User:Yang Yue2

2025-06-19T08:35:07Z

Yang Yue2: /* Abstract */

='''Literature: Xu Yuanchong: The Literary Ferryman Bridging Chinese and Western Cultures through Poetry Translation into English and French'''=

Yang Yue 202470081647

==Abstract==

Xu Yuanchong, a translator from Nanchang, Jiangxi, and a professor at the School of Journalism and Communication of Peking University, is known as the "only person who translates poetry into English and French". His study experience in the National Southwestern Associated University laid the foundation for his life. Spiritual of "perseverance and integrity" in this university shaped his sense of mission and cultural confidence in spreading Chinese cultural quintessence to the world. Xu Yuanchong focused on translating Chinese classical poetry, literary masterpieces and French literary masterpieces, and put forward the "Three Beauties Theory" and the "Superiority Competition Theory". He believed that translation is a "competition to create excellence", emphasizing the subjectivity and creativity of translators. In his later years, he won the "Aurora Borealis" Outstanding Literary Translation Award, becoming the first and only Asian winner of the award. His translation career has built a bridge for cultural exchange between China and the West, and made important contributions to the spread of Chinese culture.

[[File:File:XYC.jpg|200px|thumb|left|替代文字]]

==Translation Works of Xu==

After launching his translation career, Xu Yuanchong made a directional choice with distinct personal characteristics. He dedicated his entire life mainly to the translation and introduction of Chinese classical poetry and literary masterpieces, especially to spreading the treasures of Chinese culture to the Western world. "A new translation should be as different as possible from old translations and should also be as superior as possible to old translations" (Xu Yuanchong, 1996: 56). His translation objects covered the most brilliant pearls in the history of Chinese literature, such as ''The Book of Songs'', ''The Songs of Chu'', poetry of the Tang and Song dynasties , and dramatic classics such as ''The Western Chamber'' and ''The Peony Pavilion''. Xu Yuanchong (2021: 105) believed that whether to pursue truth or beauty in poetry translation is the main contradiction in poetry translation, and solving this contradiction solves the main problem of literary translation. At the same time, he also translated French literary masterpieces such as ''Le Rouge et le Noir'', ''Madame Bovary'', and ''In Search of Lost Time into Chinese'', demonstrating the grand vision of two-way cultural exchange. The back cover of the Zhejiang University Press edition of ''Xu Yuanchong's Translation of Shakespeare's Plays'' prints the translator's summary of the characteristics of his translations: "If a translation is to be unlike a translation and like the original author's creation, that is precisely what makes my translation of Shakespeare's plays unique" (Xu Yuanchong, 2020). After comparing five translations of "to be or not to be, that is the question" in ''Hamlet'', Xu Yuanchong (2017: 6-8) pointed out that the translation used in performances is "To live or not to live", and the Foreign Language Teaching and Research Press's translation "To die, or to live, that is the fundamental question" does not sound like it is performed on stage but like philosophy being discussed on a podium. It can be seen that performability is one of the purposes of Xu Yuanchong's translation of Shakespeare's plays. Particularly, he focused on the mutual translation between English and French, building a solid bridge between Chinese literature and the world in these two language families, and was known as "the only person who translates poetry into English and French".

==Translation Theories of Xu==

In the long-term translation practice, Xu Yuanchong's translation concepts experienced continuous germination and development. In his early practice, he constantly explored how to find the best way to transform between the two languages and cultures. Gradually, he broke through the constraints of traditional "faithfulness, expressiveness, and elegance" or strict "equivalence", forming a translation proposition with distinct personal characteristics, whose core is the famous "Three Beauties Theory" and "Superiority Competition Theory". The "Three Beauties Theory" includes "beauty in sense", "beauty in sound", and "beauty in form", forming the core of Xu Yuanchong's translation theory. (Zhu Yishu, 2019: 84) To achieve beauty in sense, Xu Yuanchong mainly used free translation in English translation of poetry, not be limited in the structure and form of the original poem, and attached importance to the conveyance of the artistic conception and emotional expression of the poem (Yang Yi, 2025). In ''Literature and Translation'', Xu Yuanchong believed that the three characters "信、达、雅" can be understood as "faithfulness, expressiveness, and superiority", where "superiority" means giving play to the advantages of the target language, using the best expressions of the target language, and using words full of beauty in sense, sound, and form. In other words, "superiority" is "beauty" (Gao Wei et al., 2012). In ''The Art of Translation'', Xu Yuanchong mentioned and affirmed what Lu Xun said in ''From Words to Articles'': "The Chinese language has three major advantages: beauty in sense, beauty in sound, and beauty in form" (Lu Xun, 2021). He also believed that translation is "a competition to create superiority". "Creation" refers to "creative translation" as ontology; "superiority" refers to "giving play to the advantages of the target language" and "the translation must be superior", which is the methodology; "similarity" refers to "resemblance" and "spiritual similarity", which is the teleology; "competition", competing with oneself and with others, is the epistemology. (Xu Yuanchong, 1999: 9) This theoretical system emphasizes the subjectivity and creativity of the translator, becoming the soul of his translation practice.

