morality education, Chinese education also emphasized greatly on learning/teaching method and principles. Below are some common Confucian educational philosophies:
Revise the old in order to deduce new things.
Learning and Thinking are equally important.
Learn in a systematic and progressive way, from a beginner’s level to the advanced.
Inspiration and Guidance.
Teach according to students’ ability; use appropriate materials for teaching.(Baidu Encyclopedia: Confucius)

Confucius’s goal was to create gentlemen who carry themselves with grace, speak correctly, and demonstrate integrity in all things. The long The Master said in The Analects that:
“Is it not delightful to acquire knowledge and put it into practice from time to time？“Learning without thought is labor lost; thought without learning is perilous.” (Kong qiu, 2016)
Confucius’s main educational thoughts were to teach students according to their aptitude, to treat students equally and to inspire thinking. His pedagogical methods were striking. He posed questions, cited passages from the classics, or used apt analogies, and waited for his students to arrive at the right answers.

The status of education remained high in Confucian heritage cultures in East Asia. Beyond that, translations of Confucian texts influenced European thinkers of the period as well, particularly among the philosophical groups of the Enlightenment who were interested by the integration of the system of morality of Confucius into Western civilization. The French philosopher Voltaire was also influenced by Confucius, seeing the concept of Confucian rationalism as an alternative to Christian dogma. He praised Confucian ethics and politics, portraying China as a model for Europe.(Baidu Encyclopedia: Confucius)
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)

====Chinese Imperial Examination====

The Chinese Imperial Examination was an examination system in Imperial China designed to select talented people for future positions in civil service. This system had a huge influence on both society and culture in Imperial China. It was established in 605 during the Sui Dynasty and lasted more than 1,300 years until the last examination in 1904 when the last Chinese feudal kingdom—the Qing Dynasty—was coming to an end. Somehow the modern examination system for selecting civil service staff also indirectly evolved from the imperial one. It was part of the process by which candidates who passed the exams could receive a title called jinshi, or some other degree, which in turn would generally be followed by appointments to government offices.（Newworldencyclopedia: Imperial Examination）

The first three of Jinshi were ranked Zhuangyuan, Bangyan and Tanhua respectively. The examinations consisted of a battery of tests administered at the district, provincial, and imperial levels. Only three-hundred candidates could pass the imperial examinations, which would be supervised by the Emperor himself. Candidate scholars often took the examinations several times before earning a degree. Each exam taker spent three days and two nights writing “eight-legged essays” — literary compositions with eight distinct sections — in a tiny room with a makeshift bed, a desk, and a bench. There were no interruptions in those three days, nor were candidates’ allowed any communication. Since the pressure to succeed was intense, cheating and corruption were rampant. In order to obtain objectivity in evaluation, candidates were identified by number rather than name, and examination answers were recopied by a third person before being evaluated to prevent the candidate’s handwriting from being recognized. In the ancient society, class consciousness was strong and many people from lower classes would have had little chance to reach high office, not to mention having any position in the official court.（Jin zheng, 1990）

However, once the imperial examination system was introduced, any male adult in China, regardless of his wealth or social status, could become a high-ranking government official by passing the imperial examination and thus realize their self-development. In this sense, passing the imperial examination was also called “carps jumping across the dragon’s gate” . The dragon had always been regarded as the symbol of mighty power and especially that of the rights exercised by the emperor, consequently the success of examination candidates was proudly called “jumping across the dragon’s gate.”(Baidu Encyclopedia: carps jumping across the dragon’s gate)

In late imperial China, the examination system and associated methods of recruitment to the central bureaucracy were major mechanisms by which the central government captured and held the loyalty of local-level elites. The examination system also served to maintain cultural unity and consensus on basic values. The uniformity of the content of the examinations meant that the local elites and ambitious would-be members of those elites across China were taught with the same values. Despite the significant effect of promoting Confucian culture and education, it also influenced education systems in many other countries like Korea, Japan, and Vietnam, and similarities can be found in the personnel selection methods employed in France, America and Britain. Today’s education system is surely its successor.（Newworldencyclopedia: The Imperial Examination）
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 13:20, 29 November 2020 (UTC)

===References===
1.1.Zhu Hanmin 朱汉民.(2010)''中国传统文化导论''[Introduction to Chinese traditional culture]. Hunan:Hunan University Press 湖南大学出版社.

2.Jing Zheng金铮.(1990)''科举制度与中国文化''[Imperial examination system and Chinese culture]. Shanghai:Shanghai People's Publishing Press 上海人民出版社.

3.Kong Qiu& Chen Dian孔丘&陈典.(2016)''论语''[The Analects of Confucius]. Jiangxi：Jiangxi People's Publishing Press 江西人民出版社.

4.Wanghui王惠.(2016)''中国社会与文化翻译教程''[A Coursebook on China’s Society and Culture Translation]. Beijing：Tsinghua University Press 清华大学出版社.

5.Baidu Encyclopedia''百度百科''：Chinese Ancient Education,中国古代教育

6.Baidu Encyclopedia''百度百科''： Confucius,孔子

7.Baidu Encyclopedia''百度百科''： The Imperial Examination,科举制度

8.https://www.biography.com/scholar/confucius

9.https://www.chinasage.info/examinations.htm

10.https://www.newworldencyclopedia.org/entry/Imperial_Examinations_(Keju)
--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 11:59, 13 December 2020 (UTC)

===Terms and Expressions===
Spring Autumn/Warring States period 春秋战国时期

Loyalty 忠

Filial Piety 孝

Benevolence 仁

Righteousness 义

poetry and rites 诗礼

Xue Shu Jiao Yu 学塾教育

Meng Guan 蒙馆

Zu Xue 族学

archery 射

chariot- riding 御

calligraphy 书

computation 数

state bureaucracy 政府机构

The Three Character Classic 《三字经》

The Hundred Family Surnames 《百家姓》

The Thousand Character Classic 《千字文》

Four Books 四书

Shuyuan 书院

Guozijian 国子监

Confucian Five Classics 五经

Six Arts 六艺

Jinshi 进士

Zhuangyuan 状元

Bangyan 榜眼

Tanhua 探花--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 14:31, 7 December 2020 (UTC)

===Questions===
1.What’s Confucius educational goal?

2.What are Confucius main educational thoughts?

3.What became permanently linked right into present time?

4.Before private educationa began, only who could be taught in government schools?

What are the forms of the Chinese Imperial Examination?

6.How did examiners evaluate the examination?

7.What are the functions of the the Chinese Imperial Examination?

8.What kind of far-reaching influence does the Chinese Imperial Examination have?--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 14:31, 7 December 2020 (UTC)

===Answers===
1.Confucius’s goal was to creat gentlemen who carry themselves with grace, speak correctly, and demonstrate integrity in all things.

2.Confucius’s main educational thoughts were to teach students according to their aptitude, to treat students equally and to inspire thinking.

3.The connection between Confucius and the official Chinese educational system.

4.Noblemen’s children

5.The examinations consisted of a battery of tests administered at the district, provincial, and imperial levels. Only three-hundred candidates could pass the imperial examinations, which would be supervised by the Emperor himself. Candidate scholars often took the examinations several times before earning a degree.

6.In order to obtain objectivity in evaluation, candidates were identified by number rather than name, and examination answers were recopied by a third person before being evaluated to prevent the candidate’s handwriting from being recognized.

7.In late imperial China, the examination system and associated methods of recruitment to the central bureaucracy were major mechanisms by which the central government captured and held the loyalty of local-level elites.The examination system also served to maintain cultural unity and consensus on basic values.

8.Despite the significant effect of promoting Confucian culture and education, it also influenced education systems in many other countries like Korea, Japan, and Vietnam, and similarities can be found in the personnel selection methods employed in France, America and Britain. Today’s education system is surely its successor.--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 14:31, 7 December 2020 (UTC)

==Cuisine, Chinese Dining Etiquette - Tang Yiran 汤伊然 202070080643 英语口译==

===Chinese Dining Etiquette===

China is a country with a long history of rituals and etiquette, and eating is a highly important feature of China’s culture, so naturally, dining etiquette has developed to a high degree. Dining etiquette is said to have its beginnings in the Zhou Dynasty (1045-256 BC). Through thousands of years of evolution, it has developed into a set of generally accepted dining rituals and practices. (Edward L.Davis 2005, 306)

[[File: A Chinese Dining Table.jpg|400px|thumb||Diagram of A Chinese Dining Table. Click [https://cn.bing.com/images/search?view=detailV2&ccid=NirSI%2bVR&id=F71307AA9E3664A2B8373E6E88E02E5D05C49E65&thid=OIP.NirSI-VRq1BPyCrjxboLtQHaE3&mediaurl=http%3a%2f%2fwww.hwaoconsulting.com%2fwp-content%2fuploads%2f2013%2f10%2fresize-of img_3335b.jpg&exph=567&expw=863&q=chinese+dining+etiquette&simid=608033216312313291&ck=DCAFE6250D3ADA26FE11D0CF34A4591D&selectedIndex=12&FORM=IRPRST&ajaxhist=0/File:A Chinese Dining Table.jpg] for original source.]]

====Attendance====

As a guest at a meal, one should be careful about his or her appearance and determine whether to bring small gifts or good wine, according to the degree of relationship with the master of the banquet. It is important to attend and be punctual. (Gavin Van Hinsbergh, 2020)

On arrival, one should first introduce himself or herself, or let the master of the banquet do the introduction if unknown to others, and then take a seat following the master of the banquet’s arrangement. (Gavin Van Hinsbergh, 2020)

====Seating Arrangements for a Chinese Banquet====

Dining etiquette in ancient times was enacted according to four-tier social strata (Edward L.Davis 2005, 306) :

1. the imperial court

2. local authorities

3. trade associations and

4. farmers and workers

In modern dining, seating arrangements have been simplified to:

1. master of the banquet

2. honored guest(s)

3. other guests.

The seat of honor, reserved for the master of the banquet or the guest with the highest status, is the one in the center facing east or facing the entrance. Those of higher position sit closer to the master of the banquet. The guests of the lowest position sit furthest from the seat of honor. When a family holds a banquet, the seat of honor is for the guest with the highest status and the head of the house takes the least prominent seat. (Ruru Zhou, 2018)

If the guest of honor or most senior member is not seated, other people are not allowed to be seated. If he hasn’t eaten, others should not begin to eat. When making toasts, the first toast is made from the seat of honor and continuing down the order of prominence. (Ruru Zhou, 2018)

'''A. Round Table'''

If round tables are used, the seat facing the entrance is the seat of honor. The seats on the left-hand side of the seat of honor are second, fourth, sixth, etc in importance, while those on the right rank at third, fifth, seventh, and so on. In the end, they will join together. (Ruru Zhou, 2018)

'''B. Square Table'''

In ancient times there was a piece of furniture known as an Eight Immortals table, a big square table with benches for two people on each side. If there was a seat facing the entrance, then the right-hand seat when facing the entrance was for the guest of honor. If there was no seat facing the entrance door (presumably if the meal was outside or there were two or more doors of equal importance), then the right-hand seat when facing east was the seat of honor. The seats on the left-hand side of the seat of honor were, in order of importance, second, fourth, sixth, and eighth and those on the right were third, fifth, and seventh. (Ruru Zhou, 2018)

'''C. In Grand Banquet'''

In a grand banquet of many tables, the table of honor is the one furthest from the entrance (or facing east in the event of no clear main entrance). The tables on the left-hand side of the tables of honor are, in order of importance, second, fourth, sixth, and so on, and those on the right are third, fifth, and seventh. Guests are seated according to their status and degree of relationship to the host of the banquet. (Ruru Zhou 2018)

[[File: Seating Arrangements in A Chinese Banquet.jpg|450px|thumb||Diagram of Seating Arrangements for A Chinese Banquet. Click [https://tse3-mm.cn.bing.net/th/id/OIP.qJkC9LsUyfYKOzLWkbS5JwHaGI?w=214&h=180&c=7&o=5&dpr=1.25&pid=1.7/File:Seating Arrangements in A Chinese Banquet.jpg] for original source.]]

====Chinese Table Manners====

Most table manners in China are similar to in the West. Don't be deceived by what you might see in a local restaurant on the streets. Chinese manners are more than slurping food down as quickly as possible, and shouting loudly! When eating a meal in China, people are expected to behave in a civilized manner (according to Chinese customs), pay attention to table manners, and practice good dining habits. In order to avoid offense, diners should pay attention to the following points (Gavin Van Hinsbergh, 2020):

'''A. Considering Others'''

1) Let older people eat first, or you can start to eat if you hear an elder say "let's eat". You should not steal a march on the elders. (Gavin Van Hinsbergh, 2020)

2) When helping yourself to the dishes, you should take food first from the plates in front of you rather than those in the middle of the table or in front of others. It's bad manners to use your chopsticks to burrow through the food and "dig for treasure" and keep your eyes glued to the plates. (Gavin Van Hinsbergh, 2020)

3) Even if you find your favorite dish, you should not gobble it up as quickly as possible or put the plate in front of yourself and proceed to eat like a horse. You should consider others at the table. If there is not much left on a plate and you want to finish it, you should consult others. If they say they don’t want anymore, then you can eat proceed. (Gavin Van Hinsbergh, 2020)

4) Concentrate on the meal and your companions. Watching television, using your phone, or carrying on some other activity while having a meal is considered a bad habit. (Gavin Van Hinsbergh, 2020)

4) You should try to refill your bowl with rice yourself and take the initiative to fill the bowls of elders with rice and food from the dishes. If elders fill your bowl or add food to your bowl, you should express your thanks. (Gavin Van Hinsbergh, 2020)

'''B. "Thank you" Gesture'''

Tea usually is served as soon as you have a seat in a restaurant. A waiter/waitress serves you tea while you read the menu and decide what to order. The teapot is left with you on the table after everyone around the table's cup is filled with tea. Guests then serve themselves. When someone pours tea into your cup, you can tap the table with your first two fingers two or three times, showing thanks to the pourer for the service and for being enough tea. The pourer will stop pouring when seeing the gesture. (Gavin Van Hinsbergh, 2020)

'''C. Elegance'''

1) You should pick up your bowl with your thumb on the mouth of the bowl, first finger, middle finger the third finger supporting the bottom of the bowl, and palm empty. If you don't pick up your bowl, bend over the table, and eat facing your bowl, it will be regarded as bad table manners. Moreover, it will have the consequence of compressing the stomach and restricting digestion. (Gavin Van Hinsbergh, 2020)

2) It is not good to pick up too much food at a time. You should behave elegantly. When taking food, don’t nudge or push against your neighbor. Don’t let the food splash or let soup or sauce drip onto the table. (Gavin Van Hinsbergh, 2020)

3) When eating, you should close your mouth to chew food well before you swallow it, which is not only a requirement of etiquette but also better for digestion. You should by no means open your mouth wide, fill it with large pieces of food, and eat up greedily. Don’t put too much food into your mouth at once to avoid leaving a gluttonous impression. Neither should you stretch your neck, open your mouth wide, and extend your tongue to catch food you are lifting to your mouth. (Gavin Van Hinsbergh, 2020)

4) When removing bones or other inedible parts of the meal from your mouth, use chopsticks or a hand to take them and put them on a side plate (or the table) in front of you, instead of spitting them directly onto the table or the ground. (Gavin Van Hinsbergh, 2020)

5) If there is food around your mouth, use a tissue or a napkin to wipe it, instead of licking it with your tongue. When chewing food, don't make noises. (Gavin Van Hinsbergh, 2020)

6) It is best not to talk with others with your mouth full. Be temperate in laughing lest you spew your food or the food goes down your windpipe and causes choking. If you need to talk, you should speak a little and quietly. (Gavin Van Hinsbergh, 2020)

7) If you want to cough or sneeze, use your hand or a handkerchief to cover your mouth and turn away. If you find something unpleasant in your mouth when chewing or phlegm in the throat, you should leave the dinner table to spit it out. (Gavin Van Hinsbergh, 2020)

====Rules and Conventions Relating to Chopsticks====

1) Do not stick chopsticks vertically into your food when not using them, especially not into rice, as this will make Chinese people think of funerals. At funerals, joss sticks (sticks of incense) are stuck into a pot by the rice that is put onto the ancestor altar. (Liao Huaying, 2008: 170)

2) Do not wave your chopsticks around in the air too much or play with them. (Liao Huaying, 2008: 170)

3) Do not stab or skewer food with your chopsticks. (Liao Huaying, 2008: 170)

4) Pick food up by exerting sufficient inward pressure on the chopsticks to grasp the food securely and move it smoothly to your mouth or bowl. It is considered a bad manner to drop food, so ensure it is gripped securely before carrying it. Holding one’s bowl close to the dish when serving oneself or close to the mouth when eating helps. (Liao Huaying, 2008: 170)

5) To separate a piece of food into two pieces, exert controlled pressure on the chopsticks while moving them apart from each other. This needs much practice. (Liao Huaying, 2008: 170)

6) Some consider it unhygienic to use the chopsticks that have been near (or in) one’s mouth to pick food from the central dishes. Serving spoons or chopsticks can be provided, and in this case, you will need to remember to alternate between using the serving chopsticks to move food to your bowl and your personal chopsticks for transferring the food to your mouth. (Liao Huaying, 2008: 170)

7) Knives are traditionally seen as violent in China, and breakers of the harmony, so are not provided at the table. Some restaurants in China have forks available and all of them will have spoons. If you are not good at using chopsticks, ask the restaurant staff to provide you with a fork or spoon. (Liao Huaying, 2008: 170)

[[File: Diagram of Using Chopsticks in a Bad Manner in China.jpg|700px|thumb||Diagram of Using Chopsticks in a Bad Manner in China. Click [https://tse3-mm.cn.bing.net/th/id/OIP.Mm8fEFD8whyIbD1-UdrJEwHaEn?pid=Api&rs=1/File: Diagram of Using Chopsticks in a Bad Manner in China.jpg] for original source.]]

===References===
1. Edward L. Davis. ''Encyclopedia of Contemporary Chinese Culture'' [M]. Taylor & Francis e-Library, 2005.

2. Guo Shangxing, Sheng Xingqing, ''A History of Chinese Culture'', Kaifeng: Henan Uni. Press, 1993.

3. Morton, W. Scott, & Lewis, C. M., ''China: its History and Culture'', New York: MacGraw Hill, Inc., 2005.

4. Sun Xiaoyu, ''A Chinese History Reader'', Singapore: Cengage Learning Asia Pte Ld., 2010.

5. Gavin Van Hinsbergh. How to Eat in China—Chinese Dining Etiquette. https://www.chinahighlights.com/travelguide/chinese-food/dining-etiquette.htm, 2020.

6. Ruru Zhou. Seating Arrangements for a Chinese Banquet. https://www.chinahighlights.com/travelguide/chinese-food/seating-arrangement.htm, 2018.

7. Liao Huayin廖华英主编.(2008). 《中国文化概况》 [An Glimpse of Chinese Culture] Foreign Language Teaching and Research Press 外语教学与研究出版社. 160-180.

===Terms and Expressions===

seat of honor 上座/尊位

Eight Immortals table 八仙桌

burrow through the food 乱翻食物

“dig for pleasure” 挖宝藏

side plate 小菜碟

napkin 餐巾纸

handkerchief 手帕

phlegm 痰

windpipe 气管

joss sticks （中国祭祀用的）香

ancestor altar 祖先祭坛

skewer 刺穿/串肉扦子

serving chopsticks 公筷

===Questions===

1. What do you know about the history of Chinese dining etiquette?

2. What does the “Seat of Honor” mean? Are there any commons of “Seat of Honor” in different dining situation?

3. How should we deal with our favorite food in a meal？

4. What is the way to show gratitude to the tear pourer?

5. How should we pick up the bowl when eating?

6. What manners of using chopsticks are considered bad in China?

===Answers===

1. Dining etiquette is said to have its beginnings in the Zhou Dynasty (1045-256 BC).

2. The seat of honor is reserved for the master of the banquet or the guest with the highest status. It is commonly the one in the center facing east or facing the entrance.

3. When finding your favorite dish, you should not gobble it up as quickly as possible or put the plate in front of yourself and proceed to eat like a horse. Instead, you should consider others at the table. If there is not much left on a plate and you want to finish it, you should consult others. If they say they don’t want anymore, then you can eat proceed.

4. We can tap the table with our first two fingers two or three times, showing thanks to the pourer for the service and for being enough tea. The pourer will stop pouring when seeing the gesture.

5. You should pick up your bowl with your thumb on the mouth of the bowl, first finger, middle finger the third finger supporting the bottom of the bowl and palm empty.

6. Rummaging through the food in a dish with chopsticks and searching for choice pieces, sticking chopsticks vertically into a bowl of rice, or pointing at people with them are all considered bad table manners.

==Wang Meiling 王美玲 202070080608==

===Three Giant Home Appliance Enterprises In China===

===A.Midea===

Midea is a technology group of consumer electronics, HVAC, robotics and automation systems, and smart supply chain (logistics).Founded in Shunde, China in 1968, Midea officially entered the household appliance industry in 1980. In 1981, Midea registered its brand. The group employs a total of 130000 people, whose headquarter is locate in Shunde, Guangdong Province. Midea Group has about 200 subsidiaries, more than 60 overseas branches and 10 strategic business units worldwide, and is the main shareholder of KUKA group (about 95%) in Germany . Midea now has more than ten brands such as Midea and Little Swan. and has 15 and 6 production bases separately home and abroad.( Midea Co., Ltd, 2020)

Midea's diversified development strategy can reflect its wide range of business : consumer electrical appliances mainly including kitchen appliances, refrigerators, washing machines and all kinds of small household appliances; HVAC business focusing on heating and ventilation systems such as household air conditioning and central air conditioning; robot and industrial automation system business with German KUKA group and Midea robot company as the core.Up to July 2020, Midea ranked 22nd in the list of China's Top 100 Most Valuable Brands in 2020.(Baidu Encyclopedia: Midea)

To some extent, enterprises seems like a person. Generally speaking, the style and personality of an enterprise are greatly affected by the values and behavior styles of enterprise leaders. Enterprise style and characters can determine the fate and future itself.（Liu Buchen，2016:3）

Midea focus on sound operation. If Haier and Gree went to two "extremes", Midea would choose the "middle road", which is neither extreme left nor right. It will not suddenly break the original management framework and organizational structure,which, otherwise, would place the enterprise in high risk. Midea Group’s New Vision, mission,values and business principles are not only rooted in the achievements of historical accumulation, but also the strategic blueprint for the future. The New Vision,“the perfection of science and technology lead to the perfection of life”, continues the Midea’s emphasis on science and technology and human-oriented spirit; The new mission,“connecting people and things, enlightening the world of Midea” reflects its strategic thinking on the development trend of technology, industrial chain and global layout, and makes the linkage between people and things in different scenes more advanced, thus stimulating the leapfrog development of people’s lives and production; Through the value“dare to know the future”, Midea could continue carrying forward its spirits of future orientation and embracing changes.

Midea focuses on sound operation.--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 12:50, 19 December 2020 (UTC)

In the light of the wide range of its business, we can see that Midea is actively promoting diversified development（Liu Buchen，2016:2-3）: in the area of air-conditioning, Midea，since 1998，has made a series of acquisitions and mergers, expanding its air-conditioning capacity and entering the field of air-conditioning compressors. Moreover, it has produced the core components of air conditioning, increased research and development and cooperation in air conditioning, then begun to produce the core components of air conditioning compressor, increased research and development in the core components; as for small household appliances, since 2001, Midea has mastered the core components of microwave oven and become one of the three largest production bases in the world. Subsequently, the Group has reorganized the small appliance business under direct control and developed professionally on the basis of diversification.