==Achievements of Xu==

In his last years, Xu Yuanchong entered a period of fruitful translation achievements and the peak of honors. Due to various reasons, his translation achievements were not many in the 30 years after the founding of New China. After reaching the age of 60, he devoted himself to translation, tirelessly writing, and achieved fruitful results, publishing nearly 100 translated works (Li Zhengsuan, Lü Xin, 2024). In 2014, he won the Aurora Borealis Translation Award. He systematically presented the essence of Chinese classical literature to readers worldwide. His outstanding contributions have been highly recognized at home and abroad. In 2010, Xu Yuanchong was awarded the Lifetime Achievement Award by the China Translators Association (now the Translators Association of China). Most notably, in 2014, at the age of 93, he won the highest award of the International Federation of Translators (FIT) - the "Aurora Borealis" Outstanding Literary Translation Award, becoming the first and so far the only Asian winner of this award. This is not only the highest affirmation of his personal translation artistic achievements but also an important international recognition of China's literary translation circle and even the strategy of "introducing Chinese culture to the world". His legendary experience has been widely reported (such as the The Reader program), and his social influence and cultural status have been continuously improved. From a scholar who worked silently, he has become a respected cultural messenger and a spiritual symbol in the translation field.

='''Terms and Expressions'''=

Three Beauties Theory：三美论

Superiority Competition Theory：优势竞赛论

faithfulness, expressiveness, and elegance：信达雅

beauty in sense：意美

beauty in sound：音美

beauty in form：形美

translator's subjectivity：译者主体性

spiritual similarity：神似

Aurora Borealis Translation Award：北极光翻译奖

Lifetime Achievement Award：终身成就奖

performability：可表演性

translation ontology：翻译本体论

translation epistemology：翻译认识论

two-way cultural exchange：双向文化交流

translation concept：翻译观

Skopos Theory：翻译目的论

faithfulness, expressiveness, and elegance：信达雅

='''Questions'''=

1. What are the three beauties specifically referred to in Xu Yuanchong's "Three Beauties Theory", and what is its core connotation?

2. What important principle did Xu Yuanchong emphasize in translating Shakespeare's plays?

3. How did Xu Yuanchong's study experience at the Southwest Associated University influence his translation concepts and cultural mission?

='''Answers'''=

1. The specific contents of the "Three Beauties" are beauty in sense, beauty in sound, and beauty in form. The specific connotations are as follows: "Beauty in sense" emphasizes that in the English translation of poetry, free translation should be the main approach, not sticking to the structure and form of the original poem, and focuses on conveying the artistic conception and emotions of the poetry. "Beauty in sound" and "beauty in form" are committed to making the translation close to the rhythm and form of the original poem, forming a translation that combines the beauty of content and form.

2. Performability is an important principle emphasized by Xu Yuanchong in translating Shakespeare's plays. He believed that the translation should meet the needs of stage performances rather than being only suitable for academic discussions.

3. At the National Southwestern Associated University, Xu Yuanchong studied under academic masters such as Qian Zhongshu, Wen Yiduo, Feng Youlan, and Ye Gongchao, receiving a profound education in Chinese and Western cultures, which laid a solid knowledge foundation for his translation practice and theoretical construction. The national crisis during the War of Resistance against Japan and the spirit of "perseverance and integrity" of the National Southwestern Associated University made him form a strong sense of mission and cultural confidence in "spreading the essence of Chinese culture to the world". This sense of mission became the core driving force for him to focus on the translation of Chinese classical literature and promote cultural exchange between China and the West in the future, and also prompted him to always adhere to the value orientation of spreading Chinese culture in his translations.

='''References'''=

[1] Gao Wei, Huang Jin. A Brief Discussion on the Re-creation of Beauty in Xu Yuanchong's Poetry Translation [J]. ''Overseas English'', 2012(15): 1-3.

[2] Lu Xun. ''Outline of the History of Chinese Literature'' [M]. Xiamen: Xiamen University Press, 2021.

[3] Li Zhengsuan, Lü Xin. A Study on the Translator's Behavior in Xu Yuanchong's English Translation of Mao Zedong's Poems [J]. ''Shanghai Journal of Translators'', 2024, (02): 55-60.

[4] Xu Yuanchong. Translation Studies Should Dare to Be the First in the World [J]. ''Chinese Translators Journal'', 1999(2): 4-9.

[5] Xu Yuanchong. On the English Translation of Poetry [J]. ''Chinese Translators Journal'', 2021(2): 102-108.

[6] Xu Yuanchong (Translator). ''Xu Yuanchong's Translation of Shakespeare's Plays'' [M]. Hangzhou: Zhejiang University Press, 2020.

[7] Xu Yuanchong. On Retranslation - and a Comment on Xu Jun [J]. ''Foreign Languages and Their Teaching'', 1996, (6): 56-59.

[8] Xu Yuanchong (Translator). ''Four New Translations of Shakespeare's Plays: Xu Yuanchong's Handwriting (Volume I) Macbeth'' [M]. Shenzhen: Haitian Press, 2017.

[9] Yang Yi. Xu Yuanchong's Strategies for English Translation of Classical Poetry [J]. ''Appreciation of Masterpieces'', 2025, (08): 11-13.

[10] Zhu Yishu. On the Characteristics of Xu Yuanchong's Translation Thoughts [J]. ''Shanghai Journal of Translators'', 2019(5): 83-87, 95.

='''AI Statement'''=

To help me to write my final paper, I have used the following AI chatbot: DeepSeek-V3.

I have prompted the chatbot with the following prompt:

Prompt 1: I'm about to write an introductory paper about Xu Yuanchong. What aspects can I cover?

DS Output 1:

Core Identity and Outstanding Achievements

Unique Translation Theories and Practices

Characteristics and Contributions of Translation Practice

Life Experiences and Spiritual Character

Influence, Evaluations, and Controversies

Prompt 2: What awards did Xu Yuanchong receive during his lifetime?

DS Output 2:

Domestic awards include:

Lifetime Achievement Award in Translation Culture (2010)

International Sinology Translation Daya Award (2014)

Aurora Borealis Prize for Outstanding Literary Translation (2014)

Special Contribution Award for Chinese Books (2015)

International awards include:

Chevalier de l'Ordre des Arts et des Lettres (France, 1987)

FIT Honorary Award (1999)

Prompt 3: How to translate into English the following terms or proper nouns? 优势竞赛论，意美，北极光翻译奖，可表演性，翻译目的论...

DS Output 3:

Here are standard English translations with brief explanations:

优势竞赛论（Theory of Creative Competition in Translation）;意美（Beauty in Conception）;北极光翻译奖（Aurora Borealis Prize for Translation）;可表演性（Performability）;翻译目的论（translation teleology）

Prompt 4: Which renowned scholars have studied Xu Yuanchong's works and translation theories? Please categorize by domestic and international scholars.

DS Output 4:

Domestic Scholars:

Liu Miqing (Famous translation theorist, analyzed the connection between Xu's "Three Beauties Principle" and traditional Chinese aesthetics in Comparative Studies of Chinese and Western Translation Thoughts)

Wang Hongyin (Professor at Xi'an International Studies University, explored Xu's creative transformation of classical poetry translation in Classical Interpretations of Chinese Translation Theories)

Xie Tianzhen (Scholar of comparative literature and translation studies, evaluated Xu's "Cultural Competition Theory" from the perspective of medio-translatology)

Huang Guobin (Poetry translation researcher, compared Xu's strategies with Western translators in Tang poetry translation)

International Scholars:

André Lefevere (Representative of the "Manipulation School" in Western translation studies, mentioned Xu's domestication strategy in Translation, Rewriting, and the Manipulation of Literary Fame)

Susan Bassnett (Theorist of comparative literature and translation, examined how Xu balanced "faithfulness" and "recreation" in poetry translation)

Eugene Chen Eoyang (Chinese-American scholar, discussed Xu's "Beauty in Sense" theory in The Transparent Eye: Translation and Cross-Cultural Interpretation of Chinese Literature)

Lawrence Venuti (American translation theorist, analyzed the cultural stance in Xu's translations from the perspective of "foreignization/domestication")

Corrections made after verifying authoritative sources:

''Translation Errors''

"Beauty in Conception" → "Beauty in Sense"

"translation teleology" → "Skopos Theory"

''Factual Errors''

There is currently no direct evidence that Lawrence Venuti specifically researched or wrote monographs about Xu Yuanchong.