Diversification has the advantage of spreading risk, that is the theory of “don’t put all your eggs in one basket” , and its disadvantage lies in the difficulty for firms to concentrate and, relatively speaking, to establish absolute competitive advantage in one or more specific areas.

Midea's business strategy can be described as "two-pronged approach". On the one hand, Midea relies on its own enterprise strength to continuously optimize the performance of its core products and has made earnest efforts to improve the quality of its core products.

On the other hand, through a series of acquisitions and mergers on home appliance brand，Midea has furthered its market penetration, and enhanced the market share, expanded the user group, leading to its accomplishment of “Extension Expansion” strategy. In fact, the strategy is not limited to mergers and acquisitions, but also includes the continuous paces into new industrial fields. Midea is building its own "Second Runway", that is “New Product Incubation Platform”, which is not limited to the field of home appliances. As long as meeting Midea's standards for "innovative products", any products can enter the incubation platform.

In 2020, affected by the COVID-19, the rising leverage ratio of the residential sector, the rising food prices, as well as the continuing low marriage and birth rates, the pace of further expansion of the household appliance market has been hindered. As one of the three giants in China's home appliance market, Midea is naturally deeply aware of the weakness of the home appliance market, which is reflected specifically in the decline of market demand for color TV sets, air conditioners, kitchen appliances and household appliances.

Midea will unswervingly increase R&D investment, maintain high-quality development direction, and adhere to inclusive growth and sustained and effective growth. Midea has further expanded its online market scale which has continuously diverted offline market scale. It has been developing an integrated sales channel with both online and offline, which has been promoted orderly on Suning, Gome, Jingdong, Tmall and other platforms. Facing the domestic market, Midea has been consolidated its basic system and established a unified business language and rules.

In 2020, the global trade friction continues to escalate, tariff barriers increases Midea’s risk of overseas market expansion, and the exchange rate between countries continues fluctuating. All of these factors mentioned above has increased Midea’s risk to engage in product export and to exchange loss.

Facing the overseas market, Midea will adhere to the consumer-oriented and product-leading strategy, give full play to its network advantages in global R&D and user research, grasp the differentiated needs of foreign consumer groups, improve the construction of multi-brand operation system, leading to further open-up of the foreign market and the improvement of market share.

===B.Haier===

Haier, formerly known as Haier Qingdao, is a leading global provider of solutions for a better life. Founded in 1980 and headquartered in Qingdao, Shandong Province, it was listed on the Shanghai Stock Exchange (600690) and the Frankfurt Stock Exchange (690D) in 1993 and 2018, respectively. Relentlessly centered on user experience and geared to the beat of the times, Haier has developed from an insolvent collective small factory on the verge of closure into an ecological enterprise leading the Internet of Things era. It has been the world's only IoT ecological brand for two consecutive years in the BrandZ 100 most valuable global brands. In the Internet of Things era, Haier is leading the world in terms of its ecological brand and single-unit model. Moreover, it boasts the world's largest market share in white goods R&D, production and sales, as well as in the integrated channel business of large appliances.( Haier Co., Ltd, 2020)

Haier adopts Diversification Product strategy, but it differs from Midea's in that the former has broader fields. Its business scope mainly includes the R&D, production and sales of and smart home scene solutions and smart home appliances such as refrigerators, washing machines, air conditioners, water heaters, kitchen appliances, small home appliances. It also engages in IT industry such as digital technology, intelligent technology, software technology, enterprise management services and consulting, information technology services, etc. Through a rich combination of products, brands and solutions, Haier creates a whole scene of intelligent life experience to meet users' pursuit of the good life.(Baidu Encyclopedia: Haier)

Corporate culture is the soul and gene of an enterprise. Haier's corporate culture is one of change, always following the times and continuous innovation and development, which can be summed up in four words: self-righteousness. It means everyone is constantly challenging themselves, overcoming themselves, reinventing themselves, and changing themselves according to external changes. So it can be said that Haier's corporate style is "paradigm change".

Haier has its own core values: the concept of right and wrong of "always take the user as yes, take oneself as no" is Haier's motivation to create users; the concept of development of "everyone is the creator, chain group becomes self-driven" is Haier's way of looking at sustainable development; the concept of "win-win" is the guarantee for Haier's sustainable operation. Haier's corporate spirit is "ecological integrity, win-win evolution". In the process of continuous entrepreneurship and innovation, the Haier Group always adheres to the development main line of "human value first".
Haier has formed a perfect innovation culture which is dynamic and constantly optimized. Zhang Ruimin once said, "There exist no successful enterprises, only enterprises geared to the times."

From 1992, Haier has begun to expand from one product to a variety of products, and comprehensively implemented a diversification strategy. Through mergers, acquisitions, joint ventures, and cooperation, Haier has rapidly entered the field of white goods such as freezes, air conditioners, and washing machines from a single product refrigerator.

In 1997, with the production of digital color TVs as a symbol, Haier entered the field of black home appliances from the field of white goods; in 1998, Haier ventured into the computer industry, which was known abroad as the field of beige home appliances. In 1998, Haier ventured into the computer industry, which is known abroad as the beige home appliance industry. In the process of expansion, Haier has engaged in capital operation in the way of eating "shock fish" and insisted on revitalizing tangible assets with intangible assets, which ensured the success rate of capital operation and the low-cost expansion. In this way, the goal of making Haier bigger and stronger in the shortest period of time was achieved. Haier still takes home appliance industry as its main industry, with sales accounting for about 40-70% of Haier's total sales.

Haier has adopted a parallel strategy：on the one hand: Haier will set self-innovation as the core of corporate culture, the implementation of strategic innovation to establish the corporate brand, focus on making refrigerators upgrade, adhere to the Internet of Things smart home ecological brand strategic direction; on the other hand, Haier is undergoing a large-scale enterprise change, and we can hardly continue to classify Haier as "home appliance enterprises". "After the change in the business model, Haier's many micro and small companies can decide their own development prospects, and the Haier Group does not limit or intervene in the their fields to entry. So the path of extensive expansion Haier takes is very broad.(Huang Xu,2017:2)

During the epidemic, Haier's 3Q report achieved high quality growth, which is closely related to the future layout of Haier since more than 10 years. Haier has been exploring the transformation from "selling products" to "selling scenes" to adapt to the consumption trend of experiential scenes. When realizing differentiated competition, Haier brings user experience and industry development into a new dimension. With a forward-looking strategic layout and strong landing capabilities, Haier has formed industry differentiation advantages in smart package, experience cloud and mass customization, and promoted the company's transition to a smart home ecological brand. Haier is currently the leader in the domestic Internet market, but will face challenges from crossover competitors such as Xiaomi and Huawei, and needs to focus the company's resources to win the battle.

Among the home appliance enterprises, Haier is the first to go abroad, and is also the enterprise with the highest market share in overseas markets. In 2016, Haier also acquired the American General Electric Company at a sky-high price of $5.58 billion, which is the largest overseas merger and acquisition in China's home appliance industry, making Haier leap from a Qingdao local enterprise to a multinational white goods leader, and also marking the acceleration of Haier's internationalization process again. At the same time, Haier has been ranked first in the global home appliance market share for many years, with over 10% of the global home appliance market share.According to Euromonitor, Haier has kept its leading position in the Asia-Pacific and North American markets (the two markets together account for 63.5% of global retail sales). Taking the advantage of the concerted efforts of Candy, Haier merged recently, Haier is expected to achieve its market share among the top five in the European market and to become a true leader in the home appliance industry worldwide.

===C.Gree===

Gree, founded in 1991, is an international home appliance company integrating R&D, production, sales and service, with three brands: Gree, TOSOT and Jinghong, headquartered in Zhuhai, Guangdong Province. Dong Mingzhu Gree's chairman, president and legal representative. In 1996, Gree was listed on the Shenzhen Stock Exchange. Gree has more than 90,000 employees, among whom there are 15,000 R&D personnel and 30,000 technical workers. It has 15 production bases and 15 research institutes at home and abroad. Gree has been on the Fortune Magazine's list of "China's Top 100 Listed Companies" for 9 consecutive years. The "Gree" brand of air conditioners is a "world famous brand" in China's air conditioning industry, with business in more than 100 countries and regions around the world.( Gree Co., Ltd, 2020)

Gree, founded in 1991, is an international home appliance company integrating R&D, production, sales and service, with three brands: Gree, TOSOT and Jinghong, headquartered in Zhuhai, Guangdong Province. Dong Mingzhu is Gree's chairman, president and legal representative. In 1996, Gree was listed on the Shenzhen Stock Exchange. Gree has more than 90,000 employees, among whom there are 15,000 R&D personnel and 30,000 technical workers. It has 15 production bases and 15 research institutes at home and abroad. Gree has been on the Fortune Magazine's list of "China's Top 100 Listed Companies" for 9 consecutive years. The "Gree" brand of air conditioners is a "world famous brand" in China's air conditioning industry, with business in more than 100 countries and regions around the world.( Gree Co., Ltd, 2020)--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:38, 19 December 2020 (UTC)

Its business mainly includes: sales, installation and maintenance of central air conditioning, refrigeration, air conditioning equipment, clean air conditioning, heating equipment, ventilation equipment; kitchen utensils, stainless steel products, daily-use hardware; household refrigeration appliances, household air conditioners and related parts; machinery and equipment, and wholesale of electronic products. Unlike Haier and Midea, Gree adopts a specialized product strategy and has been focusing on the research and development of various types of air conditioners. As a large appliance manufacturer focusing on air conditioning products, Gree has established itself as the leader in the domestic air conditioning market, and its brand culture is deeply rooted in the people's hearts, and is well known in the domestic air conditioning market with slogans such as "Fine air conditioning that Gree creates" and "Buy good-quality, choose Gree". Since 2005, Gree has been the global leader in the production and sales of air conditioners for 7 consecutive years.(Baidu Encyclopedia: Gree)

In implementing the strategy of creating a famous brand, Gree prioritizes the construction of corporate culture and strive for corporate culture as a unified goal: the corporate spirit of "Loyalty, Friendliness, Diligence and Progress" fully reflects Gree’s requirements to its employees; the business philosophy of "making the best air conditioners for consumers" accurately and clearly shows Gree’s commitment to the society and consumers, as well as its determination to stick to the road of specialization and its confidence in the pursuit of excellence in product quality; the service concept of "Every little thing you do is a big thing for Gree!" demonstrates that Gree puts service throughout the entire production and operation activities of the enterprise, emphasizing pre-sales, in-sales and after-sales services; the management concept of "Innovation has no limitations" enables Gree to achieve high efficiency and low cost in the production process.

Gree has delivered outstanding performance in air conditioning largely due to the fact that Gree has been focusing on air conditioning for the past few decades without any distractions. Gree have several large production bases around the world, and its research scope includes twenty major categories, more than 400 series, which can meet the various needs of consumers. Gree have so far owned thousands of technical patents of air conditioners, and decades of quality improvement work have made Gree air conditioners achieve a qualitative leap in quality, from "Made in China" to "Created in China".

On the one hand, Gree belongs to the typical intensive growth model, where the driving force for development basically comes from within the enterprise and rarely relies on external forces, such as M&A. Gree takes the path of training talents independently, and has 12 research institutes and more than 30,000 technical developers. Gree sets various series of air conditioners its main business，whose entire production chain of production, processing, sales and marketing channels are operated internally.

On the other hand, compared to Haier and Midea, Gree's outward expansion has been smaller. One of Gree's large-scale mergers and acquisitions of significance was the industrial industry integration that began in early 2004 and was completed in the same year. Gree successfully acquired the Group's shares of Lingda Compressor, Gree Small Appliances, Gree Electric and other companies, contributing to forming an industrial advantage, improving its core competitiveness and seizing the industry high ground.(Duan Qiang,2013:49)Interestingly, Gree announced its intention to enter the new energy vehicle industry by acquiring Zhuhai Yinlong New Energy, which was a huge breakthrough in Gree's long-held intensive growth model in these years.

In 2020, as air conditioners enter the era of saturation, Gree faces difficulty before market opportunities and challenges. In recent years, Gree is obviously increasing the diversification of the layout, in order to disperse the risk that the air conditioning industry may continue to slump in the next few years, Dong Mingzhu hopes to find new growth points through diversification of the layout, which is the reason why Gree cell phones, Gree (Yinlong) new energy vehicle projects have been showed in the market. If new growth points were not cultivated in time, the possibility of continued stagnation of Gree Appliances in the coming years couldn’t be ruled out.

Gree's business is expected to be a high-end intelligent manufacturing equipment in Gree's diversified business. Gree, which has diversified genes and the courage to experiment with various businesses, opened a medical equipment company during the epidemic, and product masks and air purifiers that can kill COVID-19. The enthusiasm for diversified business exploration is closely related to Dong's energetic and aggressive style. But the deeper reason lies in that Gree needs more opportunities to grab the market in areas other than white home appliances, especially air conditioners.

Gree’s air conditioners have gained international recognition for their technology, quality and price advantages,which have been exported to more than 100 countries and regions around the world. Gree's trademark has been applied for international registration in 77 countries around the world, laying a brand foundation for the internationalization of Gree's products. At the same time, Gree is extending its production lines to foreign countries to enhance the confidence of foreign dealers and consumers in Gree and improve its international image.

===Terms and Expressions===

HVAC 暖通空调 Shunde （广东）顺德

Smart supply chain 智能供应链 Intensive Growth 内生式增长

leverage ratio 杠杆率 Second Runway 第二跑道

air conditioning compressor 空调压缩机 Tmall 天猫

Qingdao （山东）青岛 Shock Fish 休克鱼

3Q report 三季报 IoT 物联网

Experience cloud 体验云 Ren Dan He Yi 人单合一

chain group 链群 Euromonitor 欧睿信息咨询公司

Candy （意大利）卡迪集团

TOSOT 大松电器公司 Jinghong 晶弘电器公司

Gree Electric 格力电工 Shenzhen Stock Exchange 深圳证券交易所

Created in China 中国创造 General Electric Company 格力电工

Zhuhai Yinlong New Energy 珠海银隆新能源有限公司 COVID-19 新型冠状病毒

Lingda Compressor 凌达压缩机

HVAC 暖通空调

Shunde （广东）顺德

Smart supply chain 智能供应链

Intensive Growth 内生式增长

leverage ratio 杠杆率

Second Runway 第二跑道

air conditioning compressor 空调压缩机

Tmall 天猫

Qingdao （山东）青岛

Shock Fish 休克鱼

3Q report 三季报

IoT 物联网

Experience cloud 体验云

Ren Dan He Yi 人单合一

chain group 链群

Euromonitor 欧睿信息咨询公司

Candy （意大利）卡迪集团

TOSOT 大松电器公司

Jinghong 晶弘电器公司

Gree Electric 格力电工

Shenzhen Stock Exchange 深圳证券交易所

Created in China 中国创造

General Electric Company 格力电工

Zhuhai Yinlong New Energy 珠海银隆新能源有限公司

COVID-19 新型冠状病毒

Lingda Compressor 凌达压缩机--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:50, 19 December 2020 (UTC)

===Questions===

1.Why does Midea implement diversified development strategy?

2.what development strategy does Midea adopt?

3.How does Midea differ from Haier and Gree in terms of its style?

4.How will Midea deal with the weakness of home appliance market?

5.What kind of home appliances does Haier focus on the most?

6.What is the difference between Haier and Midea's diversified product strategy?

7.What is Haier's "Ren Dan He Yi" model?

8. The pros and cons of Haier's extensive expansion strategy.

9. Why did Haier transform to a smart home eco-brand?

10. Why has Gree expanded its diversified layout in recent years?

11. Do you think whether Gree should acquire Zhuhai Yinlong New Energy ?

12.What is the impact of Dong Mingzhu's style of work on Gree's development?

===Answers===

1.Diversification has the advantage of spreading risk, that is the theory of “don’t put all your eggs in one basket".

2.Diversified product layout and Intensive growth model and Exclusive expansion model.

3.Midea will unswervingly increase R&D investment on such emerging home appliances, maintain high-quality development direction, and adhere to inclusive growth and sustained and effective growth.

4.Midea focus more on moderate operation.

5.White home appliances.

6.Haier’s diversified product strategy is more wide-ranging.

7.It is a business mode which refers to every employee should face users directly, create user value, and realize their own value sharing when creating value for users.

8.Pros:to expand its business scope and spreading business risk.

Cons:to have difficulty concentrating itself and, relatively speaking, to establish absolute competitive advantage in one or more specific areas.

9. To win the favor of consumers who are in the pursuit of high-quality life and become more and more dissatisfied with household appliances which can only passively follow instructions and complete tasks.

10.(1)To disperse the risk that the air conditioning industry may continue to slump in the next few years.

(2) to find new growth points through diversification of the layout.

(3)to avoid the possibility of continued stagnation of Gree in the coming years.

11.No,because air conditioning and automobile are totally different. Gree's air conditioning technology is not helpful for new energy vehicles. Gree's familiar products and sales processes are also different from those of the automobile industry. Therefore, it is rather risky to enter the automotive field.

12.Dong Mingzhu's energetic and aggressive style will put forward Gree’s diversified business exploration which will create more opportunities and possibilities and also high risks.

===References===

1.Baidu Encyclopedia百度百科：Gree,格力

2.Baidu Encyclopedia百度百科：Haier,海尔

3.Baidu Encyclopedia百度百科：Midea,美的

4.Duan Qiang段强.(2013)格力电器营销战略研究[Research on Marketing Strategy of Gree Electric Appliance]. Huazhong University of Science and Technology 华中科技大学.

5.Huang Xu黄旭.(2017)海尔产品的品牌效应和营销策略[Brand Effect and Marketing Strategy of Haier Products].Industry and Technology Forum 产业与科技论坛.

6.Liu Buchen刘步尘.(2016)中国家电三巨头,谁与争锋[Who is the Top among Three Home Appliance Enterprises in China].Chinese and Foreign Management 中外管理.

7.Haier Co., Ltd,https://www.haier.com/

8.Gree Co., Ltd,https://www.gree.com/

9.Midea Co., Ltd,https://www.midea.com/cn/

[1] Baidu Encyclopedia百度百科：Gree,格力

[2] Baidu Encyclopedia百度百科：Haier,海尔

[3] Baidu Encyclopedia百度百科：Midea,美的

[4] Duan Qiang段强.(2013)格力电器营销战略研究[Research on Marketing Strategy of Gree Electric Appliance]. Huazhong University of Science and Technology 华中科技大学.

[5] Huang Xu黄旭.(2017)海尔产品的品牌效应和营销策略[Brand Effect and Marketing Strategy of Haier Products].Industry and Technology Forum 产业与科技论坛.

[6] Liu Buchen刘步尘.(2016)中国家电三巨头,谁与争锋[Who is the Top among Three Home Appliance Enterprises in China].Chinese and Foreign Management 中外管理.

[7] Haier Co., Ltd,https://www.haier.com/

[8] Gree Co., Ltd,https://www.gree.com/

[9] Midea Co., Ltd,https://www.midea.com/cn/--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:53, 19 December 2020 (UTC)

==Wang Xuan 王轩==
===National Flag of the People’s Republic of China===
===A A brief introduction of National Flag of the People's Republic of China===
The national flag of the people's Republic of China is a five-star red flag, the symbol of the country. Zeng Liansong is the designer of the national flag. Red and rectangular, its length and height are three to two. Five yellow five pointed stars are decorated on the top left of the flag. One star is larger, and its circumscribed circle diameter is three tenths of the flag height, which is on the left; the four stars are smaller, and their circumscribed circle diameter is one tenth of the flag height, and the ring is arched to the right of the big star.
The national flag of the people's Republic of China began to solicit the design of the national flag from July 14 to August 15, 1949. On August 20, 1949, the national flag and national emblem Selection Committee received 2992 (3012) national flag designs. On September 27, 1949, deputies to the first plenary session of the National Committee of the Chinese people's Political Consultative Conference (CPPCC) passed a motion to use the five-star red flag as the national flag. On October 1, 1949, the first national flag was first raised by Mao Zedong in Tiananmen Square.
The red flag of the people's Republic of China symbolizes revolution. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party. The five pointed stars are used in yellow to show light on the red ground. Each of the four small five pointed stars faces the center of the big star, indicating unity around a center.

===B Establishment process===

===1. Solicit comments from the public===

On June 15, 1949, the Preparatory Committee for the National Committee of the Chinese people's Political Consultative Conference (CPPCC) was formally established in Peiping, shortly after Liberation. The preparatory work undertaken by this committee included the important task of formulating the national flag of new China, and designated the sixth group of the Preparatory Committee to be responsible for it.
On 4 July 1949, the sixth group held its first meeting. The meeting decided to publish newspapers to solicit the patterns of the national flag and the national emblem, and to set up a selection committee for the national flag and the national emblem pattern and the national lyrics score. In addition to the group members participating in the selection, Xu Beihong, Liang Sicheng, Ai Qing and other experts were invited to participate.
From July 14 to August 15, 1949, people's daily, Jiefang Daily, Xinhua daily and other newspapers and periodicals published the notice of the preparatory meeting of the Chinese people's Political Consultative Conference asking for the design of the national flag. The news of asking for the design of the national flag quickly spread to the whole country and overseas. Many people in their spare time, spread out the paper and began the design work. They carefully designed and drew one pattern after another with their own characteristics, marked with detailed instructions, and sent them to Beijing. They regard the design and drawing of the national flag as a glorious and noble thing to pour their boundless love for new China.

===2. Collect drafts from all walks of life===

On August 20, 1949, the national flag and national emblem Selection Committee received 2992 pieces of national flag patterns. Guo Moruo, Chen Jiageng and other members of the preparatory committee also submitted their sample designs. These designs were displayed in the temporary reading room. The selection committee selected 38 draft plans from them and incorporated them into the reference materials for the design of the national flag and submitted them to the newly established Chinese people's Political Consultative Conference for discussion.

===3. Pass a resolution===

The design of the national flag of the Chinese people's Political Consultative Conference (CPPCC) was approved in the 32nd session of the Chinese people's Political Consultative Conference. In the pattern of five-star red flag before this, there are sickles and axes in the big stars. Before the adoption of the resolution, the national flag and national emblem review group made partial modifications to the design pattern, and made a unified explanation on the significance of the national flag pattern.
On September 27, 1949, the resolution on the capital, chronology, national anthem and national flag of the people's Republic of China, adopted at the first plenary session of the CPPCC National Committee, stipulates in the fourth point that "it is unanimously adopted: the national flag of the people's Republic of China is a five-star red earth flag, which symbolizes the great unity of the revolutionary people of China." The resolution of the Chinese people's Political Consultative Conference on the capital, chronology, national anthem and national flag of the people's Republic of China and the measures for flag making adopted by the presidium of the Chinese people's Political Consultative Conference stipulate that the national flag of the people's Republic of China is a five-star red flag, which is rectangular, and symbolizes revolution.