='''文学：许渊冲：诗译英法，沟通中西的文学摆渡人'''=

杨悦 202470081647

==摘要==

许渊冲是江西南昌籍翻译家，生前为北京大学新闻与传播学院教授，被誉为 “诗译英法唯一人”。他在西南联合大学的求学经历奠定了一生根基，该校 “刚毅坚卓” 的精神塑造了他向世界传播中华文化精粹的使命感与文化自信。许渊冲专注于中国古典诗词、文学名著及法国文学名著的翻译，提出 “三美论”和 “优势竞赛论”。他认为翻译是 “创优似竞赛”，强调译者的主体性与创造性。晚年的他荣获 “北极光” 杰出文学翻译奖，成为首位且迄今为止唯一获此殊荣的亚洲人。其翻译生涯为中西文化交流架起桥梁，为中华文化传播作出重要贡献。

==许渊冲的翻译作品==

翻译生涯开启后，许渊冲做出了极具个人特色的方向性选择。他将毕生精力主要倾注于中国古典诗词和文学名著的译介工作，尤其是向西方世界传播中华文化瑰宝。“新译应该尽可能不同于旧译，还应该尽可能高于旧译”（许渊冲，1996：56)。其翻译对象涵盖了中国文学史上最璀璨的明珠，如《诗经》、《楚辞》、唐诗宋词，以及戏剧经典《西厢记》、《牡丹亭》等。许渊冲（2021:105）认为诗歌翻译最终求真还是求美是诗歌翻译的主要矛盾，解决了这一对矛盾就解决了文学翻译的主要问题。同时，他也将法国文学巨著如《红与黑》、《包法利夫人》、《追忆似水年华》等译成中文，展现了双向文化交流的宏愿。浙大版《许渊冲译莎士比亚戏剧集》的封底上印有译者对译作特色的总结：“如果译文要不像翻译，而像原作者的创作，那正是我译的莎剧与众不同之处”（许渊冲，2020)。在对比了《哈姆雷特》中“to be or not to be, that is the question”的五种译文之后，许渊冲(2017:6-8)指出“演出时用的是（之琳)译‘活下去还是不活’，外研社的译文‘死，还是生，这才是问题根本’不像是舞台上演出，而像是讲台上谈哲学…”。由此可见，可表演性是许渊冲的翻译莎剧的宗旨之一。尤为突出的是，他专注于英法两种语言的互译，在这两大语系之间架设起沟通中国文学与世界的坚实桥梁，被誉为“诗译英法唯一人”。

==许渊冲的翻译理论==

在漫长的翻译实践中，许渊冲的翻译理念经历了持续的萌芽与发展。早期实践中，他不断摸索如何在两种语言文化间找到最佳的转换方式。逐渐地，他突破了传统“信达雅”或严格“对等”的束缚，形成了极具鲜明个人特色的翻译主张，其核心便是著名的“三美论”和“优势竞赛论”。“三美论”包括“意美”“音美”和“形美”，构成许渊冲翻译理论的核心。（祝一舒，2019:84)为了达到意美，许渊冲在诗歌英译中以意译为主，不拘泥于原诗的结构与形式，重视诗歌的意境传达和情感表达(杨艺，2025)。《文学与翻译》中，许渊冲认为：“信、达、雅”三字可以理解为“信、达、优”，“优”就是发挥译语优势，就是用译语最好的表达方式，用富有意美、音美、形美的词语，换句话说，“优”就是“美”（高巍等，2012）。许渊冲在《翻译的艺术》中提到并肯定了鲁迅在《自文字至文章》中所说的“汉语具有意美、音美、形美三大优点”（鲁迅，2021）。”他还认为翻译是“创优似竞赛“创”是指“创造性翻译”是本体论；“优”是指“发挥译语优势”“译文必须优”，是方法论；“似”指“像”“神似”，是目的论；“竞赛”，与自己竞赛，与别人竞赛，是认识论。（许渊冲，1999:9)这一理论体系强调译者的主体性和创造性，成为其翻译实践的灵魂。