Its length and height are three to two, and five yellow five pointed stars are on the top left of the flag, symbolizing the revolutionary unity under the leadership of the Communist Party of China The star symbolizes red with yellow, and the earth is bright. One star is larger, its circumscribed circle diameter is 3 / 10 of the flag height, which is on the left; the four stars are smaller, and their circumscribed circle diameter is 1 / 10 of the flag height, and they are circled on the right side of the big star, and each has an angle point facing the center of the big star, which expresses the aspiration of hundreds of millions of people to the great Communist Party of China, just like the northern star. The flagpole cover is white to distinguish it from the red flag.
On September 29, 1949, the people's Daily published the pattern of the new national flag and the explanation of its making method, which were provided to all walks of life for making and using.
On October 1, 1949, the first national flag of the people's Republic of China was first raised by Mao Zedong in Tiananmen Square.

===C Symbolism of the flag===
The red flag of the people's Republic of China symbolizes revolution. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party. Yellow is used to show light on the red ground. Yellow is brighter and more beautiful than white. Each of the four small Pentagram stars has a point facing the center of the big star, which means that they are united around a center and are compact and beautiful in form.

=== Terms and expressions ===

五星红旗 five-star red flag

中国共产党 the Communist Party of China(CPC)

全国政治协商会议 the Chinese People's Political Consultative Conference(CPPCC)

《人民日报》 People's Daily

《解放日报》 Jiefang Daily

《新华日报》 xinhua Daily

=== Questions ===

1. Who designed the national flag of the people's republic of China?

2. When did the national flag of the people's republic of China come into being?

3. What does the red color mean on the national flag of the people's republic of China?

4. Is there any profound meaning of the five stars on the national flag of the people's republic of China?

5. Is there any symbol meaning of the people's repuclic of China?

=== Answers ===

1. Zeng Liansong is the designer of the national flag.

2. On September 27, 1949

3. The red color of the people's Republic of China symbolizes revolution.

4. The five five pointed stars on the flag and their relationship symbolize the great unity of the revolutionary people under the leadership of the Communist Party.

5. The red flag of the people's Republic of China symbolizes revolution. Each of the four small Pentagram stars has a point facing the center of the big star, which means that they are united around a center and are compact and beautiful in form.

=== References ===

[1] Barnabas Cristóbal. Constitution of the People's Republic of China[J]. 2011.

[2] Surhone L M , Timpledon M T , Marseken S F , et al. National Emblem of the People's Republic of Chcina[J]. 2010.

[3] Surhone L M , Timpledon M T , Marseken S F , et al. National Emblem of the People's Republic of China[J]. 2010.

[4] 高军. 中华人民共和国国旗的符号学浅析[J]. 美术教育研究, 2012, 000(011):46-47.

[5] 王哉. 五星红旗是怎样设计出来的——曾联松设计中华人民共和国国旗始末[J]. 山东农机化, 2016, 000(005):49-50.

[6] 霞飞. 中华人民共和国国旗诞生始末[J]. 党史文苑(7期):4-11.

[7] 中央档案馆. 中华人民共和国国旗国徽国歌档案[M]. 中国文史出版社, 2014.

==China's Four New Inventions -Wu Qiong 吴琼 202070080644 MTI 英语口译==

Most people must have known about China's Four Inventions: gunpowder, paper-making, compass, and printing. Those represented how wise the Chinese was and how brilliant history China had. Today, China still holds the places and influence in technology and inventions. In May,2017, teenagers from 20 nations along the Belt and Road selected China's four new inventions: high speed railway, QR code payment, sharing bikes and online shopping. Though these new inventions are not first invented by China, but it is China that makes full use of them, and introduces them to the rest of the world. The four new inventions bring incredible changes and convenience into people's life. China, at the same time, makes contributions to the development of the human beings. World's future will be bright and prosper due to more technologies and inventions such as China's Four New Inventions.

===A. High-speed railway ===

High-speed railway is a railway system with advanced design and high-speed rails run on it. The world's first official high-speed rail system is the Tokaido Shinkansen line and it goes into public in 1964, connecting the three major metropolitan circles of Japan: Tokyo, Nagoya and Osaka. The high speed railway has promoted the rapid development of Japan. Its designed speed is 200km/h, which then becomes the initial speed standard of high-speed rail. Later, with the advancement of technology, the speed of trains became faster. Different countries have different definitions of high-speed railways in different eras. According to statistics, the length of high-speed railways in operation in China has reached to more than 6,800 kilometers. China has become the country with the most comprehensive high-speed railway system technology, the strongest integration capability, the longest operating mileage, the highest operating speed, and the largest scale of construction in the world.(东海道新干线のバイパス[J].中央新干线委员会 [[File:Tokaido Shinkansen line.JPEG|600px|thumb|right|Tokaido Shinkansen line]]

====Features====

1. High-speed railways are very smooth to keep safety and comfort. With all seamless steel tracks, and a speed of more than 300 kilometers per hour，they use ballastless tracks, that is, a monolithic track bed without stones to maintain smoothness.

2. The high-speed railway has few bends, as the bend is of long radius, and the turnouts are all moveable high-speed turnouts.

3. Use a large number of viaducts and tunnels to ensure ride comfort and shorten the distance.

4. The catenary of the high-speed railway suspends the wires on the top of the train and is also different from that of ordinary railways to keep stability and durability of the high-speed EMUs

5. The signal control system of high-speed railways is higher than that of ordinary railways, because of the frequent departure and high speed of rails, it should be of high safety. (科普中国,2020)

====Merits====

1. Large passenger capacity. Generally, high speed rails can accommodate 600 people. Compared to other public tools such as bus, boat or airplane, high speed rails have more seats.

2. Less time-consuming. In addition to the maximum operating speed, passengers are more concerned about travel time. High speed rails will not operate in late night, so passengers can get off the rails almost in daytime, thus to finish their business or other private matters which helps save a lot of time.

3. Good safety. Due to the automatic operation of high-speed rails in a fully enclosed environment and a series of complete safety guarantee systems, thus no other transportation means can be matched with it. Since the advent of high-speed railway 35 years ago, Japan, Germany, and France have already transported 5 billion passengers. Although there have been major traffic accidents on high-speed railways, the accident rate is much lower than that of civil aviation and is almost negligible. It is still the safest transportation system.

4. High punctuality. All high-speed railways adopt automatic control and can operate around the clock unless there is an earthquake.

5. Comfortable and convenient. High speed rails have spacious and comfortable seats, stable operation, shock absorption, sound insulation, and quiet environment.

6. Low energy consumption. High-speed trains use electric traction, do not consume precious petroleum and other liquid fuels, and use various forms of energy, which is not a wasteful transportation mean.(Kang Tianchi 2018)

'''Terms and Expressions'''

High speed railways高速铁路 the Tokaido Shinkansen line东海道新干线[[File:highspeedrail.JPEG|600px|thumb|right|High speed rail]]

the three major metropolitan circles of Japan: Tokyo, Nagoya and Osaka.日本三大都市圈: 东京、名古屋和大阪

integration capability整合能力 operating mileage运营里程.

seamless steel tracks无缝钢轨 ballastless track无砟轨道

a monolithic track bed整体式道床 moveable high-speed turnouts.可动心高速道岔

viaducts and tunnels高架桥梁和隧道 high-speed EMUs.高速动车组

shock absorption and sound insulation减震隔音 petroleum and other liquid fuels石油等液体燃料

'''Questions'''

1. Where does the first high speed railway come from?

2. What is the name of the first high speed railway?

3. What is the advantages of high speed railway?

4. What are the features of high speed railway?

5. Which transportation carries more passengers, high speed rails or trains?

6. From Changsha to Shanghai, which transportation means will you choose?

'''Answers'''

1. The first high speed railway come from Japan

2.The name of the first high speed railway is Tokaido Shinkansen line.

3.The advantages of high speed railways are fast, smooth, safe and comfort.

4. The features of high speed railway viaducts and tunnels and signal control system.

5. High-speed rails carries more passengers.

6. High-speed rails.

===B. QR code payment===

The QR code payment model is based on the concept of mobile payment, and the first batch of payments made by mobile devices occurred in Finland in 1997. Finnish local media reported that Finland Telecom has enabled the service of operating jukeboxes and beverage vending machines by dialing a pay phone number. This service allows you to buy Coca-Cola at Helsinki Airport. The QR code, also known as "two-dimensional code" was invented in 1994 by the Japanese company DW. and nowadays, we usually use Alipay or WeChat pay to finish the process of payment.

====Background====

The rise of QR code payment methods in China is not occasionally. It is mainly related to the rapid development of IT technology and the rapid advancement of e-commerce. The maturity of IT technology has promoted the birth of mobile terminals such as smart phones and tablet computers, which makes people's mobile life more colorful. At the same time, domestic e-commerce is also closely related to "mobile", especially the development of O2O. With a large number of mobile devices and a large amount of mobile consumption, payment costs have become particularly critical. Therefore, QR code payment solutions came into being. (China's Four New Inventions 2018)

====Characteristics====

At the end of 2010, QR codes and related technologies were widely circulated on the Internet, marking the beginning of the widespread popularity of QR codes in China. The popularity of any thing must have its reasons, and so is QR code payment. [[File:Alipay.JPEG|500px|thumb|right|Alipay]]

1. Mature technology
QR code payment already has mature technical means in developed areas abroad, which has laid the foundation for the development of domestic QR code technology, and it is believed that it will quickly become popular.
2. Easy to use
After the user installs the QR code recognition software, the transaction can be completed by simply swiping the place where the QR code is posted.
3. Convenient payment
With the QR code payment method, merchants do not have to bear high cost payments such as cash on delivery, and consumers can also make real-time payments anytime, anywhere.
4. Lower cost
Due to the maturity of technology and the popularization of mobile devices, the cost of QR code payment has become very low. (科普中国，2020）

'''Terms and Expressions'''

QR code (Quick Response code)快速反应码

Finland芬兰 Telecom电信

jukebox点唱机 beverage vending machine饮料自动售货机

Helsinki Airport 赫尔辛基机场

'''Questions'''

1. What advanced the birth of QR code?

2. When did the QR code become popular in China?

3. Why does QR code cost lower?

4. When was the QR code invented?

'''Answers'''

1. The maturity of IT technology advanced the birth of QR code.

2. At the end of 2010, QR code become popular in China.

3. Merchants do not have to bear high cost payments such as cash on delivery.

4. QR code invented in 1997.

===C. Shared bikes===

As early as 1965, the Municipal Government of Amsterdam in the Netherlands proposed the "White Plan". According to the plan, the government purchased 50 bicycles and painted them with white paint as a sign and scattered them around the city for people to use. This was the earliest in the world. The unmanned shared bicycle system is invented by the Netherlands. In 2007, France also had free cycling, and it was only later that China became popular and innovative models developed and promoted overseas.

====Function and Using Steps ====

By providing services on campuses, subway stations, bus stations, residential areas, commercial districts, public service areas, etc., bicycle-sharing (bicycle) companies complete the ”last mile“ in the transportation industry and drive residents' enthusiasm for using other public transportation. Produce synergy with other public transportation methods. Shared bicycles are a time-sharing lease model and a new type of green and environmentally friendly sharing economy. (Du Yuheng, Han Wei, Kou Jingli, China Statistics 2018)

1. Find a free shared bike, download the bike sharing app, pay a deposit, and enter your password to use the bike.[[File:shared bike.JPEG|500px|thumb|right|Shared bike]]

2. Use the app to find the nearest shared bike, click on the "Use Bike Now" button and enter a set of numbers on the bike to use the bike.

3.Download the bike sharing app, find the vacant bikes, click the "Use Bike Now" button, get a set of numbers, and enter a set of numbers on the bike to use the bike.

====Development====

China's bike-sharing market has gone through three stages of development. The first phase is from 2007 to 2010. The public bicycle model that has emerged from abroad is introduced into the country, and the government will lead the management in different cities, mostly with piled bicycles. 2010-2014 is the second stage. Companies specializing in the bicycle market began to appear, but public bicycles are still dominated by piled bicycles. The third phase is from 2014 to 2018. With the rapid development of the mobile Internet, Internet shared bicycles led by Mobike came into being, and more convenient dockless bicycles began to replace docked bicycles. (Du Yuheng, Han Wei, Kou Jingli 2018)

'''Terms and Expressions'''

Amsterdam阿姆斯特丹 the unmanned shared bicycle system 无人管理的共享单车系统

free cycling 单车自由行 residential areas 居民区

last mile ”最后一公里“ green and environmentally friendly economy 绿色和环境友好型经济

the first phase第一阶段 dockless bicycles无桩单车

'''Questions'''

1. Which country invented the shared bike?

2. What is the main purpose for the invention of shared bike?

3. How many phases at present have the shared bikes experienced?

4. How's the prospect of the shared bikes?

'''Answers'''

1. Netherlands invented the shared bike.

2.To complete the ”last mile“ in the transportation industry and drive residents' enthusiasm for using other public transportation

3. There are three phases at present have the shared bikes experienced

4. With the development of the four new inventions, the shared bikes will be more and more developed.

===D. Online shopping===

Online shopping belongs to the category of e-commerce. In 1979, the British Michael Aldrich invented the concept of online shopping. Aldrich used a technology called Videotex to connect an ordinary TV set to the computer of a local retailer through a telephone line. By the 1990s, after Amazon and eBay launched their websites in 1995, e-commerce became popular around the world.

====Definition====

Retrieve product information through the Internet, and send a shopping request through an electronic order form, and then fill in a personal checking account or credit card number. The manufacturer will ship the goods by mail order or deliver the goods to the door through a courier company. For online shopping in China, the general payment method is cash on delivery (direct bank transfer, online remittance) and cash on delivery for secured transactions. (科普中国 2019） [[File:Online Shopping.JPEG|600px|thumb|right|Online Shopping]]

====Development====

As early as 1999, Chinese Internet prophets began to build B2C websites, dedicated to promoting online shopping in China. But this approach was generally questioned by the economics community at that time. (Will there be enough consumers shopping online? Can online shopping solve the problem of logistics and distribution? Can online shopping solve the problem of online payment?) However, in the future, these doubts will all go away. They have been solved by large shopping websites, courier companies other than postal services, and many third-party online payments that connect with major banks.

With the development of the economy, online shopping has gradually reappeared. In 2005, Dangdang achieved annual sales of 440 million yuan, a figure that greatly exceeded the expectations of most investment institutions two or three years ago. This number proves the success of the Amazon (famous e-commerce website) model in China, as well as the over-pessimism of economists and the greatness of market forces.

With the popularity of the Internet, the advantages of online shopping have become more prominent, and it has increasingly become an important form of shopping. The 29th Statistical Report on Internet Development in China released by the China Internet Network Information Center (CNNIC) in January 2012 shows that as of the end of December 2011, the number of Internet users in China reached 513 million, with 55.8 million new Internet users throughout the year; The penetration rate increased by 4 percentage points from the end of last year, reaching 38.3%. The number of mobile Internet users in China reached 356 million, a year-on-year increase of 17.5%. Compared with previous years, the growth of China's overall Internet users has entered a platform period.（Han Yuanjia 2017）

'''Terms and Expressions'''

retrieve product information检索商品信息 a courier company快递公司

direct bank transfer直接银行转账 online remittance在线汇款

secured transactions担保交易 cash on delivery货到付款 logistics and distribution 物流配

'''Questions'''

1. What are people concerning about before the online shopping came true?

2. How could people pay online?

3. How was the situation in the previous economic field?

'''Answers'''

1. Will there be enough consumers shopping online? Can online shopping solve the problem of logistics and distribution? Can online shopping solve the problem of online payment?

2. the general payment method is cash on delivery (direct bank transfer, online remittance) and cash on delivery for secured transactions.

3. The manufacturer will ship the goods by mail order or deliver the goods to the door through a courier company.

===References===

中国“新四大发明”(2018).时代英语. English Times.

Wu Fangyi 吴方意.(2019).浅谈中国古代四大发明与大一统性[An Introduction to the Four Great Inventions of Ancient China and Grand Uniformity].西部学刊, Western Journal (16):133-136.

Kang Tianchi 康天驰.(2018).中国“新四大发明”“走出去”研究[Research on China's "Four New Inventions" and "Going Global].知识文库,Knowledge Library (11):244.

Du Yuheng, Han Wei, Kou Jingli 杜禹珩,韩伟,寇京丽.(2018).中国新四大发明之共享单车[China's New Four Inventions of Bicycle Sharing].中国统计,China Statistics.(03):77.

Han Yuanjia 韩元佳.(2017). 看“新四大发明”如何讲述中国奇迹?[See how the "Four New Inventions" tell the story of China's miracle?].创新时代,The Age of Innovation. (12):28-29.

Wanying Xie,Zeshui Xu,Zhiliang Ren. An Analysis on the Influence of Chinese “New Four Inventions” Under the Incomplete Hybrid Probabilistic Linguistic Environment[J]. International Journal of Fuzzy Systems,2019,21(5).

Zhou Yixiang 周一翔.(2017).The “New Four Great Inventions” of China Impact on the World.校园英语,Campus English(52):255.

Deborah Strumsky,José Lobo. Identifying the sources of technological novelty in the process of invention[J]. Research Policy,2015,44(8).

东海道新干线のバイパス[J].中央新干线委员会

==Wu Yilu 吴一露 202070080610==
===Four Domestic Mobile Phones===

===A.Huawei===

Huawei is probably the name that needs no introduction among all the Chinese phone manufacturers. “It's the world's second largest smartphone company, and it's at the center of an international battle for technological dominance between Beijing and Washington.” (Sareena Dayaram, 2020)

Founded in 1987, Huawei focuses on providing information and communications technology (ICT) infrastructure and smart devices. With more than 194,000 employees, this company operates in more than 170 countries and regions, serving more than three billion people around the world. Huawei is a private company wholly owned by its employees. It means no government agency or outside organization holds shares in Huawei. (Huawei Device Co., Ltd, 2020)

Their vision and mission is to bring digital to every person, home and organization for a fully connected, intelligent world. (Huawei Device Co., Ltd, 2020) The benefits of digital technology shouldn't just be available to those who can afford it. Huawei's mission is to expand the benefits of technology to everyone, everywhere. To achieve this, they've developed a digital inclusion strategy that focuses on three areas: technology, applications, and skills. For example, three main world-changing technologies built by Huawei are 5G, Huawei cloud and Huawei AI.

"Staying customer-centric and creating value for customers" are the company's common values. (Huawei Device Co., Ltd, 2020) The company has a well-developed internal governance structure, under which all governance bodies have clear and focused authority and responsibility, but operate under checks and balances. This creates a closed cycle of authority and achieves rational and cyclical succession of authority, so as to drive the facilitation and implementation of the company's common values.

[[File:Corporate Governance Structure.jpg|650px|thumb|middle|Diagram of Huawei Corporate Governance. Click [https://www-file.huawei.com/-/media/corporate/images/about-huawei/2020/corporate-governance-structure-18en.png?la=en-us/File:Corporate Governance Structure.jpg] for original source.]]

Huawei is continuing to focus on research and innovation to seize the opportunities and address the challenges of the future intelligent world. There are many innovations and inventions of Huawei to drive the industry forward, including advanced wireless networks, optical networks, intelligent O&M, AI computing, smartphone camera, media CODEC standards, software, trustworthiness and so on. From this we can find that the main business of Huawei is communication stations，while that of Apple is consumer electronics. Today, Huawei have entered the 5G ear and embarked on 6G research. It is exploring new directions for 6G. To this end, they began research into the basic theories of 6G and initiated extensive open collaboration projects with other industry players and pushed the industry to build a consensus on 6G. (Huawei Device Co., Ltd, 2020)

Since the top executive (the daughter of the company's founder) Meng Wangzhou was arrested in Canada for an alleged violation of US sanctions with Iran, this telecommunication giant, which was unknown to most American, appeared frequently in newspapers, especially since the US Commerce Department banned American companies from doing business with Huawei without first obtaining a license. (Sareena Dayaram,2020)

For Huawei, that meant it could lose access to crucial technological parts including semiconductors, which are key components used in its base stations and phones. It also meant Huawei's handsets cannot use Google's Android operating system, which provides several popular apps including the Google Play store, Gmail, Google Maps and apps that rely on Google like Uber and eBay. (Sareena Dayaram,2020) The Mate 30 was Huawei's first major phone to launch without Google's proprietary apps. All people thought this would decrease Huawei’s sale. Of course, it does. But the company reported first-half earnings showing revenue grew more than 13% from a year ago to around $65 billion.

===Terms and Expression===

Huawei cloud 华为云 Intelligent Collaboration 协同管理技术

optical networks 光纤网络 Carrier Network 承载网络

intelligent O&M 智能委托运营 the Kunpeng 920 鲲鹏920

AI computing 人工智能计算 AppGallery 华为应用程序库

information and communications technology (ICT) 信息与通讯技术 Media CODEC standards 编解码标准

===Questions:===

1.When is Huawei founded?

2.How many countries and regions does Huawei operate?

3.Do government agency and outside organization hold shares if Huawei?

4.What is the vision and mission of Huawei? And what do they do to achieve this mission?

5.What are the three main world-changing technologies built by Huawei?

6.What are the innovations and inventions of Huawei?

7.What are the company’s common values?

8.What makes that the telecommunications giant frequently was mentioned across newspapers?

9.Which phone is the first major phone launched without Google’s proprietary apps？

10.What’s your opinion towards these two issues mention above? Will these hinder the development of Huawei?

===Answers:===

1. It is founded in 1987.

2. It operates in more than 170 countries and regions

3. No, no government agency or outside organization holds shares in Huawei.

4. Their vision and mission is to bring digital to every person, home and organization for a fully connected, intelligent world; their mission is to expand the benefits of technology to everyone, everywhere. To achieve this, they've developed a digital inclusion strategy that focuses on three areas: technology, applications, and skills.

5. 5G, Huawei cloud and Huawei AI.

6. Advanced wireless networks, optical networks, intelligent O&M, AI computing, smartphone camera, Media CODEC standards, software, trustworthiness and so on.

7. "Staying customer-centric and creating value for customers" are the company's common values.

8. ①Top executive (and daughter of the company's founder) Meng Wangzhou was arrested in Canada for an alleged violation of US sanctions with Iran.

②the US Commerce Department banned American companies from doing business with Huawei without first obtaining a license.

9. The Mate 30.

10. In my opinion, these are totally unfair to Huawei, as well as China’s companies and economy. The Meng Wanzhou case is a serious political incident orchestrated by the United States to suppress Chinese high-tech companies and Huawei. It is also a kind of protectionism, which is divorced from the trend of globalization. We cannot deny that those actions will hinder the development of Huawei, specially some necessary chips. Although Huawei made preparation in advance, the core products are guaranteed to be available for six months to two years. In addition, Huawei has self-developed a large number of chip designs. But the following three areas are difficult to replace in the short term: manufacturing, semiconductor equipment and EDA software. On the one side, these issues, obviously, will obstruct the development of Huawei, but on the other side, they also promote the process of autonomy of domestic chips.

===References===

Sareena Dayaram, Huawei, OnePlus and beyond: China's biggest smarthone brands you should know about, https://www.cnet.com/news/huawei-oneplus-china-biggest-smartphone-brands-you-should-know-about-lenovo-meizu-xiaomi-oppo-vivo/, 2020.

Huawei Device Co., Ltd, https://consumer.huawei.com/en/about-us/, 2020

===B. Xiaomi===

Xiaomi is one of China's earlier homegrown success companies. It is an internet company with smartphones and smart hardware connected by an IoT platform at its core. Founded in April 2010 and listed on the Main Board of the Hong Kong Stock Exchange on July 9, 2018, Xiaomi has matured into one of China's domestic champions. (Xiaomi, 2020)

With the vision of being friends with its users and being the “coolest company” in the hearts of its users, Xiaomi is committed to continuous innovation, with an unwavering focus on quality and efficiency. Xiaomi is currently the world's fourth-largest smartphone brand, and has established the world's largest consumer IoT platform, with more than 213.2 million smart devices (excluding smartphones and laptops) connected to its platform--- Xiaomi Vela.(Xiaomi, 2020)

[[File:Xiaomi-logo.jpg|100px|thumb|left|Xiaomi-logo. Click [https://https://upload.wikimedia.org/wikipedia/commons/thumb/2/29/Xiaomi_logo.svg/800px-Xiaomi_logo.svg.png/File:Xiaomi-logo.jpg] for original source.]]

Currently, Xiaomi products are present in more than 90 countries and regions around the world and have a leading foothold in many markets. The "MI" in its logo stands for “Mobile Internet”.(Xiaomi,2020) It also has other meanings, including "Mission Impossible", because Xiaomi faced many challenges that had seemed impossible to defy in its early days.

“Just for fans”--- that’s Xiaomi’s belief. Many of their employees were initially fans of Mi products, before they decided to join them. The company relentlessly builds amazing products with honest prices to let everyone in the world enjoy a better life through innovative technology. “This low-margin strategy has helped Xiaomi cultivate a loyal fan base, especially in price-sensitive countries in Asia like India, where its slick Android phones often sell out within hours of release.” (Sareena Dayaram,2020)

Besides selling phones, Xiaomi also generates its revenue from the sale of software and services. It also sells a portfolio of its own smart products including bedside lamps and air purifiers to help build its Mi brand internationally. But, Xiaomi also learns from many of its rivals to sell more expensive phones “This strategy seems to have paid off, with the company reporting nearly 14% revenue growth in the first quarter despite the business challenges of the coronavirus pandemic.” (Sareena Dayaram,2020) While Samsung and Apple have both warned of a challenging year ahead.

“The investment in the world’s fastest-growing mobile market, where over 300,000 people power up their first smartphone every day, has made Xiaomi India’s bestselling smartphone brand for three years running. In 2020 so far, it has sold 29 million phones, 2 million more than in China, to control a full quarter of India’s smartphone market.”(Emon Barrett & Grady Mcgregor, 2000) Another reason for its success is that when Xiaomi offered 4G services，while competitors like Samsung，Microsoft，and Indian brand Micromax were still stuck on 3G. But it does face one strong headwind: Indian consumers’ anti-China sentiment. A border skirmish between Indian and Chinese military forces in June ignited boycotts of Chinese goods. Prime Minister Narendra Modi’s nationalist government keeps stoking the backlash, which means Xiaomi’s trajectory on the subcontinent may depend on whether the roots it planted in India qualify the brand as Indian enough.

===Terms and Expression===

IoT（Internet of Things）物联网 robot vacuums 机器人吸尘器

Xiaomi 小米 powerbank 充电宝

VR glasses 虚拟现实眼镜 UAV(Unmanned Aerial Vehicle) 无人机

electric scooters 电动平衡车 WiFi rooters 无线路由器

===Questions:===

1.When is Xiaomi founded?

2.What is the core of this company？

3.What’s Xiaomi’s ranking in the world’s smartphone brands？And what are the top 4 smartphone brands？

4.What does the "MI" in its logo stand for？

5.What is Xiaomi’s belief？

6.What has helped Xiaomi cultivate a loyal fan base？

7.How does Xiaomi generate its revenue？

8.What problem does Xiaomi confront in India？and Why？

9.What’s your opinion about the future of Xiaomi in Indian market？

===Answers===

1. It is founded in April 2010.

2. The IoT platform.

3. Xiaomi is currently the world's fourth-largest smartphone brand. The top four smartphone brands are Apple, Huawei, Samsung and Xiaomi.

4. Xiaomi Vela.

5. It stands for “Mobile Internet” and "Mission Impossible".

6. “Just for fans”--- that’s Xiaomi’s belief.

7. The low-margin strategy.

8. Xiaomi generates most of its revenue from selling phones, but recurring revenue from the sale of software and services.

9. Indian consumers’ anti-China sentiment. Because a border skirmish between Indian and Chinese military forces in June ignited boycotts of Chinese goods, and then Prime Minister Narendra Modi’s nationalist government keeps stoking the backlash
10.What’s your opinion about the future of Xiaomi in Indian market？
Although we can find that Xiaomi made instant reaction to confront with this boycott by telling local media that Xiaomi was “as Indian as any other company here” , competitors like Samsung, took this chance and began flooding India with phones that could compete with Xiaomi’s features and affordability. So only if the relationship between China and India become better or Xiaomi figures a new way, otherwise, Xiaomi’s market in India will shrink gradually.

===References===

Emon Barrett & Grady Mcgregor,How Chinese phonemaker Xiaomi conquered India—and outperformed Apple, https://fortune.com/2020/12/03/xiaomi-china-phones-apple-mobile-iphone/, 2020.

Sareena Dayaram, Huawei, OnePlus and beyond: China's biggest smarthone brands you should know about, https://www.cnet.com/news/huawei-oneplus-china-biggest-smartphone-brands-you-should-know-about-lenovo-meizu-xiaomi-oppo-vivo/, 2020.

Xiaomi, About Us, https://www.mi.com/global/about/, 2020.

===C. VIVO & OPPO===

Have you ever heard about VIVO? If not, then how about its older and larger sibling OPPO. Although OPPO and VIVO aren't household brands in the West, both have vaulted up the global rankings to place within the top six smartphone manufacturers in a comparatively short period of time, due partially to the popularity of their affordable phones among young consumers. (Sareena Dayaram,2020) These two Chinese phone-makers, with similar marketing strategies like Xiaomi, use high-profile product placement and sponsorships to win over European shoppers. Besides, OPPO and VIVO smartphones are always in eye-catching glossy colors which looks good, but it’s plastic and light.So there is still much room for improvement for these two brands.

Are VIVO and OPPO same? If you didn’t know these two brands, you may say no. But yes, even though OPPO and VIVO stress that they're competitors, both companies were spun out of the same parent company. OPPO and VIVO share the same parent company mainly known as BBK Electronics Corporation (Headquarters at Dongguan, Guangdong – China). BBK Electronics Corporation is a Chinese multinational firm specializing in electronics such as television sets, MP3 players, digital cameras and cell phones too. “BBK Electronics is also considered as the world’s 2nd-largest phone manufacturer company, which manufactures some of the fastest growing smartphones brands in Asia.” (Anchit Sharma, 2019) They recently got popular in developing countries of Asia such as India, Pakistan, Bangladesh and also in developed countries like China itself.

At the 2020 Developer Conference, Color OS 11 launched by OPPO focuses on personalized creation, seamless experience, and sensory invigoration. While the Origin OS launched by VIVO carried out subversive innovations mainly in UI design. The OPPO Developer Conference focuses on the integration of people, equipment and scenes. (OPPO, 2020) VIVO’s mission is to make their consumers’ lives extraordinary through introducing innovative technology and being a trendsetter.(vivo Mobile Communication Co., Ltd. , 2020)

With the development of 5G, the interconnection of everything is the most significant trend. Both OPPO and VIVO have demonstrated cross-device synergy in the OS upgrade, and they also attach great importance to the construction of the IoT ecosystem. There are 6 research and development centers of VIVO working on leading technologies: Beijing, Nanjing, Hangzhou, Dongguan, Shenzhen and San Diego (USA), and 4 global manufacturing bases delivering premium quality products: Dongguan, Chongqing, India and Republic of Indonesia. (vivo Mobile Communication Co., Ltd. , 2020)

===Terms and Expression===

OS 操作系统（operating system） VOOC 闪充

BBK 步步高 Fingerprint unlocking 指纹解锁

accessories 配件 octa-core processor 八核心处理器

===Questions:===

1.What’s the relationship between OPPO and VIVO？

2.What are the characteristics of OPPO and VIVO smartphones？

3.Where is the headquarter of BBK Electronics Corporation？And what is it specializing in？

4.Where are the major markets of BBK Electronics Corporation？

5.Please give a example of products from each brands.

6.What does the OPPO Developer Conference focus on？

7.What’s the mission of VIVO？

8.How many research and development centers does VIVO have？And where are they？

9.How many global manufacturing bases does VIVO have？ And where are they？

--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 15:50, 4 December 2020 (UTC)

===Answers===

1. They're competitors, but they were also spun out of the same parent company.

2. Affordable and eye-catching glossy colors.

3. The headquarters locates at Dongguan, Guangdong, China. It specializing in electronics such as television sets, MP3 players, digital cameras and cell phones too.

4. Developing countries of Asia such as India, Pakistan, Bangladesh and also in developed countries like China itself.

5. OPPO: Color OS 11;VIVO: Origin OS.

6. It focuses on personalized creation, seamless experience, and sensory invigoration.

7. VIVO’s mission is to make their consumers’ lives extraordinary through introducing innovative technology and being a trendsetter.

8. 6 research and development centers. They are in Beijing, Nanjing, Hangzhou, Dongguan, Shenzhen and San Diego (USA).

9. 4 global manufacturing bases. They are in Dongguan, Chongqing, India and Republic of Indonesia.

===References===

Anchit Sharma, The Company behind OPPO, VIVO, OnePlus and Realme Smartphones is same?,https://www.techworm.net/2019/06/company-oppo-vivo-oneplus-realme.html,2019.

vivo Mobile Communication Co., Ltd. , https://www.vivo.com/in/about-vivo/culture, 2020.

OPPO, https://www.oppo.com/en/about/, 2020.

==Chinese Dialects Wu Zijia 吴子佳 202070080645 MTI 英语口译==

===A.Brief introduction of Chines dialects===

The words topolect and hibernation, all comes from Yangxiong (53-18), "Interpretation of Foreign Dialects: Light Xuan“in the Han dynasty. "Dialect" refers to different meanings in different groups, according to the Chinese , "dialect " is both a political concept and a linguistic one, and it is also known as "Vernacular ". "Accent", refers to the difference in the language standard of a certain region, such as relationship between relatives regardless of the language."Dialect",however, is a linguistic concept in Europe, subordinating under the concept of"language" at the beginning of the eighteenth century. Based on the relationship between the language (pronunciation, vocabulary and grammar),it is divided into family, group, branch and language.Considering the special national situation of China, The translation of "Chinese dialects" into English is "Varieties of Chinese".According to the European , dialect is a language that differs from the standarded language and is spoken in only one certain region.( Julie M. Groves 2008,1)

China enjoys a vast field and a long history. In the process of historical development, different divisions and unification inevitably occurred in the society, which led to the gradual emergence of diverse and complex dialects system in Chinese. There are many factors contributing to the evolution of dialect, including social, historical and geographical factors, as well as the language itself.
According to the dialects, Chinese is divided into two categories: the official dialects and the nine local dialects. Official dialects ,namely modern Chinese, are not independent dialects, because they are very similar in pronunciation, vocabulary and grammar to the common language. Other regional dialects differ greatly in pronunciation, vocabulary and grammar, thus forming their own dialect systems. The official dialects include northeast Mandarin, Beijing mandarin, Ji Lu mandarin, Jiao-Liao mandarin, Central Plains mandarin, Lan-Yin mandarin, Southwest Mandarin and Jianghuai mandarin. The nine local dialects include Wu dialect, Cantonese, Fujian dialect, Hunan dialect, Hakka, Gan dialect, Hui dialect, Jin dialect and Pinghua.(Li Rong 1989,241)

===B.Hunan dialect===

Xiangyu , also known as xiang dialect or Hunan dialect, belongs to the sino-tibetan language, and is the main language used by the hunan people who live in xiangjiang river basin and its branches. Xiangyu is divided into two categories: new Xiangyu and The old Xiangyu. The new Xiangyu is represented by Changsha dialect while the old one is represented by Shuangfeng dialect.The core area of ancient Chu language is located in the middle reaches of Yangtze River, and Chu language is the ancestor language of Xiang language. Modern Xiangyu speakers are mainly distributed in a considerable part of Hunan province in Mainland China, including Changsha, Zhuzhou, Xiangtan, Yueyang, Yiyang, Loudi, Hengyang, Shaoyang, Yongzhou and so on. In 2010, the number of Xiangyu-speaker was estimated to be about 45 million. The regional dialects of Hunan province include Hunan, Southwest Official, Gan, Hakka, and Xiangxiang, southern Hunan dialect, which have not yet been classified as belonging to the dialect. Xiangyu is the main dialect of Hunan Province. Hunan province is a region that has diverse dialects. (Peng Jianguo 2006,25)

The chu dialect ,namely Chu Yan (ancient Chu language), is popular in Chu in the pre-Qin period, and it is the most ancient origin of Xiang language. The specific appearance of ancient Chu language cannot be verified today, but it is the earliest language used by the Han people in Hunan and along the Xiangjiang river. The word "Chu Yan" first appeared in Zuo Zhuan, indicating that the Chu Yan had been formed at least in the late Spring and Autumn Period, and was a branch of Chinese language,and was different from the Central Plains Yayin XiaYan at that time.There are 20-35 initials of Xiangyu, 30 to 40 finals, 5-7tones,commonly with 6.(Peng Jianguo 2006,26)

===C. Contonese===

Yueyu ,or Cantonese, Guangdong dialect and Tang dialect, is commonly known as "baihua".It is a Chinese dialect in the Chinese-Tibetan Chinese language family. Cantonese is the mother tongue of the Guangfu nationality, an important carrier of the Guangfu culture of the Han nationality, and one of the basic symbolic cultural identities of the Guangfu nationality. Cantonese has a complete language system consisting of nine tones and six volumes of tones, retaining many characteristics of Middle Ancient Chinese . Besides Putonghua, it is the only Chinese language that has been studied independently by foreign universities. (Julie M. Groves 2008,2)

As for the origin of Cantonese, there are different opinions.Some says that it originated from the Northern Mid-plain dialect and others the Chu language from the State of Chu. Cantonese is one of the southern dialects that retains more middle Ancient Chinese elements than other dialects, among which the most prominent feature is that it relatively retains the universal middle Ancient Chinese "Ru Sheng", and its initials, finals and tones have a good correspondence with the ancient Chinese standard rhymes in"Qu Yun" and "Guang Yun".(Julie M. Groves 2008,25)

Mandarin is a dominant language in Guangdong province, and the most dominant dialect is Cantonese. Hakka dialect and Fujian dialect are the other two major Chinese dialects with great influence in the province. Hakka dialect is mainly concentrated in the northeast and north of Guangdong province, and hakka dialect is also distributed in parts of western Guangdong province. Hakka villages are scattered in most parts of the province, and the number of people using this dialect is about 20 million. (Julie M. Groves 2008,60)

Fujian dialect is mainly distributed in the coastal area of the southwest and southeast of Guangdong province ,including 6 municipalities:Chaozhou, Shantou, Jieyang, Shanwei, Zhanjiang, Maoming ,and it can be divided into to language-speaking areas: they are , Chaoshan and Leizhou .The former shares some similarities with the south Fujian dialect , while the later is close to Hainan dialect.In addition, there are 18.95 million people living in some islets in Zhongshan,Huizhou, Qingyuan, Shaoguan taking Fujian dialect as their official language.(Julie M. Groves 2008,60)

===Question===

1.How many local dialects in China?

2.What are they?

3.What is the origin of the Xiang dialect.
--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 08:23, 9 November 2020 (UTC)Wu Zijia

===Answers===
1.9

2.Wu dialect, Cantonese, Fujian dialect, Hunan dialect, Hakka, Gan dialect, Hui dialect, Jin dialect and Pinghua

3.The Chu language

===References===

* Peng Jianguo 彭建国(2006)．《湘语音韵历史层次研究》.[ A Study on the Historical perspective of Xiang Phonology].”湖南大学出版社”[Hunan University Press]．25-26.

* Li Rong 李荣(1989).汉语方言的分区.[The division of Chinese dialects] (04)：241-259.

* Julie M. Groves (2008).Language or Dialect—or Topolect? A Comparison of the Attitudes of Hong Kongers and Mainland Chinese towards the Status of Cantonese .SINO-PLATONIC PAPERS.1-60.--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 14:27, 20 December 2020 (UTC)Wu Zijia

==Xiao Shuangling 肖双玲 202070080611 MTI 英语笔译==

===March of the Volunteers (National Anthem of the People's Republic of China)===

===A. Brief Introduction===

March of the Volunteers is a song composed by Tian Han and Nie Er. It is the theme song of the film Children of Troubled Times, known as the clarion call of the Liberation of the Chinese nation. Since its birth in 1935 which was the critical moment of national crisis, it has played a great role in inspiring the patriotic spirit of the Chinese people, and later became the National Anthem of the People’s Republic of China.

On May 9, 1935, the first version of the song was recorded in the recording studio of EMI Records. In 1951, in order to meet the need of playing the national anthem, the People's Record Factory recorded and published a rough record composed by a brass ensemble and an orchestral ensemble. In 1959, to celebrate the 10th anniversary of the founding of the People’s Republic of China, the China Record Factory recorded and published a full set of standard national anthem special records. In 1978, a special album for collective lyrics was released. In 1983, China Record Shanghai Company recorded and published a special record for the standard national anthem after the original word was restored.

On March 14, 2004, the Second Session of the Tenth National People’s Congress passed a constitutional amendment, officially stipulating that the national anthem of the People’s Republic of China shall be the March of Volunteers.

The National Anthem Law of the People's Republic of China was adopted at the 29th Session of the 12th National People's Congress Standing Committee on September 1st, 2017, and formally went into effect on October 1st.

===B. Creation Background===

March of the Volunteers is the theme song of the film Children of Troubled Times. In the autumn of 1934, Tian Han wrote a long poem for the film, the last verse of which was selected as the lyrics of the theme song March of the Volunteers. Shortly after the lyrics were written, Tian Han was arrested and imprisoned by the Kuomintang authorities. In February 1935, director Xu Xingzhi took over the shooting of Children of Troubled Times.

Soon after, comrades who went to prison to visit Tian Han and brought back the lyrics written by him in prison on the back of cigarette packing paper, that is, the original manuscript of March of the Volunteers. At that time, Nie Er was preparing to go to Japan to seek refuge. He learned that there was a theme song to write in the film children of the wind and cloud. He took the initiative to compose music for the song and promised to send back the song manuscript as soon as possible after he arrived in Japan.

Nie Er completed the first draft of the score soon after receiving the lyrics. On April 18, 1935, after Nie Er arrived in Tokyo, Japan, he completed the final draft of the score, and sent the final draft to Shanghai Dentsu Film Company at the end of April. Afterwards, in order to make the song tune and rhythm more powerful, Nie Er and Sun Shiyi discussed and made three changes to the lyrics, thus completing the song creation.

After the early shooting of the film of Children of Troubled Times was completed, the lyrics of Tian Han's theme song did not determine the name of the song, and Nie Er's lyric composition sent back from Japan only included the word "March". General Zhu Qinglan, as the investor of the film of Children of Troubled Times, added "Volunteers" after the words of "March", thus naming the song March of the Volunteers.

===C. Song Appreciation===

The March of the Volunteers is a very creative song; the composer Nie Er devotes himself to the creation of this song with great passion. First of all, he succeeds in handling the poetic lyrics of Tian Han’s prose in accordance with the laws of music in an extremely vivid, powerful and colloquial way. In terms of melody creation, he not only absorbs the excellent achievements of international revolutionary songs and the style characteristics of Western European march, but also makes it have strong national characteristics, so that the song could be grasped by the broad masses and play its fighting role.

The song begins as a prelude to a six-bar march. It has a sonorous rhythm, bright and majestic melody, among which the magical effect of triplet enhances the fighting atmosphere of the song. Although the prelude is short, it contains the basis for the emotional and melody development of the entire song. The song is interlocked and advanced layer by layer. This process runs through the whole song, and the end of the song is repeated many times, giving people a sense of unwavering and unstoppable.

According to the characteristics of the lyrics clause, Nie Er treated the song into a free body structure formed by six phrases of varying lengths. Although the melody and structure of each phrase are different, the cohesion between the phrases is close, the development is natural, and the singing is ups and downs, and is integrated.

March of the Volunteers, with its soaring, sonorous and powerful melody and inspiring lyrics, expresses the Chinese people's strong resentment and resistance to imperialist aggression, and embodies the heroic spirit of the great Chinese nation that is brave, strong, united as one to go through national disaster when they are facing the foreign aggression.

===D. Chinese and English Lyrics===

起来！不愿做奴隶的人们！

把我们的血肉，筑成我们新的长城！

中华民族到了最危险的时候，

每个人被迫着发出最后的吼声。

起来！起来！起来！

我们万众一心，

冒着敌人的炮火,

前进！

冒着敌人的炮火，

前进！

前进！前进、进！

Arise, you who refuse to be bond slaves!

Let’s stand up and fight for

Liberty and true democracy.

All our world is facing

The chains of the tyrants.

Everyone who works for freedom is now crying:

Arise! Arise! Arise!

With the torch of freedom,

March on!

With the torch of freedom,

March on!

March on! March on, and on!

===Terms and Expressions===

March of the Volunteers 义勇军进行曲

Children of Troubled Times 风云儿女

EMI 百代唱片

National People’s Congress 全国人民代表大会

National People's Congress Standing Committee 全国人大常委

===Questions===
‭
1. Who are the composers of March of the Volunteers?

2.Which movie's theme song does March of the Volunteers belong to?

3.When did the National Anthem Law go into effect?

4.When was the final draft completed?

5.How did the name of this song come from?

===Answers===
1.1.March of the Volunteers is a song composed by Tian Han and Nie Er.

2.It is the theme song of the film Children of Troubled Times.

3.The National Anthem Law of the People's Republic of China formally went into effect on October 1st, 2017.

4.On April 18, 1935, after Nie Er arrived in Tokyo, Japan, he completed the final draft.

5.After the early shooting of the film Children of Troubled Times was completed, the lyrics of Tian Han's theme song did not determine the name of the song, while Nie Er's lyric composition sent back from Japan only included the word "March". General Zhu Qinglan, as the investor of the film Children of Troubled Times, added "Volunteers" after the words of "March", thus naming the song March of the Volunteers.

===References===
姜龙飞. 《义勇军进行曲》在这里诞生[J]. 中国档案报, 2020,(003)

《义勇军进行曲》这样成为国歌[J]. 当代兵团，2020（19）

百度百科.义勇军进行曲

--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:26, 20 December 2020 (UTC)Xiao Shuangling

==Xiao Ting 肖婷 202070080612 MIT 英语笔译==
====Zheng He's Voyages ====

From 1405 to 1433, the Chinese imperial eunuch Zheng He led seven expeditions to the coastal territories and islands in and around South China Sea,the Indian Ocean,and beyond for the Ming emperor which is an unprecedented feat in world history.(English Encyclopedia Treasure Voyages)

====Zheng He====
Zheng He was born Ma He to a Muslim family in the far southwest, in today's Yunnan province. It is said that his original surname is Ma,his full name as Ma Sanbao .At ten years old he was captured by soldiers sent there by the first Ming emperor intent on subduing the south.(Baidu Encyclopedia Zheng He)
He was sent to the capital to be trained in military ways. Growing up to be a burly, imposing man, over six feet tall with a chest contemporaries said measured over five feet around, he was also extremely talented and intelligent. He received both literary and military training, then made his way up the military ladder with ease, making important allies at court in the process. Besides Zheng He has a background of both Buddhism and lslam.Thus,he was assumed as the perfect choice to lead the emperor’s splendid armada.(Ye Lang 2008,116)[[File:Zheng He.jpg|500px|thumb|right|Zheng He]]

====Reasons for the voyages====
The Yongle Emperor sent Zheng He to the “Western oceans”, both to demonstrate the might of the Ming Empire and to realize the diplomatic ideal of peace and harmony among all nations. Zheng He's fleet manifested the prosperity ，the imperial power ，its advanced navigation technologies and exquisite ship-building techniques of China at that time , thus many small countries and bribes agreed to recognize China as their superior and its emperor as lord of “all under Heaven”.These countries and bribes regularly gave gifts of tribute in exchange for certain benefits ,like military posts, treaties and licence to trade.(Qian Zhiqian 2005,93)
During the voyages ,Zheng He's fleet did not act as a sea ruler, but appeared in peace all over the world, laden not only with goods exchanged with those countries, but also with the friendship of peoples.(Ye Lang 2008,120)
[[File:The Yongle Emperor.jpg|500px|thumb|right|The Yongle Emperor]]
====The seven expeditions====
These expeditions were astonishing as much for their distance as for their size: during the first one, Zheng He traveled all the way from China to Southeast Asia and then on to India, all the way to major trading sites on India's southwest coast.The first expedition of this mighty armada was in 11th July of 1405, composed of 317ships and perhaps as many as sixty huge Treasure Ships and nearly 28000 men with thousands of soldiers , sailors ,diplomatic specialists ,medical personnel, astronomers and scholars.The fleet stopped in Java and then arrived at Ceylon (today’s Sri Lanka ).Compared to the first one, the second voyage(1407-1409) was smaller with only 68ships sending foreign envoys back home.(Zhen Hesheng,Zhe Yijun 1983,38)

Zheng He led the third voyage (1409-1411) visiting many of the same countries as the first one did, like Champa and Java. When fighting broke out there between his forces and those of a small kingdom, Zheng put down the fighting, captured the king and brought him back to China where he was released by the emperor and then returned home duly impressed.(Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The fourth voyage (1413-15) extended the scope of the expeditions even further. This time in addition to visiting many of the same sites, Zheng He commandeered his 40 ships and over 28,000 men to Hormuz on the Persian Gulf. This trip has 48 ships with doctors , officials ,translators and more than 27000 troops .
The fifth voyage (1417-1419) was primarily a return trip for seventeen heads of state from South Asia. They had made their way to China after Zheng He's visits to their homelands in order to present their tribute at the Ming Court. (Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The sixth voyage began in 1421 and lasted for nearly two years.Then the expeditions were halted due to the death of the Yongle emperor.It sailed to many of the previously visited Southeast Asian and Indian courts and stops in the Persian Gulf, the Red Sea, and the coast of Africa, principally in order to return nineteen ambassadors to their homelands. Zheng He returned to China after less than a year, having sent his fleet onward to pursue several separate itineraries, with some ships going perhaps as far south as Sofala in present day Mozambique.(Baidu Encyclopedia Zheng He's Voyages to the Western Oceans)

The seventh and final voyage (1431-33) was sent out by the Yongle emperor's successor, his grandson the Xuande emperor.This expedition had more than one hundred large ships and over 27,000 men, and it visited all the important ports in the South China Sea and Indian Ocean as well as Aden and Hormuz. One auxiliary voyage traveled up the Red Sea to Jidda, only a few hundred miles from the holy cities of Mecca and Medina. It was on the return trip in 1433 that Zheng He died and was buried at sea, although his official grave still stands in Nanjing, China. Nearly forgotten in China until recently, he was immortalized among Chinese communities abroad, particularly in Southeast Asia where to this day he is celebrated and revered as a god.(Zhen Hesheng,Zhe Yijun 1983,43)
[[File:Route.jpg|500px|thumb|right|Route]]

====Terms and Expressions====
The Yongle emperor 永乐皇帝（明成祖）

Java 爪哇

Ceylon 锡兰（今斯里兰卡）

Champe 占城（印度支那古国）

Hormuz 霍尔木兹

The Persian Gulf 波斯湾

Medina 麦地那市（沙特阿拉伯西部城市）

Mecca 麦加（穆斯林圣地）

==== Questions====
1.What was Zheng He like?

2. Why did the Yongel Emperor sent the armada to the “Western oceans”?

3.How many people did Zheng He bring at the first voyage ,and what did these people do?

4.Why did the expeditions stopped during the 1423-1430?

5.The last trip was sented by?

===Answers===
1.Growing up to be a burly, imposing man, over six feet tall with a chest contemporaries said measured over five feet around, he was also extremely talented and intelligent.

2.Both to demonstrate the might of the Ming Empire and to realize the diplomatic ideal of peace and harmony among all nations.

3.He brought nearly 28000 men with thousands of soldiers , sailors ,diplomatic specialists ,medical personnel, astronomers and scholars.

4.The expeditions were halted due to the death of the Yongle emperor.

5.By the Yongle emperor's successor, his grandson the Xuande emperor.
===References===
Ye Lang 叶朗. 中国文化读本[A book of Chinese Culture][M].北京,2008,115-123.

Qian Zhiqian 钱志乾. 试论郑和下西洋的主要目的[On the purpose of Zheng He's Voyages to the Western Oceans] [J]. 江西社会科学,2005,(02):90-94.

Zhen Hesheng,Zhe Yijun郑鹤声 ,郑一钧. 郑和下西洋简论[A brief Introduction of Zheng He's Voyages to the Western Oceans] [J]. 吉林大学社会科学学报,1983,(01):36-48.

[Baidu Encyclopedia]百度百科.郑和 [Zheng He]

[Baidu Encyclopedia]百度百科.郑和下西洋 [Zheng He's Voyages to the Western Oceans]

[English Encyclopedia]英语百科.郑和下西洋[Treasure Voyages]
--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 12:42, 20 December 2020 (UTC)Xiao Ting

==Literature, China's Four Great Classical Novels - Xie Fan 解帆 202070080637 英语口译==

===China's Four Great Classical Novels===

The Four Great Works of Chinese Classical Novels, abbreviated as the Four Great Works, are ''Water Margin'', ''Romance of The Three Kingdoms'', ''Journey to the West'', and ''Dream of the Red Chamber'' (in the order of their completion).The Four Great Classical Novels are some of the classics of Chinese literature and they are considered part of the cultural heritage of the world. The status of these four masterpieces in the history of Chinese literature is difficult to distinguish with their high level of literature and artistic achievements. They are time-honored and unique among Chinese literature works, so that the stories, scenes and characters in these masterpieces have deeply influenced the thoughts and values of the Chinese people. The meticulous portrayal and the profound thoughts contained in these four masterpieces have been praised by readers in history. They can be described as the four great monuments in the history of Chinese literature.(Chen Wenxin 2019,24)

====Water Margin====

''Water Margin'', written by Shi Naian, is a novel based on an ancient peasant uprising. It vividly depicts the whole process from the occurrence, development and failure of the peasant uprising, profoundly reveals the social roots of the uprising, enthusiastically eulogues the resistance struggle of the 'heroes' of the uprising and their social ideals, and specifically reveals the internal historical reasons for the failure of the uprising. (Sun Jiancheng 2008,167)

With the occurrence and development of peasant uprising as its main line, the book describes the whole process of development for grand peasant uprising troop. Individual awakening develops into the small-scale joint resistance with the experience of different heroes, showing an inexorable law of the feudal era, that is, peasants being forced to revolt by the officials, profoundly reflecting the Song dynasty's political condition and social contradictions. Standing on the side of the oppressed, the author praised the righteous acts of the leaders of the peasant uprising, who robbed the rich to the poor and exonerated and affirmed their revolutionary spirit of daring to rebel and struggle.(Liu Keqiang 2014,96)

====Romance of the Three Kingdoms====

''Romance of The Three Kingdoms'' is a novel written by Luo Guanzhong, a novelist in the late Yuan and early Ming Dynasty. It is the first chapter novel , the first novel of historical romance, and also the first long literary novel in the history of Chinese literature. At the end of yuan dynasty and the beginning of Ming Dynasty, social contradictions were acute, peasant uprisings broke out one after another, and dynasties were divided. After years of war, Zhu Yuanzhang destroyed all the departed dynasties, overthrew the Yuan Dynasty, and established the Ming Dynasty. During the period when people were displaced, Luo Guanzhong, as a writer of zaju and stories, lived at the bottom of the society, understood and got familiar with the sufferings of the people, expected social stability and people to live and work in peace and contentment, thought as an intellectual at the bottom, and hoped to end the tragic situation caused by the turbulence. Therefore, he wrote the historical novel ''Romance of The Three Kingdoms'' on the history of the last years of the Eastern Han Dynasty. (Wang Zhiwu 2004,12)

''Romance of The Three Kingdoms'' describes the history of nearly a hundred years from the end of the Eastern Han Dynasty to the beginning of the Western Jin Dynasty. It mainly describes wars and tells the story of the warring states of the eastern Han Dynasty and the political and military struggles among The Three Kingdoms, namely, Wei, Shu and Wu. Finally, Sima Yan unified The Three Kingdoms and established the Jin Dynasty. Besides, it reflects the transformation of various social struggle and contradictions in The Three Kingdoms period, summarizes the historical changes of this era, and shapes a group of powerful heroes of The Three Kingdoms period. (Zhang Zhihe 2000,32)

====Journey to the West====

''Journey to the West'' is the first romanticism chapter novel in China, and its author is WuChenen in the Ming Dynasty. The book mainly tells a story, after the birth and havoc in heaven, Su Wukong met Tang Monk, White Dragon Horse, Zhu Bajie and Sand monk, started their journey to the West, went through 81 hardships and dangers, demons and monsters, finally arrived in the West to see the Buddha. (Chen Dakang 2000,16)

The novel is based on the historical event of Tang Monk going to study scriptures, and through the author's artistic processing, it profoundly depicts the social reality of The Ming Dynasty. The uproar in heaven in the novel reflects the resistance of the Chinese people in the feudal society through the form of fairy tales. Of course, fantasy novels reflect reality with their own characteristics, different from the general direct reflection of real life literature. The rebelin heaven erected the banner of "Monkey King", and put forward the slogan, "emperor take turns, and next is my turn" , hundreds of troops escaped, the heaven started to collapse, so that the jade emperor had to ask for external help. The plot of the fiction and fantasy based on reality of peasant uprising and peasant war. If there had not been many large-scale peasant uprisings and peasant wars that violently impacted the feudal dynasties in history, the plot of "Havoc in Heaven" could not have been so bold and the image of Sun Wukong as a rebel could not have been so brilliant. (Chen Dakang 2000,17)

====Dream of the Red Chamber====

''Dream of the Red Chamber'' was written by Cao Xueqin, a well-known writer in the Qing Dynasty. With the rise and fall of Jia, Shi, Wang as its background, with the love marriage tragedy of Jia Baoyu, Lin Daiyu, and Xue Baochai as its main line, in the perspective of rich childe Jia Baoyu, the book shows the tragic beauty, and female beauty from different angles and the phase of the ancient Chinese society of epic works. (Hu Jingzhu 2019,33)

''Dream of the Red Chamber'' was born at the end of feudal China in the 18th century. At that time, the Qing Government was closed to the outside world and the whole country was immersed in the dream of the Kang-Qian Flourishing Age and the Middle Kingdom. On the surface, the period seemed stable and peaceful, but actually all kinds of social contradictions were intensifying and developing, and the whole dynasty had reached a turning point of prosperity and decline. (Liu Mengxi 1984,41)

===Terms and Expressions===

农民起义 peasant uprising

孙悟空 Monkey King

大闹天宫 Havoc in Heaven

康乾盛世 the Kang-Qian Flourishing Age

天朝上国 the Middle Kingdom

===Questions===

1. What is the influence and status of Chinese Four Great Classical Novels?

2. What dose ''Water Margin'' mainly show?

3. Is ''Dream of the Red Chamber'' the first romanticism chapter novel in China? Which book is the first chapter novel in China?

4. Why has the plot of "Havoc in Heaven" been so bold and the image of Sun Wukong as a rebel been so brilliant?

4. What do you know about ''Dream of the Red Chamber''?

===Answers===

1. The stories, scenes and characters in these masterpieces have deeply influenced the thoughts and values of the Chinese people. They can be described as four great monuments in the history of Chinese literature.

2. It vividly depicts the whole process from the occurrence, development and failure of the peasant uprising, profoundly reveals the social roots of the uprising, enthusiastically eulogues the resistance struggle of the 'heroes' of the uprising and their social ideals, and specifically reveals the internal historical reasons for the failure of the uprising.

3. No, ''Journey to the West'' is the first romanticism chapter novel in China while ''Romance of the Three Kingdoms'' is the first chapter novel in China.

4. Because there had been many large-scale peasant uprisings and peasant wars that violently impacted the feudal dynasties in history.

4. ''Dream of the Red Chamber'' was written by Cao Xueqin, a well-known writer in the Qing Dynasty. With the rise and fall of Jia, Shi, Wang as its background, with the love marriage tragedy of Jia Baoyu, Lin Daiyu, and Xue Baochai as its main line, in the perspective of rich childe Jia Baoyu, the book shows the tragic beauty, and female beauty from different angles and the phase of the ancient Chinese society of epic works.

===References===

*Chen Dakang陈大康.(2000).《西游记》主题说的百年变迁：兼论“主题”概念的理论意义.[The Change of Theme during Hundreds of Years in ''Journey to the West'' - Discussion on the Theoretical Significance of the Theme].华东师范大学学报Journal of East China Normal University

*Chen Wenxin陈文新.(2019).中国文化视野中的“四大名著”.["The Four Great Classical Novels" from the Perspective of Chinese Culture].文化软实力研究Studies On Cultural Soft Power

*Hu Jingzhu胡静姝.(2019).《梦幻与现实的较量——浅析 < 红楼梦 > 中梦的美学意蕴》.[The Contest between Dream and Reality - A Brief Analysis of the Aesthetic Implication of ''Dream of the Red Chamber''].《汉字文化》The Culture of Chinese Characters

*Liu Keqiang刘克强.(2014).《水浒传》翻译大辞典.[The Translated Dictionary of ''Water Margin''].北京：中央编译出版社Beijing:Central Compilation Translation Press

*Liu Mengxi刘梦溪.(1984).红学三十年论文选编．[Selected Papers of Studies of Dream of the Red Chamber in the Past Three Decades].天津: 百花文艺出版社Tianjin:Baihua Literature and Art Publishing House

*Sun Jiancheng 孙建成.(2008).《水浒传》英译的语言与文化.[The Language and Culture of English Translation of ''Water Margin''].上海：复旦大学出版社Shanghai:Fudan University Press

*Wang Zhiwu王志武.(2004).《三国演义》的人物、结构和主题.[The Characters, Structure and Theme of ''Romance of The Three Kingdoms''].西北农林科技大学学报Journal of Northwest A&F University

*Zhang Zhihe张志和.(2000).《三国演义》思想意蕴试论.[Discussion on the Ideological Implication of ''Romance of The Three Kingdoms''].天津外国语学院学报Journal of Tianjin Foreign Studies University

--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 15:55, 20 December 2020 (UTC)

==Four Folk Stories of Ancient China，Xu Jia 徐佳 202070080613 MTI英语笔译==

Cowherd and Weaving Girl, Meng Jiangnu Crying on the Great Wall, the Story of the White Snake and Butterfly Lovers are the four major folk love stories in ancient China. As the most charming oral traditions and national intangible cultural heritage in China, the earliest of them has been popular for more than 2000 years, having a profound impact on people’s lives.

1. Cowherd and Weaving Girl

2. Meng Jiangnu Crying on the Great Wall

3. The Story of the White Snake

4. Butterfly Lovers

====Cowherd and Weaving Girl====

It is said that the story took place in the Western Zhou Dynasty. Cowherd was an artless and honest young man living in the Xiniu village of Nanyang city. Since his parents died early, he lived a miserable life with an old ox. One day, Weaving Girl, the daughter of the God of Heaven, came down with other fairies from heaven and took a bathe in a river near Cowherd’s house. The old ox told the Cowherd to steal her clothes so that she was unable to return to the heaven and would stay here to be his wife.（Zhong Xiaoting 2020,92)

With the help of the old ox, Weaving Girl married Cowherd and soon they had a son and a daughter. They led a happy life with husband laboring in the field and wife weaving at home. But their marriage didn't last long. It was discovered by the Queen Mother and incurred her wrath. Ignoring tearful Cowherd and two crying children, she broke up the couple and brought Weaving Girl back. It was the old ox that helped him again. It told Cowherd that it would die tonight and he needed to make three pair of shoes with its skin, which could help him go to heaven and find his wife. Cowherd followed. Just as the cowherd was about to catch up with them, however, the Queen Mother took off her golden hairpin and separate them by a large river, which is now called the Milky Way. Hopelessly, the two lovers can only look at each other across the river.（Zhong Xiaoting 2020,92)

Fortunately, touched by their love，hundreds of thousands of magpies flied and formed a bridge over the river. Finally the Queen Mother showed a little mercy, allowing them to meet once a year on the magpie bridge. The day was the seventh day of the seventh lunar month, which later has become the Chinese Valentine’s Day.(Zhao Kuifu 1990,61)

====Meng Jiangnu Crying on the Great Wall====

During the reign of the first emperor of Qin Dynasty, Fan Xilang, a young man living in the surrounding area of Mengjiang mountain in Lizhou County, Hunan Province, had just finished the hard labor and returned to his hometown to get married. But unfortunately, on the night of their wedding, Fan Xilang was sent to the north to build the Great Wall. He toiled away with hunger, cold and fatigue, and soon met a miserable death at the end of his efforts. His body was buried under the Great Wall. （Yao Kangkang 2020,77)

Meng Jiangnu, Fan’s new wife, got the bad news and went through all kinds of hardships to reach the Great Wall. She cried bitterly there for three days and three nights, and finally cried down the Great Wall and found her husband's remains. On her way to take him home, she suffered a lot and finally died of hunger and thirst in Tongguan County, Shaanxi Province. Sympathetic with the couple’s miserable experience and deeply moved by Meng’s spirits, the local people buried their remains and set up ancestral temples to commemorate them.(Huang Ruiqi 2003)

====The Story of the White Snake====

Created in the Southern Song Dynasty and prevailed in the Qing Dynasty, the Story of the White Snake is a model of Chinese folk collective creation. In the book Stories to Warn Man compiled by Feng Menglong, The White Snake under the Leifeng Pagoda has been acknowledged as the first version of this story.

After thousands of years of practice in Emei Mountain, two snake named Bai Suzhen and Xiaoqing translated into two beautiful girls and came to visit Hangzhou. After encountering with a young man named Xu Xian in the rain, Bai Suzhen fell in love with him and soon later they get married. But a monk called Fahai saw through Bai’s disguise and thought that it was an intrigue of the white snake to marry a man. He persuaded Xu Xian to intoxicate his wife with realgar wine on the Dragon Boat Festival. After being drunk, Bai Suzhen couldn’t control herself and showed the shape of a snake, which scared Xu Xian to death. Regardless of her own safety, Bai Suzhen went through many difficulties and got the magical grass, which finally brought Xu Xian back to life.（Zhou Xia 2020）

But Fahai did not give up. He then lured Xu Xian to the Jinshan Temple to separate the couple. Bai Suzhen and Xiao Qing had no choice but to inundate the temple with flood. During the fierce battle, Bai was finally defeated and put into a small bowl under the Leifeng Pagoda.(Wang Yibing 1999)

====Butterfly Lovers====

During the Eastern Jin Dynasty, Zhu Yingtai, a beautiful and intelligent girl born in a rich family in Shangyu County, Zhejiang Province, wanted to go to Hangzhou to study for there was no good teacher at home. Her father, seeing her eagerness to learn and her ability to disguise herself as a man, finally agreed to her request. On the way to Hangzhou, Zhu Yingtai met Liang Shanbo, a young man who had the same destination with her. He was sincere, gentle and knowledgeable and they clicked immediately. During the school years, they often talked about poetry and articles, cared for each other, and slept in the same bed at night. Zhu had gradually fallen in love with Liang, who, though did not know she was a girl, also cherished her and saw her as his best friend.（Lin Liangliang 2020, 57)

Three years passed quickly. The moment when they had to part, Zhu constantly gave delicate indications to Liang that she was a girl and she loved him, but Liang failed to take her hint. Zhu had no choice but to lied to Liang that she had a little sister who was similar to her in appearance and learning and she wondered if Liang was willing to marry her. Liang Shanbo readily consented and promised that he would come to visit soon. A months later, Liang Shanbo went to Zhu's home and he was surprised to see Zhu Yingtai dressed up as a girl. Only then did he know the truth and figured all the things out. They then confessed their love to each other and pledged to marry without the permission of parents. （Lin Liangliang 2020, 58)

But unfortunately, Zhu’s parents didn’t think much of this poor young man. They wanted to marry their daughter to Ma Wencai, the son of the local governor. Zhu Yingtai was unwilling to marry him but her protest was in vain, for her family was in financial crisis and needed Ma’s support. Hopelessly, the two young lovers was forced to part in tears. Since then, Liang slid into a depression. His spirit and health were soon crushed, and he died a few months later. On the wedding day, Zhu asked for a detour to pass by Liang 's tomb so that she could say goodbye to him. Wearing a bright red wedding dress, she knelt in front of his grave and cried bitterly. At that moment, lighting flashed, thunder rolled and the sky went dark. Liang's tomb suddenly cracked open and Ying-tai immediately jumped into it before it closed. Then under the shocked eyes of the onlookers, a pair of beautiful butterflies flied out of the graves and dancing in the sunlight. It is believed that these two butterflies are Liang Shanbo and Zhu Yingtai. They finally get rid of all the shackles and bounds and can stay together forever.(Jin Huiling 2007)

Having been adapted into many films and TV plays, these four stories are well-known in China and the rest of the world. As the crystallization of folk culture, they not only represent the rich imagination of ancient Chinese people, but also show their hatred for evil forces and their pursuit for a free and happy life, which is exactly the positive part of folk literature.

===Terms and Expressions===

Cowherd and Weaving Girl 牛郎织女

Meng Jiangnu Crying on the Great Wall 孟姜女哭长城

Butterfly Lovers 梁山伯与祝英台

the Queen Mother 王母娘娘

Stories to Warn Man 《警世通言》

The White Snake under the Leifeng Pagoda 《白娘子永镇雷峰塔》

===Questions===

1.What led to the death of Meng Jiangnu’s husband?

2.What did Xu Xian give Bai Suzhen to drink that made her reveal her snake form?

3.What did the Cowherd do to make Weaving Girl stay?

4.When did Liang Shanbo realize that Zhu Yingtai is actually a girl?

5.Why did Zhu Yingtai lie to Liang Shanbo that she has a little sister?

===Answers===

1.He was sent to build the Great Wall and died for hunger,cold and fatigue.

2.Realgar wine

3.He stole her clothes while she was taking a shower.

4.The first time Liang Shanbo went to Zhu's home,where he saw Zhu Yingtai dressed up as a girl.

5.The little sister she referred to is actually herself,and in this way she hinted at her love to Liang Shanbo.

===References===

Jin Huiling. Qin Yinan. (2007). 爱支撑的文化天堂——《罗密欧与朱丽叶》和《梁山伯与祝英台》[A Cultural Paradise Supported by Love - Romeo and Juliet and Liang Shanbo and Zhu Yingtai] 社会科学论坛：学术研究卷Social Science Forum: Academic Research Volume(5):194-197.

Wang Yibing. (1999). 白蛇传故事的文化意蕴[The Cultural Implications of the Story of the White Snake].廊坊师专学报 Journal of Langfang Teachers College(4):12-18.

Huang Ruiqi. (2003). 孟姜女故事研究[A Study of the Story of Meng Jiang Nu] 北京：中国人民大学出版社. Beijing: People's University of China Press.

Zhao Kuifu. (1990). 论牛郎织女故事的产生与主题[On the Generation and Theme of the Story of the Cowherd and the Weaver]. 西北师大学报. Northwest Normal University Journal(4):56-63.

Zhong Xiaoting.(2020). 牛郎织女故事漫谈三则Three Rambling Stories of the Cowherd and the Weaving Maiden].美与时代. Beauty and the Times(10);92-94.

Yao Kangkang.(2020). 镇原送寒衣的风俗和孟姜女的传说[The Custom of Sending Cold Clothes to Zhen Yuan and the Legend of Meng Jiang Nu].甘肃政协.Journal of Gansu Political Consultative Committee:77-79.

Zhou Xia.(2020).《白蛇转》：白娘子的前世今生.[The White Snake: The Past Life of Bai Niang Zi].中国电影报.China Film News.

Lin Liangliang. (2020).梁祝传说中的原型及其内涵阐发.The Archetype and Its Connotation in the Legend of Liang Zhu. 名作欣赏. Masterpiece Appreciation(10):56-60.

--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:39, 20 December 2020 (UTC)Xu Jia

==Architecture, Four Great Pavilions-Xu Jing 许静 202070080614 MTI英语笔译==
===Four Great Pavilions===
A pavilion, a building style with great Chinese characteristics, is not only a place for passers-by to rest their feet, but also an important landscape building with garden art. At the foot of the mountains, by the lakeside and deep in the forest, we can always see pavilions that are half-hidden, and half-exposed, subtly adding colour to the landscape scenery. (Qian Long 2009, 50)

Where there are pavilions, there are stories, and there are four famous pavilions in China - the Old Drunkard Pavilion in Chuzhou, the Tao Ran Pavilion in Beijing, the Ai Wan Pavilion in Changsha and the Hu Xin Pavilion in Hangzhou. All of them are famous for their poems and articles written by ancient writers and scholars. (Qian Long 2009, 50)

====The Old Drunkard Pavilion====

Zuiweng Ting, or the Old Drunkard Pavilion is located at the foot of the Langya Mountain in Chuzhou, Anhui Province. The Old Drunkard Pavilion was built in 1046 AD, the sixth year of the Northern Song Dynasty's reign of Emperor Renzong. This pavilion is the subject of a well-known work written by Ouyang Xiu, an essayist of the Song dynasty, called The Story of the Old Drunkard. (Liu Xuan 2012, 21)

It is said that Ouyang Xiu was demoted to Chuzhou to serve as the prefect. Feeling indignant at the time, he devoted his soul into nature. He often came with friends and guests to Langya Mountain for fun, or to Langya Temple to drink wine and express their emotion. In order to give Ouyang Xiu a rest and a drink, the Langya Monastery monk Zhisian built this pavilion halfway up the mountain. The pavilion was named 'the Old Drunkard Pavilion' by Ouyang Xiu, who called himself “ the Old Drunkard”. (Liu Xuan 2012, 21)

The pavilion has a compact layout with small, unique pavilions that are characteristic of the gardens of the south of the Yangtze River, and although the total area of the pavilion is less than 1,000 square metres, there are nine buildings——the Old Drunkard Pavilion, Bao Song Zhai, Feng Gong Ancestral Hall, Ancient Plum Blossom Pavilion, Shadow Fragrance Pavilion, Yi Zai Pavilion, Fear Pavilion, Ancient Plum Blossom Pavilion, and the View Terrace——of different styles, and are known as the “Nine Views of the Old Grunkard Pavilion”. (Liu Xuan 2012, 21)

Although the Old Drunkard pavilion has been plundered many times over the centuries, it still inviting to people. Today, the thousand-year old scenery here is even more spectacular and alluring. (Liu Xuan 2012, 21)

====Tao Ran Pavilion====

The Tao Ran Pavilion in Beijing was built in 1695, the 34th year of Emperor Kangxi's reign in the Qing dynasty, by Jiang Zao, who then served in the Ministry of Public Works. Jiang Zao named the pavilion after Bai Juyi's poem, "Waiting for the chrysanthemum to ripen, we get drunk in blitheness". This small pavilion is quite popular among ancient writers. (Qian Long 2009, 50)

The modern Taoran Pavilion is a new modern urban garden that integrates ancient architecture and modern gardening art, highlighting the Chinese national pavilion culture as its main content. In the garden, there are verdant trees, lush flowers and grasses, jagged buildings and pavilions. On the Mid-lake Island, there are Jinqiu dun, Swallow Head Hill, and Tao Ran pavilion into a tripod. On top of Jinqiu dun there is Jinqiu pavilion, the site of which was the site of the Flower Fairy Shrine. At the southern foot of the pavilion, there is Rose Hill, which is the site of the original incense mound, the parrot mound and the tomb of the golden flower. (Chang Yi 2007, 60)

In the quiet pine forest at the foot of the northern pavilion, there are the tombs of Gao Junyu and Shi Pingmei, which are famous. At the top of Swallow Head Hill, there is the Green View Pavilion, which is opposite the Jinqiu Pavilion, and at the southwest of the pavilion, there is the Chengguang Pavilion, which is the most suitable place to look at the lake and the mountains. (Qian Long 2009, 50)

====Ai Wan Pavilion====

The Ai Wan Pavilion is located in the Qingfeng Gorge at the foot of Mount Yuelu in Hunan Province, and is surrounded by mountains on three sides. The pavilion was built in 1792 by Luo Dian(罗典), Dean of the Yuelu Academy, and was originally called the Red Leaf Pavilion. It was later renamed by Bi Yuan(毕沅), Governor of Hunan and Guangzhou Province, based on a poem by Du Mu(杜牧), a poet of the Tang Dynasty, which reads, "The stone paths of the cold mountains are steep, and there are homes in the depths of the white clouds. Sitting on the Maple Forest in the evening, the frost leaves turn red in the February flowers" ("Mountain Journey"). (Qian Long 2009, 50)

After many major repairs in the reign of Tongzhi, Guangxu, Xuantong, and in Republic of China and after the founding of the People's Republic of China, it comes into its pattern today. The shape of the pavilion is eight columns with heavy eaves, glazed glass and blue tiles, the corner of the pavilion is flying, and it looks like flying from a distance. The inside is pillar in lacquer while the outside are four stone pillars made by granite. (Chang Yi 2007, 60)

Apart from painted caisson ceiling, there are gilt lettering "Ai Wan Pavilion" on a red background on the east and west sides of the pavilion, which was made by handwriting written by Mao Zedong, at the request of Li Da, the then president of Hunan University. The pavilion is surrounded by hills on three sides, and is open to the east, with a flat vertical and horizontal space of more than 33 metres, with purple and lush greenery and uninterrupted flowing springs. There is a pond in front of the pavilion, with rows of peach and willow trees. There are maple trees all around, with red leaves all over the mountains in late autumn. (Chang Yi 2007, 60)

====Hu Xin Pavilion====

Hu Xin Pavilion, or Mid-lake Pavilion is situated in the centre of the West Lake in Hangzhou, Zhejiang. Initially known as "Zhenlu Pavilion", and "Qingxi Pavilion", it was built in the 31st year of Jiajing in the Ming Dynasty (1552 AD) and was renamed “Hu Xin Pavilion” after the Ming Dynasty. (Qian Long 2009, 50)

The pavilion is built looking like a tower and is surrounded by water on all sides. When you look around, not only does the lake ripple, but also the mountains stand like a screen enveloping it. The west side of the pavilion is the south and north peaks of the West Lake, which is very spectacular. (Qian Long 2009, 50)

It is one of the 18 scenes of West Lake in Qing Dynasty. Yongzheng wrote in his Records of the West Lake: the pavilion is in the centre of the lake; in the past there was a temple and outside it were three towers, which both were destroyed in the reign of Ming Xiaozong. County said: outside the temple were three towers, while only the north tower conserved, upon which a pavilion was built, that is the Mid-lake Pavilion; the old base of the temple was rebuilt as De Sheng Hall, a place to release. According to this, the old Hu Xin Temple was the current Release Pond, and the present Hu Xin Pavilion was the base of the north tower among the other three. (Chang Yi 2007, 60)

The Qing emperor Qianlong once inscribed a plaque on the pavilion with the inscription "Quietly observe the world"(“静观万类”) and the couplet "Waves surge and the lake is far away, the mountains prompt the water is deep"(“波涌湖光远，山催水色深”). Besides, the inscription on the pavilion's pillars by Hu Laichao(胡来朝) is worth mentioning: “The four seasons are filled with music and songs, and the poor are still grieving over the moon; the six bridges are filled with flowers and willows, and there is no room for mulberry and hemp.” The meaning is even more profound to the visitor. (Qian Long 2009, 50)

===Terms and Expressions===

The Old Drunkard Pavilion 醉翁亭

Nine Views of the Old Drunkard Pavilion 醉翁九景

Tao Ran Pavilion 陶然亭

glazed glass and blue tiles 琉璃碧瓦

Ai Wan Pavilion 爱晚亭

Mountain Journey 《山行》

Hu Xin Pavilion/ Mid-lake Pavilion 湖心亭

County 《县志》

===Questions===

1. Which pavilion is named by the poem of Du Mu？

2. When Did “Hu Xin Pavilion” well established its name?

3. Which pavilion is located in Beijing?

4. Where can we enjoy maple trees in Autumn among the four pavilions?

5. What do you think is the Old Drunkard Pavilion famous for?

===Answers===
1. Ai Wan Pavilion.

2. After the Ming Dynasty.

3. Tao Ran Pavilion.

4. Ai Wan Pavilion.

5. It is said that Ouyang Xiu was demoted to Chuzhou to do the imperial guard and the Old Drunkard Pavilion was built for him and named after him.

===References===
*千龙.中国四大名亭[J].兵团建设,2009(14):50.

*刘璇.醉翁亭以中国“四大”名亭之一天下第一亭大文学家欧阳修《醉翁亭记》名声享誉中华[J].中国地名,2012(09):20-21.

*常翼.我国的四大名亭[J].新长征,2007(06):60.

*https://mp.weixin.qq.com/s/slU9b2notV9xKekROxCZuw

*https://baike.so.com/doc/6569739-6783501.html

*https://baike.so.com/doc/5632595-5845219.html

--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 00:34, 21 December 2020 (UTC)

==Architecture, Three Great Towers in China, Yang chenting 杨晨婷 No.202070080615 MTI 英语笔译==

===Three Great Towers in China===

1. Yellow Crane Tower

2. Yueyang Tower

3.The Pavilion of Prince Teng

Three great towers in China are Yellow Crane Tower in Wuhan, Hubei Province; Yueyang Tower in Yueyang, Hunan Province; and the Pavilion of Prince Teng in Nanchang, Jiangxi Province. As representatives of traditional Chinese architecture, they are the symbols of splendid culture for over five thousand years.

====Yellow Crane Tower====

The tower today we see in Wuhan is not the original building, and it has a very long and complicated history. Yellow Crane Tower, built in 223 during the Three Kingdoms period (220-280), was embodied with a perfect location. Because of this, the king of Wu, Sun Quan, held it as a watchtower for his troops. For hundreds of years, its military function has gradually been forgotten, which now mainly serves as a scenic spot, attracting millions of tourists at home and abroad. （Chen Xiansong 2018,08）

During the Tang Dynasty, many popular poets, like Cui Hao, Li Bai, and Bai Juyi wrote poems to praise Yellow Crane Tower. It can be said that due to their description and admiration of the tower, it became renowned and made people want to pay a visit. In the following centuries, unfortunately, it was destroyed and rebuilt several times. In the Ming and Qing dynasties alone, the tower was destroyed seven times and rebuilt seven times. In 1884, because of fire, it was completely destroyed and was not rebuilt until 1981. Now, it stands on the banks of the Yangtze River at the top of Snake Hill. (Zhang Chi 2002,02)

Different dynasties have greatly influenced the architectural features of it. However, the one we see today is a one rebuilt in Qing Dynasty. It is 51.4 meters (168 feet) tall, with five floors, which looks the same from any direction. The roof is covered by 100,000 yellow glazed tiles. With the tiles on the top, the design of each floor seems to resemble a yellow crane ready to fly. (English for tour guides 2017)[[File:Yellow Crane Tower.jpg|500px|thumb|right|Yellow Crane Tower]]

====Yueyang Tower====

Yueyang Tower is located at the western gate of Yueyang Ancient City, Hunan Province, overlooking Lake Dongting from its perch on the eastern shore of the lake. On the opposite side of Yueyang Tower flows the mighty Yangtze River. Therefore, it’s no doubt that its military function was important.

In 716, with the governance of Emperor Xuanzong of the Tang Dynasty, Yueyang Tower was reconstructed. Its beauty and its good place overlooking Lake Dongting made it receive a lot of literary praise. For example, in 1045, the governor of Ba Ling County, Teng Zijing, invited his friends, including one familiar with us—Fan Zhongyan, to write an essay in honor of the newly-reconstructed Yueyang Tower. (Gong Qijian 2012,13)

The current 20-meter-high pavilion with its four pillars made of rot-resistant nanmu trees, its three storeys with upturned eaves and its unique construction method stems from a major reconstruction in 1867, during the Qing Dynasty. There are two other pavilions, Sanzui Pavilion and Xianmei Pavilion, on either side of Yueyang Tower. And to the north of Yueyang Tower lies the tomb of Xiaoqiao, the wife of Zhou Yu, the famous military advisor in the Three Kingdoms Period. The splendid scenery of Yueyang Tower attracted the attention of many renowned poets of the Tang Dynasty, such as Li Bai, Du Fu, Bai Juyi and Li Shangyin, who wrote poems to paise it after paying a visit there. These works are preserved and cherished, and are on display in the Corridor of Poems and Calligraphy at Yueyang Tower. Thanks to those poets, they made Yueyang Tower keeps attracting people all the time. （Xiong Shengyuan 2015,06）

Yueyang Tower has long enjoyed the title of being the “First Tower under Heaven”, while Lake Dongting, near it, enjoys the reputation of being known as the “First Water under Heaven”. （Chinese scenery 2010）[[File:Yueyang Tower.jpg|500px|thumb|right|Yueyang Tower]]

====The Pavilion of Prince Teng====

Tengwang Pavilion, located in the northwest of Nanchang, Jiangxi Province, is an imperial building constructed more than 1,300 years ago. It was built in 659 by Li Yuanying, the son of the first emperor of Tang Dynasty and the brother of Li Shimin. Because of missing his hometown—Tengzhou, he built this pavilion. The pavilion was named “Tengwangge” after Yuanying, who was crowned “Prince of Teng” during the Zhenguan reign. Along with the Yellow Crane Tower in Wuhan, Hubei Province, and Yueyang Pavilion in Yueyang, Hunan Province, the pavilion of Prince Teng is famous as the “Three Great Pavilions” in China.（Xie Jianlin 2018,11）

What is rare to see in Chinese history is that the Pavilion of Prince Teng was destroyed and rebuilt 29 times, the same fate as Yellow Crane Tower. In January 2001, the Pavilion was named as one of the first batch of national 4A level tourist attractions and was approved as a national key scenic spot by the State Council of China in 2004. (Yin Minghui 2018,04)

For thousands of years, the Pavilion of Prince Teng, with its beautiful scenery and its abundant culture, has been an ideal place for writers and poets to create works. For thousands of years, many artists, poets and writers have paid a visit to this pavilion to get some inspiration for their works.

The Pavilion of Prince Teng has always been an auspicious building for Nanchang people. The cultural stories that have been passed down reflect people’s good wishes for good things, but also reveal the easy-going nature of the local people. Nanchang locals may not be aware of their attachment to the pavilion except when they are in a foreign land. It is at such times that they are able to feel their own cultural heritage and nostalgia for the pavilion. (Today China 2018)

[[File:The Pavilion of Prince Teng.jpg|500px|thumb|right|The Pavilion of Prince Teng]]

====Terms and Expressions====

Watchtower n. 瞭望塔

The Three King Periods 三国时期

Yangtze River 长江

Upturned eave 飞檐

4A level tourist attractions 4A级旅游景区

State Council of China 中国国务院

Nostalgia n. 怀旧

Storey n. 层

Glazed tile 琉璃瓦

====Questions====

1. What are the three great towers in China?

2. What's the function of the Yellow Crane Tower at the very beginning?

3. What's the cause of the Yellow Crane Tower’s completely destroying?

4. Where can tourists appreciate the beautiful scenery of Lake Dongting?

5. What does the Pavilion of Prince Teng mean to local people?

====Answers====

1. The three great towers are Yellow Crane Tower, Yueyang Tower, and the Pavilion of Prince Teng.

2. It served as a watchtower, i.e., military function.

3. It was because of the fire, which burned it down.

4. Tourists can appreciate the scenery from Yueyang Tower.

5. It has always been an auspicious building for Nanchang people and the story about it reflected people’s good wishes for good things.

====References====

Fang Wenhua 方华文. (2010). ''中国名山名水''[Chinese Scenery]. Anhui: Science and Technology Press 安徽科学技术出版社.

Qiu Huijun邱慧钧. (2002). 江南三大名楼[Three great towers in China]. ''风景名胜''Travel(01).

Wu Zhijun吴志军. (2008).江南三大名楼旅游形象测量与比较[The comparison of the image of three great towers]. ''江西财经大学学报''Journal of Jiangxi University of Finance & Economics (04).

Zhang Ju 张炬. (2017). ''导游英语''[Tourist Guide English]. Beijing: Beijing Institute of Technology北京理工大学.

Zheng Zhangmin 郑张敏. (2011). 关于中华古建筑专用名词翻译风格的思考.[A consideration on the translation of the name of Chinese ancient buildings] ''北京建筑工程学院学报''Journal of Beijing University of Civil Engineering and Architecture (04) 72-75.

--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 12:44, 20 December 2020 (UTC)Yang chenting

==Tourism, Nanjing-An Ancient Capital of Six Dynasties Yang Hairong 杨海容, 202070080616, MTI 英语笔译==

<center>杨海容 Yang Hairong, 202070080616</center>

===Nanjing-An Ancient Capital of Six Dynasties===

===A. Geographical Location, Economy and Military Defence===

Nanjing was also called Jinling, Moling, Jianye and Jiankang in ancient times. In the first year of Huanglong in the Eastern Wu Dynasty (229 years), Emperor Wu, Sun Quan, established the capital here, and the rise of Nanjing since then made China's political center out of the pattern of the Yellow River cultural plate, leading the development of the Yangtze River Basin and the entire southern region of China. Since then, the Song, Qi, Liang, and Chen of the Eastern Jin and Southern Dynasties successively established their capitals here, so Nanjing is known as the "Ancient Capital of the Six Dynasties". Nanjing City in the Six Dynasties has an important position in the history of China's capital city development. (Lu Haiming，2002)

''Feng Shui'' (风水) in Nanjing stands out. According to Feng Shui theory, the base site of Yang House (city, village, housing, yin house refers to tomb) is best to choose a place where ''Yin'' (阴) and ''Yang'' (阳) are embraced, meaning that there is a main mountain behind the base site; There is a crescent-shaped pond or river in front, and there is a mountain on the opposite side of the pond or river, and there is a super mountain on the opposite side of the mountain. (Lu Haiming，2002)

The main mountain of Nanjing is Jilong Mountain and Fuzhou Mountain; there is "a green dragon" on the left and "a white tiger" on the right. A Zhongshan Mountain on the left is "the green dragon", and a stone mountain on the right is "the white tiger". On the opposite, there is the Chaoshan Mountain named Niushou Mountain, and Xuanwu Lake behind Nanjing City (Sun Wu and Dong Jin dynasties called Beihu or Houhu Lake, and the name was changed by the Liu Song Dynasty). (Lu Haiming，2002)

During the Six Dynasties, Yangzhou was regarded as the economic center of the south, and the Sanwu area was the center of gravity. Sun Wu decided to make Nanjing in the early stage of material transportation. Later, a man-made canal was dug to open the waterway between Sanwu and Nanjing. As a result, Sanwu's materials no longer need to detour through the Yangtze River, and Nanjing's status as the capital is consolidated. (Lu Haiming，2002)

The Six Dynasties coexisted with the northern regimes for a long time and had the protective effect of the Yangtze River. However, the Yangtze River was not the first line of defense but the last trench. The natural peripheral military defense line of the Six Dynasties was between the Yellow River and the Yangtze River, including the Yellow River, Qinhuai River and Yangtze River. In addition, there are some important military towns. (Lu Haiming，2002)

====Terms and Expressions====

''Feng Shui'' theory 风水学

Yang House 阳宅

Yin House 阴宅

The main mountain 主山

Xuanwu Lake玄武湖

man-made canal 人工运河

Six Dynasties 六朝

Qinhuai River 秦淮河

the first line of defense 第一防线

trench 天堑

====Questions====

1.Why Feng Shui in Nanjing stands out?

2.During the Six Dynasties, which city was the economic center of the south?

3.What contributions does the man-made canal built between Sanwu and Nanjing make?

4.What kind of role does the Yangtze River play in protection?

5. What were Nanjing's natural peripheral military defense line of the Six Dynasties?

====Answers====

1.The main mountain of Nanjing is Jilong Mountain and Fuzhou Mountain; there is like a green dragon on the left, a white tiger on the right, a Zhongshan Mountain on the left is a green dragon, and a stone mountain on the right is the white tiger. On the opposite side, there is Chaoshan Mountain named Niushou Mountain, and Xuanwu Lake behind Nanjing City.

2.Yangzhou.

3.As a result, Sanwu's materials no longer need to detour through the Yangtze River, and Nanjing’s status as the capital of the country is consolidated.

4.the Yangtze River was not the first line of defense but the last trench.

5.The natural peripheral military defense line of the Six Dynasties was between the Yellow River and the Yangtze River, including the Yellow River, Qinhuai River and Yangtze River.

===B. Nature and Humanities===

The so-called "beauty" refers to the natural environment and cultural landscape in Nanjing. "Jiangnan is a beautiful land and an emperor state", which is a description of Nanjing. Nanjing is known as the metaphor of "the golden powder of the Six Dynasties is the best in the world", and there is also the tale of "Qinhuai and the blue waves reflect the beauty". There are not only beautiful natural sceneries, but also many historical monuments; there are ancient buildings and a large number of modern facilities, so it has become a famous tourist attraction at home and abroad. There are as many as 154 places of historical interest listed as national, provincial and municipal cultural relics protection units. (Zhu Yaoting, 2003)

The natural and cultural landscape here not only reveals the beauty of the south of the Yangtze River, but also maintains the majesty of the North. In Nanjing, the masculine and feminine complement each other. The strong impact of the Yellow River and the Yangtze River basin makes Nanjing unparalleled and embodies the beauty of the blending of north and south. (Zhu Yaoting, 2003)

The main folklore activities in Nanjing include Lantern Festival, Tomb-sweeping Outing, Dragon Boat Festival, Mid-Autumn Festival, Chongyang Festival, Laba Festival, New Year welcoming God of Wealth, etc. The folk customs of Nanjing are sincere and have a long history. "Fancy but not slick" is the essence of Nanjing folk customs. (Zhu Yaoting, 2003)

Nanjing embraces abundant cultures, and is integrated into folk customs; folk customs have enriched cultures, and Nanjing's folk entertainments are full of rich cultural connotations. The traditional folk entertainments including dragon lantern dance, the Huatai Festival, social fire in Lishui area, Fangshan drum in Jiangning area, hand lion dance in Jiangpu area and so on. These entertainments seem simple, but they are deeply loved by local people. Moreover, people live in Naning will have these traditional customs including climbing the Zijin Mountain, eating black rice, holding Jinling Lantern Festival and so on.(Zhu Yaoting, 2003)

====Terms and Expressions====

Lantern Festival Lantern Festival 元宵节

Tomb-sweeping Outing 清明节

Dragon Boat Festival 端午节

Mid-Autumn Festival 中秋节

Chongyang Festival 重阳节

Laba Festival porridge 腊八节

God of Wealth 财神

dragon lantern dance舞龙灯

Fangshan drum 方山大鼓

the Huatai Festival花台会

black rice 乌饭

historical interest名胜古迹

====Questions====

1.How to describe Nanjing?

2.How many places of historical interest listed as national, provincial and municipal cultural relics protection units in Nanjing?

3.What are main folklore activities in Nanjing?

4.What is the essence of Nanjing folk customs?

5.People who live in Jiangning area of Nanjing like what kind of folk entertainment?

====Answer====

1.Nanjing is known as the metaphor of "the golden powder of the Six Dynasties is the best in the world", and there is also the tale of "Qinhuai and the blue waves reflect the beauty".

2.There are as many as 154 places of historical interest listed as national, provincial and municipal cultural relics protection units.

3.The main folklore activities in Nanjing include Lantern Festival Lantern Festival, Tomb-sweeping Outing, Dragon Boat Festival, Mid-Autumn Festival, Chongyang Festival, Laba Festival porridge, New Year welcoming God of Wealth, etc.

4."Fancy but not slick" is the essence of Nanjing folk customs.

5.Fangshan drum.

===C. The Lantern Festival in Nanjing===

The fifteenth day of the first lunar month is the night of the first full moon in the lunar calendar year. The Lantern Festival started as a sacrificial offering and gradually became a grand and enthusiastic entertainment festival. In ancient times, the Lantern Festival included one day. In Tang Dynasty it was 16th to 18th of the first month in the lunar calendar, which involved three days; In Song Dynasty, it was 14th to 18th which involved five days; In Ming Dynasty, as Zhu Yuanzhang became the emperor in Nanjing, the Lantern Festival was extended to ten days, that is, from 8th to 17th of the first month in the lunar calendar, and on 18th the lantern lights turned off. The food has also changed from eating bean porridge to tasting glutinous rice balls (汤圆). (Jiangsu Local Chronicles, Nanjing Culture,2015)

[[File:The Confucius Temple.jpg|300px|thumb|right|The Confucius Temple]]

During Ming and Qing Dynasties, there was a custom of playing dragon lanterns and hanging gauze lanterns. Playing Dragon Lantern is not only played by ordinary people, but also by the soldiers. The length of the lantern is not as long as other places can. The short one is more than ten feet, the long is more than a hundred knots, and it can be played by hundreds of people. Yarn lanterns have satin silk fabrics, and there are celebrities painting on them, the more painting by the masters, the higher the value. Merchants will also hold lantern riddles activities in front of the store, attracting many tourists, and those who guess the prize will be rewarded. (Jiangsu Local Chronicles, Nanjing Culture,2015)

There is a lantern shaped in horse pioneered by Nanjing people. The lantern is covered with candles inside. Using the principle of thermal expansion of the air, the lamp surface is driven to rotate. The lamp surface is painted with various postures of horses galloping like ten thousand horses. British scholar Needham called it an invention of ancient Chinese people. The dragon lanterns are majestic, the gauze lanterns are exquisite, colorful, and vigorous, attracting the long dwelling and entertaining guests out of the city, singing and laughing. In recent decades, the Lantern Festival at the Confucius Temple has become more and more prosperous, using new technology, new materials, sound and light control, and it is colorful, vivid and dazzling. The lantern festival will last for one month starting from the Spring Festival. During this period, it attracted as many as two or three million tourists from all over the world every day.(Jiangsu Local Chronicles, Nanjing Culture,2015)

====Terms and Expressions====

the first month in the lunar calendar正月

glutinous rice balls 汤圆

satin silk fabrics楮练纱帛

Yarn lanterns 纱灯

lantern riddles activities 猜灯谜

the Confucius Temple 夫子庙

====Questions====

1.Which day is the night of the first full moon in the lunar calendar year?

2.In Tang Dynasty, what time is the Lantern Festival?

3.In Ming Dynasty, as Zhu Yuanzhang became the emperor in Nanjing, how many days did the Lantern Festival extend to?

4.What kinds of people like playing Dragon Lantern?

5.What is the length of the lantern in Nanjing?

6.What are characteristics of a lantern-shaped in horse?

7.What did Needham call as an invention of ancient Chinese people in Nanjing?

====Answers====

1.The fifteenth day of the first lunar month.

2.In Tang Dynasty it was 16th to 18th of the first month in the lunar calendar, which involved three days.

3.In Ming Dynasty, as Zhu Yuanzhang became the emperor in Nanjing, the Lantern Festival was extended to ten days.

4.Playing Dragon Lantern is not only played by ordinary people, but also by the soldiers.

5.The length of the lantern is not as long as other places can. The short one is more than ten feet, the long is more than a hundred knots, and it can be played by hundreds of people.

6.There is a lantern-shaped in horse pioneered by Nanjing people. The lantern is covered with candles inside. Using the principle of thermal expansion of the air, the lamp surface is driven to rotate. The lamp surface is painted with various postures of horses galloping like ten thousand horses.

7.a lantern-shaped in horse.

===References===

[1]Lu Haiming 卢海鸣. (2002). ''六朝都城'' [Capital of Six Dynasties]. Nanjing: Nanjing Press 南京出版社.

[2]Yao Yifeng 姚亦锋. (2007).从南京城市地理格局研究古都风貌规划 [Research on the Planning of Ancient Capital from the Geographical Pattern of Nanjing].人文地理 Human Geography.(03)92-97.

[3]Zhu Yaoting 朱耀廷.(2003). 定都与迁都——中国七大古都比较研究之一 [Setting and Moving the Capital: One of the Comparative Studies of the Seven Ancient Capitals of China].北京联合大学学报(人文社会科学版) Journal of Beijing Union University（Humanities and Social Sciences). (01) 69-76.

[4]Jiangsu Local Chronicles, Nanjing Culture, (2015).http://jssdfz.jiangsu.gov.cn/

==Chinese Traditional Culture-Five Constant Virtues Yang Hui 阳慧英语口译 202070080646==

Owning over thousands of years of history, the Chinese have created a brilliant history and culture, and at the same time have formed their own moral code that has played an important role in social development and progress. This is what we call Traditional Virtues, which still have great significance today and whose value to the development of human civilization is now widely recognized. Benevolence , righteousness, propriety, wisdom and fidelity are the Five Constant Virtues which are the most important ones in traditional China. They all came from Confucianism and are widely acknowledged all over China. To be a moral person, the ancient Chinese cultivated and test themselves according to the Five Constant Virtues and carried them down to the modern life. The brief and concise expression of " benevolence, righteousness, propriety , wisdom and fidelity" is not only the conciseness of Chinese traditional culture, its summary and abstract form of moral category can be said to be the " brand " of Chinese traditional ethics and morality, its value in Chinese traditional culture can be compared to the market value of a commercial brand with a long history.(Xu Keqian 2005, 4）

===Benevolence (Ren)===
Benevolence is the first and most important virtue among the Five Constant Virtues. It manifests itself in the inner mind in love and compassion for people and in avoiding harm or envy toward anyone. In terms of behavior, benevolence demands that one be amiable, not argue angrily with others nor do evil deeds. To cultivate one‘s virtue of Benevolence one should use another Confucian version of the Golden Rule: What one does not wish for oneself, one ought not to do to anyone else; what one recognizes as desirable for oneself, one ought to be willing to grant to others. Virtue, in this Confucian view, is based upon harmony with other people, produced through this type of ethical practice by a growing identification of the interests of self and other. Zeng Zi once said: My three provinces are my body. Cheating? Make friends without any sincerity ?go over what I have Learned?(Zhu Xi, 2005,27). In short, as parents treat their children, the benevolent person spares no effort to help others; one even lays down one’s life to this end, with no thought of being repaid(Zhu Xi, 2005,27).

===Righteousness (Yi)===
Among his teachings, Confucius emphasized righteousness which is the ability to distinguish between right and wrong. Righteousness can be thought of as similar to what is often referred to as a “conscience or “justice”. Confucius believed that actions should be taken on the basis of whether the act is morally right or wrong as opposed to whether it will provide profit or utility to an individual or group. Above all righteousness is about preserving one’s integrity. The unjust but rich to me is as clouds(China Publishing House 2006, 56).

===Propriety (Li)===
Propriety means ceremony or correct behavior. The contents of propriety include loyalty, filial piety , fraternal duty, respect, etc. Originating in ancient sacrificial rites, propriety, in a general sense signifies behavioral norms which maintain hierarchy. Confucius urged people to restrain oneself with propriety ,be polite ,treat others with propriety, saying that people cannot act without propriety. In ancient society, besides the relation of monarch and subjects, there were also the relations of father and sons, husband and wife, the elder and the young, teacher and students, and others. These relations differ but all demand modest respect to others(China Publishing House 2006, 76).

===Wisdom (Zhi)===
Wisdom is the knowledge by which one judges right and wrong, good and evil. The saint define the personality of “the wise” as “a wise man free from confusions”. The real man of wisdom shall not only be able to distinguish truth from falsehood, but also be rational and sensible; he shall never get confused in front of profits or different paths. That is to say, the wisdom concerns not only one person's ability and aptitude, but also his moral cultivation. The Doctrine of the Mean once said that "knowledge, benevolence, courage, the world's greatest valued. Also wisdom, its basic connotation is smartness. Confucius also pointed out that the acquisition of "wisdom" lies in learning, which can be obtained from both books and life(Zi Si 2007,32 ).

===Fidelity (Xin)===
Fidelity is honesty. This means that, externally, one’s deeds match one’s words; and that internally one’s words and mind are in unison. Fidelity is a key to the perfection of human nature. Robert Schuller, an American scholar at the niyama world civilization forum, the hometown of confucius in qufu, china, said: " faith, that is, honesty, should be emphasized to the people around you, family members and the wider population. So honesty is a very important principle. Everyone should be honest with each other, and of course you need to be humble, which is also very important so that we can create a harmonious environment. Thus it is the basis without which other virtues lose their authenticity ; hence they are inseparable. Fidelity is natural in a child, but might be lost due to external influences(Robert Schuller 2016, 4).

Benevolence, righteousness, courtesy, wisdom and faith in the " Five Constant Virtues " are the fundamental requirements of the moral norms of the gentleman, the spiritual support of the individual to settle down to the era of the use of Confucianism, and the " Five Moral Goals " of the Confucian view of the gentleman can better implement the core values of socialism, so that the historical tradition and the present reality, an organic combination and a link between the past and the future. Zhang pointed out that Confucianism is not the culture of God, but the moral culture centered on people, how to be a man, be a moral, ideal and effective person ;To be honest and friendly, to be respectful: to say what you do not want. To do to others ;Be faithful and forgiving(Zhang Qizhi 2016, 53).

===Expressions and Terms===
Five Constant Virtues 五常

benevolence 仁

righteousness 义

propriety 礼

wisdom 智

fidelity 信

moral code 道德准则

filial piety 孝道

===Questions===
1.what does the Five Constant Virtues refer to ?

2.In terms of behavior. what does Benevolence demand ?

3.What do the contents of the Propriety include ?

4.What is the real man of the wisdom ?

5. Where does the Five Constant Virtues come from ?

===Answers===
1.Benevolence , righteousness, propriety, wisdom and fidelity.

2. Benevolence demands that one should be amiable, neither argue angrily with others nor do evil deeds.

3.It includes loyalty, filial piety , fraternal duty, respect, etc.

4.The real man of wisdom shall not only be able to distinguish truth from falsehood, but also be rational and sensible; he shall never get confused in front of profits or different .

5.They all came from Confucianism and are widely acknowledged all over China.

===Reference===

Wei LI 韦利. (1998). 论语[the Analects of Confucius].Beijing: Foreign Language Teaching and Research Press 外语教学与研究出版社.

Robert Schuller. （2016）. 罗伯特舒乐.人类危机与文明对话-许嘉璐与罗伯特舒乐的高端对话[Human Crisis and Dialogue of Civilization--A High-level Dialogue between Xu Jialu and Robert Schuller]. Shanghai: Shanghai Ancient Books Publishing House 上海古籍出版社.

Xu Keqian 徐克谦. (2005）.仁义礼智信与当代道德文明建设[Five Constant Virtues and the Construction of Contemporary Moral Civilization]. Learning Forum 学习论坛

Zhu Xi 朱熹. (2005). 四书集注[Notes on Four Book]. Jiang Su: Phoenix Publishing House 凤凰出版社.

Zi Si 子思. (2007). 中庸[The Doctrine of the Mean]. Harbin: Harbin Publishing House 哈尔滨出版社.

Zhang Qizhi 张岂之. (2016).中国文化的会通精神[The Communicative Spirit of Chinese Culture ]. Chang Chun : Chang Chun Press 长春出版社.
--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 03:45, 21 December 2020 (UTC)

==Cheongsam - Yang Yue 杨悦 - Student No.202070080617 英语笔译==
===Cheongsam===

Cheongsam, the traditional costume of Chinese women in China and around the world, is known as the quintessence of China and female national apparel. It is one of the most splendid phenomena and forms in China's long dress culture. (Mao Jing 2009, 1)

====Brief Introduction====

Cheongsam is a classic dress with the most traditional Chinese characteristics, the most national representatives and the best expression of the beauty of Oriental female. When people think of cheongsam, the first thing that comes to mind is its chic paintings and rich poetic sentiment, which show the virtuous, elegant and gentle temperament of Chinese women in the exquisite curves, and show the unique implicit beauty of Oriental women with flowing lines. After more than 300 years of evolution, it still enjoys high reputation such as "Oriental Wonders", "Chinese Dress", and "The Best of Clothing". This has witnessed that “the classic represents eternity”. (Tong Zhijun 2007, 17).

In 1984, cheongsam was designated by the State Council as a dress for female diplomats. On May 23, 2011, approved by the State Council, the handmade craftsmanship of cheongsam became one of the third batch of national intangible cultural heritage. In November 2014, the Chinese government chose cheongsam as the dress of the leaders’ wives of the participating countries at the 22nd APEC meeting in Beijing. (Mao Jing 2009, 1)

====The History of Cheongsam====

Cheongsam is a national costume originated from Manchu women in the mid-16th century. In the early days, the cheongsam worn by banner people was generally not over their feet. Only when Manchu women get married, do they wear cheongsam as a wedding dress. Because all the Manchu noble women wear high-heeled wooden clogs, their cheongsam is so long that it can cover their feet. (Mao Jing 2009, 2)

After the Emperor Shunzhi of the Qing Dynasty entered the Shanhai Pass and moved to Beijing, cheongsam gained its popularity in the Central Plains. After the Qing Dynasty unified China and also the national clothing, men wear long gowns and mandarins, and women wear cheongsam. Later, with the integration and unity of Manchu and Han life, cheongsam was gradually absorbed by Han women and continued to be innovated. (Mao Jing 2009, 2)

Following the 1911 Revolution, cheongsam quickly gained its popularity throughout the country. From the late 1920s to the early 1930s, influenced by the short gown that was popular in western women’ s clothing, the cheongsam also became shorter. The length of the cheongsam was just over the knee, the cuffs were narrowed, and the piping became narrower. In the mid-1930s, the cheongsam gradually grew longer and even shuffled to the floor. The slits on both sides were very high, and the waist was lined with a waistcoat. The waist became extremely narrow, and even fitted, showing the curve of the female . (Chen Juanjuan, Huang Nengyu 2006, 386-387).

In the 1940s, the cheongsam was shortened again, and the sleeves were even all canceled. It almost returned to the long vest era two hundred years ago. The only difference was that it was lighter and fitter and became streamlined. Beginning in the 1950s, in order to adapt to the needs of modern life, costume designers began to continuously improve Chinese cheongsam so that this national costume not only has oriental characteristics, but also conforms to the fashion trends of the world. And in this period, cheongsam, which is elegant and virtuous, has been internationally recognized. (Hongxia Liu 2009, 1)

In the past 20 years, the improved cheongsam we see has been greatly influenced by international fashion trends. For a time, various forms of the cheongsam such as low collar, sleeveless, tight waist, high slit, ultra short, topless, nude back, etc. have changed a lot. Sequins, embroidery, fur trim, fabric printing and other craft decorations shine brightly. The colors are gorgeous, jumping, thick, and soft, boldly breaking through the old pattern of cheongsam. (Wang Di 2014, 67)

The improved cheongsam not only retains the original features, but also incorporates the sense of innovation. Since then, the traditional Manchu dress has been injected into the blood of the times and given the vitality of youth. Cheongsam and fashion co-exist together, expressing a new feeling from a new perspective and a new concept. (Wang Di 2014, 67)

====The Significance of Cheongsam====

Through the baptism of history, the cheongsam has become the most representative symbol of the elegance of Oriental women. When it comes to Oriental female, people often think of a graceful woman wearing cheongsam. The silk commonly used in cheongsam makes the feminine figure more incisive and vivid. The oriental charm and elegance of the cheongsam is astounding. Nowadays, cheongsam has become a symbol of beauty beyond ordinary clothes in general sense, becoming an immortal classic. (Mao Jing 2009, 3)

Cheongsam has been leading the pace of tradition and fashion in the course of hundreds of years of evolution, inheriting Chinese civilization, showing the self-cultivation and virtues of the wearer, and becoming a model of traditional Chinese culture in modern times. We have reason to believe that cheongsam can connect the past and the future, life and art, and brings Chinese people’ s understanding and interpretation of beauty to the world. (Mao Jing 2009, 3)

In conclusion, after modern processing and improvement, the cheongsam has become an elegant dress that is loved by the public. Its cultural and artistic value of is worthy of being studied. China’s five thousand years of splendid history and culture retain its vitality of youth on the cheongsam, and the traditional costume culture is still shining on the modern stage. This provides the possibility for the study of the history of clothing development and adds infinite charm for the spread and promotion of Chinese culture. (Tong Zhijun 2007, 137)

Nowadays, cheongsam is a Chinese female dress with traditional charm and modern vitality. Its past is unpredictable, but its present keeps pace with the times. Whether in films, television works or in wedding photography, cheongsam shows fresh vitality. (Tong Zhijun 2007, 137)

===References===

*Tong Zhijun 佟志军. (2007). 旗袍与女性 [Cheongsam and Women]. 北京：服装设计师 Beijing: Fashion Designer (1) 137.
*Chen Juanjuan, Huang Nengfu 陈娟娟, 黄能馥. (2006). 中国服装史 [History of Chinese Clothing]. Beijing: China Tourism Press 北京：中国旅游出版社 386-387.
*Mao Jing 毛敬. (2009). 中国旗袍及其向世界的传播 [The Chinese Cheongsam and Its Spread to the World]. 淮北职业技术学院学报 Journal of Huaibei Vocational and Technical College 34.
*Wang Di 王迪. (2014). 中国旗袍的历史演变 [The Historical Evolution of Chinese Cheongsam]. 美术教育研究 Research on Art Education 67.
*Hongxia Liu. The Cheongsam—the Treasure of Chinese National Apparel. 2009, 1(1)

===Terms and Expressions===

*Cheongsam 旗袍
*the quintessence of China 国粹
*national intangible cultural heritage 非物质文化遗产
*Manchu 满族
*long gowns and mandarins 长袍马褂
*the improved cheongsam 改良旗袍
*sleeveless 无袖
*fur trim 毛皮饰边
*Sequins 亮片
*fabric printing 织物印花
*embroidery 刺绣
*topless 袒胸
*nude back 裸背
*low collar 低领
*high slit 高开叉

===Questions===

1.When did the cheongsam originate from?

2. When did the cheongsam become popular in central China?

3. When did the cheongsam become popular throughout the country?

4.What is the features of the cheongsam from the late 1920s to the early 1930s?

5. What is the features of the cheongsam in the 1940s?

6. In the past 20 years, influenced by international fashion trends, what changes have taken place in cheongsam?

===Answers===

1.Cheongsam is a national costume originated from Manchu women in the mid-16th century.

2.After the Emperor Shunzhi of the Qing Dynasty entered the Shanhai Pass and moved to Beijing, cheongsam became popular in the Central Plains.

3.Following the 1911 Revolution, cheongsam quickly gained its popularity throughout the country.

4.From the late 1920s to the early 1930s, influenced by the short gown that was popular in western women's clothing, the cheongsam also became shorter. The length of the cheongsam was just over the knee, the cuffs were narrowed, and the piping became narrower.

5.In the 1940s, the cheongsam was shortened again, and the sleeves were so short that they were all canceled. It almost returned to the long vest era two hundred years ago.

6. For a time, various forms such as low collar, sleeveless, tight waist, high slit, ultra short, topless, nude back, etc. have changed a lot. Sequins, embroidery, fur trim, fabric printing and other craft decorations shine brightly.
--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 07:56, 21 December 2020 (UTC)

==The Folding Screen--Yang Ziling 杨子泠 202070080647 MTI英语口译==

====1.1 Introduction ====

Folding screens are a kind of flexible furniture and composed of several frames or panels linked together. They serve practical and decorative functions, being made from various materials and in many styles. Folding screens originated in ancient China. Written references date from around the 4th century BC, during the Han dynasty, but they were probably used earlier. (Milica Sterjova 2017, website)

====1.2 History and Technology====

The earliest surviving folding screens are Chinese. Existing Chinese screens, some of which are
paper, date from the eighth century AD, although literary references date as far back as the Zhou
dynasty (fourth to third century BC), and depictions of screens occur in Han dynasty tombs (200
BC-200 AD). However, it was in Japan that the screen form evolved into its most celebrated
variations. (Dianne Lee van der Reyden website, 2)

Chinese screens which were made originally as partitions painted with beautiful and serious works, were not designed to be moved around very often. (Emmaantiques, 2014, website)
They were initially made of wooden panels and decorated with fine art. Many themes are painted on the panels, such as mythology, scenes of palace life, and nature, making them more of a piece of furniture. It is often associated with intrigue and romance in Chinese literature, for example, a young lady in love could take a curious peek hidden from behind a folding screen. Examples of such romantic occasions can be seen in the classical novel Dream of the Red Camber of Cao Xueqin. The folding screen is also an important element in Tang literature. Li He, the Tang Poet, wrote the "Song of the Screen" (屏风曲), in which he described a folding screen of a newly-wed couple. The folding screen surrounded the bed of the young couple, and its twelve panels were adorned with butterflies alighted on China pink flowers (an allusion to lovers), and had silver hinges resembling glass coins. (Mazurkewich, Karen, 2006) There are heavy wooden structures with other decorations pulled through holes near the edges of the panels. The frame was prominent, and the image development was frequently vertical and confined to the individual panels, creating a pleasing pattern. (Dianne Lee van der Reyden website,2)

They were made flexible when an ingenious system of strong paper hinges were integrated in the panel construction, which made folding patterns reversible. The panels were brought closer by the paper hinges, which reduce the need for frames separating panels and allow a horizontal orientation of the picture plane. This provides creative approaches to the various spatial relationships of the panels. (Dianne Lee van der Reyden website, 2)

====1.3 Uses====

Although originated in China, folding screens are now used in many interior designs around the world. People first used them also in some practical ways, such as preventing draft in homes, as shown by the two characters in their name: ping(屏 "screen; blocking") and feng (风 "breeze, wind"). People would also use them to bestow a sense of privacy; in old times, they would often be placed in rooms serving as dressing screens for ladies. (Cooper Dan 1999, 30-36)

Folding screens can be put up as to divide a large space and change the configuration of the room. They could also be used as a false way set up at the entrance of a room to create a desirable atmosphere by hiding certain features like doors to a kitchen. Now that many folding screens are design with fine art, they serve the decorative purposes well in the interior features of a home.(Cooper Dan 1999, 30-36)

====1.4 Spread====

After becoming popular in China, folding screens spread to other parts of the world, including East Asia and later Europe. In the 7th century, they appeared in Japan for the first time during the reign of Emperor Tenmu, and they were presented to the Korean kingdom of Silla as a gift. By the 8th century, they had gained such popularity in Japan that Japanese artists began to make their own, very much influenced by Chinese design. Different sizes served different purposes: small 2-fold screens were often used for the tea ceremony and a larger 8-fold screen could be used as backdrops for dances. Japanese screens were lighter, often made of silk or even paper. Painted screens were a major component of traditional Japanese architecture, and their decoration reflected the leading schools and movements in Japanese art. They served many purposes, being used for tea ceremonies, as backgrounds for concerts or dances, and as enclosures for Buddhist rites. (David Leopold 2008,9)

Folding screens from the Far East spread to Europe at the very beginning of the 17th century. Owing to their practical functions and the distinguished decoration, they drew a lot of attention. The famous designer Coco Chanel was totally enchanted by Coromandel screens. She was well-known for her collection of Chinese folding screens. She possessed 32 folding screens, 8 of which were preserved in her apartment in Paris. She once stated:   “I’ve loved Chinese screens since I was eighteen years old. I nearly fainted with joy when, entering a Chinese shop, I saw a Coromandel for the first time. Screens were the first thing I bought.“ (Delay Claude 1983, 12)

By the early 18th century, European craftsmen had already begun making folding screens on their own. They made folding screens in less expensive painted versions instead using lacquer techniques. At that time, leather screens were fashionable, but their popularity didn't last long, only to be restored around 1860 during the reign of Napoleon III with the wave of Japonism that inspired a number of French artists. (Milica Sterjova 2017, website)

In the 20th century when new modern heating means were invented, the functions of the folding screen became mostly decorative.

====1.5 Expressions and Terms====

Dream of the Red Chamber 《红楼梦》

the Korean Kingdom of Silla 朝鲜新罗王国

Emperor Tenmu 天武天皇

====1.6 Questions====

1. When did folding screens first appear?

2. How are folding screens associated with romance in Chinese literature?

3. What functions do screens serve?

4. When did they spread to Europe?

5. How did European craftsmen make folding screens?

===1.7 Answers===

1. Literary references date as far back as the Zhou dynasty (fourth to third century BC).

2. For example, a young lady in love could take a curious peek hidden from behind a folding screen, as presented in the classical novel Dream of the Red Camber of Cao Xueqin.

3. Preventing draft in homes, bestowing a sense of privacy and serving as dressing screens for ladies.

4. Folding screens from the Far East spread to Europe at the very beginning of the 17th century.

5. They made folding screens in less expensive painted versions instead using lacquer techniques.

===1.8 References===

Handler, Sarah (2007). Austere luminosity of Chinese classical furniture. University of California Press. pp. 268–271, 275, 277.

Delay, Claude (1983). Chanel Solitaire. Gallimard. p. 12. Cited in: "COCO CHANEL'S APARTMENT THE COROMANDEL SCREENS". Chanel News. June 29, 2010.

Milica Sterjova (2017). A Brief history of folding screens. https://www.wallswithstories.com/uncategorized/a-brief-history-of-folding-screens.html

Emmaantiques (2014). Asian Furniture Online. https://asianfurnitureonline.wordpress.com/2014/11/19/history-of-asian-screens/

Dianne Lee van der Reyden, THE HISTORY, TECHNOLOGY, AND CARE OF FOLDING SCREENS: CASE STUDIES OF THE CONSERVATION TREATMENT OF WESTERN AND ORIENTAL SCREENS, https://www.si.edu/mci/downloads/RELACT/folding_screens.pdf

David Leopold, Unfolding the Screen (2008). https://www.solowey.com/wp/page/9/

Mazurkewich, Karen; Ong, A. Chester (2006). Chinese Furniture: A Guide to Collecting Antiques. Tuttle Publishing. pp. 144–146

Cooper, Dan (1999). "Folding Grandeur". Old House Interiors. 5 (1): 30–36.

==Yi Zichu 义子楚英语笔译 202070080618==
==='''Panda'''===--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 14:26, 2 November 2020 (UTC)

===='''1.The origin of giant pandas'''=====
The ancestor of the giant panda is Ailuaractos lufengensis. The scientific name of the giant panda is actually "cat bear", which means "a bear like a cat". The main branch of it continued to evolve in central and southern China. One species of Ailuaractos lufengensis appeared in the early Pleistocene about 3 million years ago, and it was smaller than the current panda.(Sun Chengjian,2006,163)

The ancestor of the giant panda is Ailuaractos. The scientific name of the giant panda is actually "cat bear", which means "a bear like a cat". The main branch of it continued to evolve in central and southern China. One species of Ailuaractos appeared in the early Pleistocene about 3 million years ago, and it was smaller than the current panda. (Sun Chengjian,2006,163)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

In this process, giant pandas have adapted to life in subtropical bamboo forests, gradually increasing in size and relying on bamboo for their livelihoods. In the middle and late Pleistocene, about 500,000-700,000 years ago, was the heyday of giant pandas. The Qinling giant panda has been identified as a subspecies of the giant panda. Fossils show that the ancestors of giant pandas appeared in the early 2 to 3 million years ago. (Sun Chengjian,2006,163)

In the process, giant pandas have adapted to life in subtropical bamboo forests, gradually increasing in size and relying on bamboo for their livelihoods. In the middle and late Pleistocene, about 500,000-700,000 years ago, was the heyday of giant pandas. The Qinling giant panda has been identified as a subspecies of the giant panda. Biological fossils show that the ancestors of giant pandas appeared in the early 2 to 3 million years ago. (Sun Chengjian,2006,163) --[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

The habitat of giant pandas once covered most of eastern and southern China, reaching Beijing in the north and southern Myanmar and northern Vietnam in the south. Giant panda fossils are usually found in temperate or subtropical forests at an altitude of 500 to 700 meters. Giant pandas have survived to now and maintain their original ancient characteristics. Therefore, they have a lot of scientific value and are known as "living fossils". China calls them "national treasures."(Sun Chengjian,2006,165)\

The habitat of giant pandas once covered most of east southern China, reaching Beijing in the north and southern Myanmar and northern Vietnam in the south. Giant panda fossils are usually found in temperate or subtropical forests at an altitude of 500 to 700 meters. Giant pandas have survived to now and maintain their original ancient characteristics. Therefore, they have a lot of scientific value and are known as "living fossils". China calls them "national treasures." (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

===='''2.Appearance features of giant pandas'''====
Giant pandas are fat like bears, plump and rich, round heads and short tails, with a head length of 1200-1800mm and a tail length of 100-120mm. The weight is 80-120kg, and its maximum weight can reach 180kg. The raised pandas are a little heavier, and the males are generally slightly larger than the females. The hair color of its head and body is distinct from black and white. (Sun Chengjian,2006,165)

Giant pandas are fat like bears, plump and rich, round heads and short tails, with a head length of 1200-1800mm and a tail length of 100-120mm. Its weight is 80-120kg, and its maximum can reach 180kg. The raised pandas are a little heavier, and the males are generally slightly larger than the females. The hair color of its head and body is distinct from black and white. (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

However, its black is not pure black, and white is not pure white. It is black with brown through and white with yellow. The individuals in the Qinling Mountains are relatively large, with rough body hair and slightly brownish abdominal hair. The black and white appearance is conducive to hiding in dense forest trees and snow-covered ground without being easily spotted by natural enemies. Relatively sharp claws, well-developed and powerful front and rear limbs help the giant panda to climb up tall trees quickly. (Sun Chengjian,2006,165)

However, it is not pure black, or pure white. It is black with brown through and white with yellow. The pandas in the Qinling Mountains are relatively large, with rough body hair and slightly brownish abdominal hair. The black and white appearance is conducive to hiding in dense forest trees and snow-covered ground without being easily spotted by natural enemies. Relatively sharp claws, well-developed and powerful front and rear limbs help the giant panda to climb up tall trees quickly. (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

The giant panda's skin is thick, which can be up to 10 mm at its thickest point. The skin thickness of different parts of the body is different. The back of the body is thicker than the ventral side, and the outside of the body is thicker than the inside of the body. The average thickness of the skin is about 5 mm, and it is white, elastic and tough. The vision of giant pandas is extremely underdeveloped. This is because giant pandas live in dense bamboo forests for a long time. The light is very dark and there are many obstacles, making their eyes very short and shallow. (Sun Chengjian,2006,165)

The giant panda's skin is thick, which can be up to 10 mm at its thickest point. The skin thickness of different parts of the body is different. The back of the body is thicker than the ventral side, and the outside of the body is thicker than the inside of the body. The average thickness of the skin is about 5 mm, and it is white, elastic and tough. The vision of giant pandas is extremely underdeveloped. This is because giant pandas live in dense bamboo forests for a long time. The light is very dark and there are many obstacles, making their eyes very short (Sun Chengjian,2006,166)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

In addition, because its pupils are split like cats, they can still do activities when night comes.Giant pandas live in the high mountains and deep valleys of the upper reaches of the Yangtze River in China, which are the windward side of the southeast monsoon. The climate is warm and humid, and their humidity is often above 80%. The giant pandas prefer humid environment. The 6 long and narrow areas where giant pandas live, including Minshan, Qionglai, Liangshan, Daxiangling, Xiaoxiangling and Qinling Mountains, spans 45 counties (cities) in the 3 provinces of Sichuan, Shaanxi and Gansu.(Sun Chengjian,2006,165)

In addition, because its pupils are split like cats, they can still do activities when night comes. Giant pandas live in the high mountains and deep valleys of the upper reaches of the Yangtze River in China, which are the windward side of the southeast monsoon. There is warm and humid, and their humidity is often above 80%. The giant pandas prefer humid environment. The 6 long and narrow areas where giant pandas live, including Minshan, Qionglai, Liangshan, Daxiangling, Xiaoxiangling and Qinling Mountains, spans 45 counties (cities) in the 3 provinces of Sichuan, Shaanxi and Gansu. (Sun Chengjian,2006,165)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

The land area of their habitats is more than 20,000 square kilometers, and the population of there is about 1,600, of which more than 80% are distributed in Sichuan.(Sun Chengjian,2006,165)

The land area of their habitats is more than 20,000 square kilometers, and the population is about 1,600, of which more than 80% are distributed in Sichuan. (Sun Chengjian,2006,167)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

===='''3.The diet features of giant pandas'''====
The recipes of giant pandas are very special, almost including all kinds of bamboo that can be found in high mountain areas. Giant pandas also occasionally eat meat (usually the carcasses of animals or sometimes of rhizomys). The unique dieting characteristics of the giant panda make it known as the "bamboo bear" by the locals. Giant pandas have gradually evolved to herbivore. As bamboo has a few nutrition that can only provide the basic nutrients needed for pandas’ survival, giant pandas eat up to 14 hours a day except for sleeping or some short-distance activities in the wild environment. A giant panda eats 12 to 38 kilograms of bamboo per day, which is close to 40% of its body weight. (Hu Jinzhi,1981,17)

The recipes of giant pandas are very special, almost including all kinds of bamboo that can be found in high mountain areas. Giant pandas also occasionally eat meat (usually the carcasses of animals or sometimes of rhizomys). The unique dieting characteristics of the giant panda make it known as "bamboo bear" by the locals. Giant pandas have gradually evolved to herbivore. As bamboo has a few nutrition that can only provide the basic nutrients needed for pandas’ survival, giant pandas eat up to 14 hours a day except for sleeping or some short-distance activities in the wild environment. A giant panda eats 12 to 38 kilograms of bamboo per day, which is close to 40% of its body weight. (Hu Jinzhi,1981,17)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

They like to eat the most nutritious and least cellulose-containing parts of bamboo, namely the tender stems, burgeons, and bamboo shoots. There are usually at least two types of bamboo in the giant panda habitat. When one kind of bamboo blooms and dies (bamboo periodically blooms and dies every 30 to 120 years), pandas can switch to other bamboos. However, the continued fragmentation of the habitat increases the possibility that there is only one kind of bamboo in the habitat. When this kind of bamboo becomes distinct, the giant pandas in this area will face the threat of starvation.(Hu Jinzhi,1981,20)

They like to eat the most nutritious and least cellulose-containing parts of bamboo, namely the tender stems, burgeons, and bamboo shoots. There are usually at least two types of bamboo in the giant panda habitat. When one kind of bamboo blooms and dies (bamboo periodically blooms and dies every 30 to 120 years), pandas can choose other bamboos. However, the continued fragmentation of the habitat increases the possibility that there is only one kind of bamboo. When this kind of bamboo becomes distinct, the giant pandas in this area will face the threat of starvation. (Hu Jinzhi,1981,20)--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:17, 18 December 2020 (UTC)

====='''Terms and expressions'''====
Ailuaractos lufengensis 始熊猫

Pleistocene 更新世

rhizomys 竹鼠

cellulose 纤维素

burgeons 嫩枝

===='''Questions'''====
1.What's the ancestor of giant pandas?

2.What are the features of giant pandas' skin?

3.Do giant pandas like hot environment?

4.What part of bamboo do giant panda eat?

===References===
[1]Yan Weiran,Tang Maolin,Chen Zeyuan,Chen Peng,Zhao Qijun,Que Pinjia,Wu Kongju,Hou Rong,Zhang Zhihe. Automatically predicting giant panda mating success based on acoustic features[J]. Global Ecology and Conservation,2020,24.

[2]丛丽,吴必虎.基于网络文本分析的野生动物旅游体验研究——以成都大熊猫繁育研究基地为例[J].北京大学学报(自然科学版),2014,50(06):1087-1094.

[3]雍严格,王宽武,汪铁军.佛坪大熊猫的移动习性[J].兽类学报,1994(01):9-14.

[4]胡锦矗.大熊猫的食性研究[J].南充师院学报(自然科学版),1981(03):17-22.

[5]孙承骞,张哲邻,金学林.秦岭大熊猫局域种群的划分及数量分布[J].陕西师范大学学报(自然科学版),2006(S1):163-167.

==You Yuting 游雨婷==
==Legalism - You Yuting 游雨婷 - Student No.202070080619 英语笔译==
====Legalism====

Legalism is a prominent school of thought in Chinese history that advocates the rule of law as its core and regards enriching the country and strengthening the army as its mission. The legalists are not pure theorists, but active actionists, whose thoughts also focus on the practical effects of law. It also puts forward the idea and concept of governing the country by law which still has far-reaching influence. A review based on the evolution of theories of legal relations showed that the study of the general theory of law in China is closely associated to the historical rate of progress of the practice of rule of law in China.(Lei Lei,Chris 2020,81).

====1.Representative figures====

Legalism developed relatively slowly, but took shape very early. The earliest could be traced back to the Xia and Shang rulers, and it became mature in the Warring-States Period. Through the unremitting efforts made by Guan Zhong, Zi Chan, Li Kui, Wu Qi, Shang Yang, and others, It gradually became a school of thought. At the end of the Warring-States Period, Han Fei summarized their theories, which was the greatest achievement of legalists. Shang Yang and Han Fei are two remarkable figures of this school, and they dedicated their life to promoting and practicing the ideas of legalism. (Wang Jian 2001,51).

Shang Yang, formerly known as Wei Yang, also known as Gongsun Yang, was born in the State of Wei during the Warring States Period. He put forward three reform plans, namely "the way of emperor", "the way of king" and "the overbearing way". Shang Yang talked about the overbearing policy of reform and won the heart of Duke Xiao. Shang Yang entered the stage to display his ideal. The main contents of Shang Yang's reform are as follows: establishing a new merit-based military system; offering reward for ploughing and weaving to ensure sufficient grain and grass for the army of Qin. (Wang Jian 2001,51).

After Shang Yang's reform, The State of Qin quickly became a powerful state, which laid the foundation for later generations to unify the whole country and further enriched the thought of legalism. (Wang Jian 2001,51).

As for Han Fei, Han Fei (280 B. C. -- 233 B. C.), from Han state of the Warring States period, was a master in the legalist school. Han Feizi is the originator of the Legalism, his philosophy together significantly influenced by the “legalist ancestors”（Tingchun Ngai 2019,7）. Han Fei's thought had a strong tendency of practical rationality, and he treated the practical effect as the criterion for judging everything.(Wang Jian 2001,52).

Han Fei developed a systematic legalist thought by combining “Shi” of Shen Dao, the "Shu" of Shen Buhai, and the "Fa" of Shang Yang. Han Fei was nobleman in Han State, but his thoughts were not adopted by the king of Han State at that time. Although Han Fei failed to realize his ambition during his lifetime, he further developed his legalist thoughts and theories, which provided a powerful theoretical basis for the first emperor of Qin to unify the whole country.(Wang Jian 2001,52)

====2.Values====

Legalism in pre-Qin period, which attached great attention to law and its compulsory function among other school of thoughts. Representatives of this school discussed the origin, nature, function of law, and the relationship between law and social economy, the demand of The times, state power, population and human nature. And it turned out to be a great success. There are several beliefs that the legalist school hold and advocate .(Guo Yanting 2014,71).

First, The legalists believe that people have the nature of "being fond of the beneficial instead of the harmful" . Guan Zhong once said that a businessman who could travel thousands of miles day and night would not feel far because of the benefits that lies ahead. With this same idea in mind, Shang Yang came to the conclusion that "people can govern one's likes and dislikes in life." Legalist school, therefore, combined the humanity with the management of the country, introducing reward and punishment to drive its people to work and fight hard for their country.(Guo Yanting 2014,71).

Second, the legalists opposed the conservative idea of restoring ancient ways and advocated vigorous reform. They believe that history moves forward and that all laws and institutions should be developed along with the development of history. Shang Yang clearly put forward the proposition of "Don’t follow the practices of the ancient and the present". Han Fei, on the other hand, took Shang Yang's idea a step further by proposing that "The way of running the country stays the same as the time changes; the country will be in chaos", and dismissing old-fashioned Confucian as a fool who waits for nothing.(Guo Yanting 2014,72).

Third, The combination of Fa, Shi, Shu. Shang Yang, Shen Dao and Shen Buhai respectively advocated Fa, Shi, Shu with its own characteristics. When Han Fei, the master of legalist school, put forward the idea of combining the three closely. (Guo Yanting 2014,72).

In Han Fei’s opinion, Fa refers to the improvement of the legal system, Shi refers to the power of the monarch, the sole military and political power, Shu refers to the control over the ministers, the control of political power, the implementation of laws and strategies and means. "Shi" lays the basis for ruling the masses and gaining advantages, similar to "management authority" in modern management(Dai Shu 2002,8). The main purpose is to avoid insurrection and maintain the power of the monarch. The three ideas proposed by the legalism still exert great impact on the improvement of the modern law.(Guo Yanting 2014,72).

====3.Works====

Legalism has produced many great works such as Guan Zi, Shang Jun Shu, Shenko, Shen Zi, and Han Fei Zi. Take Han Fei Zi as an example, Han Fei inherited and summarized the thoughts and practices of legalists in the Warring States Period and put forward the theory of absolute monarchy and centralization. In this book, Han Fei pointed out that the sovereign must be powerful to govern the country. Feudal officials with rich experiences should be selected to replace the hereditary slave owners and nobles, so that the power of the state could solely lie in the hands of the sovereign. (Dai Shu 2002,8).

It is worth mentioning that in this book Han Fei Zi, it also recorded a large number of popular fable stories, such as "self-contradiction", "wait for windfalls", "safety in numbers", "sense comes with age" and so on. These fables contain deep philosophy, and inspire people through the perfect combination of ideas and artistry.(Dai Shu 2002,12).

====References====

*Lei Lei,Chris.The General Theory of Law and Its Development in China[J].Contemporary Social Sciences,2020(05):81-107.
*Tingchun Ngai.The Debates on Human Nature and Political Governance in Ancient China: Mencius, Xunzi and Han Feizi. Open Access Library Journal,2019, 6(4):1-14.
*Guo Yanting. 郭艳婷.(2014). 浅论法家思想及其现实意义.[On Legalist Thought and Its Practical Significance][J].湖北广播电视大学学报[Journal of Hubei Radio and Television University],34(02):71-72.
*Dai Shu. 戴黍.(2002). 以“势”为中心的制度设计——韩非治国思想的现代解读.[The System Design with "Shi" as the Center -- the Modern Interpretation of Han Fei's Thoughts on Governing A Country][J].华南师范大学学报[Journal of South China Normal University],(03):7-12.
*Wang Jian. 王健(2001). 法家事功思想初探——以《商君书》、《韩非子》为中心.[A Preliminary Study on the Thought of Legalist Achievement -- Centering on Shang Jun Shu and Han Feizi][J].史学月刊[The Historical Journal],(06):51-56.

====Terms and Expressions====

1.Legalism法家

2.the way of emperor帝道

3.the way of king王道

4.the overbearing way 霸道

5.being fond of the beneficial instead of the harmful 好利恶害

6.self-contradiction自相矛盾

7.wait for windfalls守株待兔

8.safety in numbers滥竽充数

9.sense comes with age老马识途

====Questions====

1.When did legalism become mature?

2.Do you know the representative figures of legalism?

3.Can you make a list of values proposed by legalism?

4.what does "being fond of the beneficial instead of the harmful" mean? Can you make some examples?

5.Does the members of legalism object the thoughts of Confucian school?

6.What are the classical works of legalism?

7.What are the popular fable stories contained in the book of Han Fei?

===Answers===

1.It became mature in the Warring-States Period.

2.Guan Zhong, Zi Chan, Li Kui, Wu Qi, Shang Yang.

3.First, The legalists believe that people have the nature of "being fond of the beneficial instead of the harmful" . Second, the legalists opposed the conservative idea of restoring ancient ways and advocated vigorous reform.Third, The combination of Fa(law), Shi(power), Shu(art). Shang Yang, Shen Dao and Shen Buhai respectively advocated Fa, Shi, Shu with its own characteristics.

4.Guan Zhong once said that a businessman who could travel thousands of miles day and night would not feel far because the attraction of the benefits. Fishermen, who was not afraid of danger and sailed against the current, not caring about a hundred miles away, pursued the benefits of fishing.

5.Yes.

6.Guan Zi, Shang Jun Shu, Shenko, Shen Zi, and Han Fei Zi. Take Han Fei Zi.

7."self-contradiction", "wait for windfalls", "safety in numbers", "sense comes with age" .
--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:12, 21 December 2020 (UTC)