==许渊冲的主要成就==

晚年的许渊冲进入了翻译成果的丰硕期和荣誉的顶峰。由于种种原因，新中国成立后30年间其翻译成果并不多。至花甲之年后，才投身翻译，不知疲倦，笔耕不辍，成果丰硕，出版译著近百本（李正栓，吕欣，2024）。2014年，获北极光翻译奖。系统性地将中国古典文学精华呈现给世界读者。其卓越贡献获得了国内外高度认可。2010年，许渊冲获中国翻译工作者协会颁发的终身成就奖。最引人瞩目的是2014年，时年93岁的他荣获国际翻译家联盟（FIT）颁发的最高奖项——“北极光”杰出文学翻译奖，成为该奖项首位也是迄今唯一一位亚洲得主。这不仅是对他个人翻译艺术成就的至高肯定，也是对中国文学翻译界乃至中国文化“走出去”战略的重要国际认可。其传奇经历被广泛报道（如《朗读者》节目），社会影响力与文化地位不断提升，从一位默默耕耘的学者，成为受人敬仰的文化传播使者和翻译界的精神象征。

='''术语与表达'''=

Three Beauties Theory：三美论

Superiority Competition Theory：优势竞赛论

faithfulness, expressiveness, and elegance：信达雅

beauty in sense：意美

beauty in sound：音美

beauty in form：形美

translator's subjectivity：译者主体性

spiritual similarity：神似

Aurora Borealis Translation Award：北极光翻译奖

Lifetime Achievement Award：终身成就奖

performability：可表演性

translation ontology：翻译本体论

translation epistemology：翻译认识论

two-way cultural exchange：双向文化交流

translation concept：翻译观

Skopos Theory：翻译目的论

faithfulness, expressiveness, and elegance：信达雅

='''问题'''=

1. 许渊冲提出的 “三美论” 具体指哪三美？其核心内涵是什么？

2. 许渊冲在翻译莎士比亚戏剧时强调的重要原则是什么？

3. 西南联大的求学经历如何影响许渊冲的翻译观和文化使命感？

='''回答'''=

1. “三美”的具体内容是意美、音美、形美。具体内涵分别是“意美”强调在诗歌英译中以意译为主，不拘泥于原诗的结构与形式，注重传达诗歌的意境和情感。“音美”和“形美”则致力于在译文韵律和形式上贴近原诗，形成兼具内容与形式美感的翻译。

2. 可表演性是许渊冲翻译莎剧的重要原则。他认为译文应符合舞台演出的需求，而非仅适用于学术讨论。

3.在西南联大，许渊冲师从钱钟书、闻一多、冯友兰、叶公超等学术大师，接受了深厚的中西文化教育，为其翻译实践和理论构建奠定了坚实的知识基础。抗战时期的民族危亡与西南联大“刚毅坚卓”的精神，使他形成了“向世界传播中华文化精粹”的强烈使命感和文化自信。这种使命感成为他日后专注于中国古典文学译介、推动中西文化交流的核心动力，也促使他在翻译中始终坚持传播中华文化的价值取向。

='''参考文献'''=

[1]高巍.黄瑾.浅谈许渊冲诗歌翻译中美的再造[J].海外英语，2012(15):1-3.

[2]鲁迅.汉文学史纲要[M]. 厦门：厦门大学出版社，2021.

[3]李正栓,吕欣.许渊冲英译毛泽东诗词译者行为研究[J].上海翻译,2024,(02):55-60.

[4]许渊冲.译学要敢为天下先[J].中国翻译，1999（2):4-9.

[5]许渊冲.谈诗歌英译[J]中国翻译，2021(2):102-108.

[6]许渊冲(译）.许渊冲译莎士比亚戏剧集[M]. 杭州：浙江大学出版社，2020.

[7]许渊冲.谈重译——兼评许钧[J].外语与外语教学，1996,(6):56-59.

[8]许渊冲(译).莎翁戏剧新译四种：许渊冲手迹（上卷)马克白[M]. 深圳：海天出版社，2017.

[9]杨艺.许渊冲古典诗歌英译策略[J].名作欣赏,2025,(08):11-13.

[10]祝一舒.试论许渊冲翻译思想的特质[J].上海翻译，2019(5):83-87,95.

='''AI 声明'''=

为帮助撰写我的期末论文，我使用了以下生成式人工智能：DeepSeek - V3。

我向该生成式人工智能输入了以下指令内容：

指令 1：我即将写关于许渊冲的一篇介绍性论文，请问我能写一些什么方面的内容？

DS输出结果 1：一、核心身份与卓越成就；二、独特的翻译理论与实践；三、翻译实践的特点与贡献；四、生平经历与精神品格；五、影响、评价与争议。

指令 2：许渊冲生前得过哪些奖项？

DS输出结果 2：国内奖项包括中国翻译文化终身成就奖（2010）、国际汉学翻译大雅奖（2014）、北极光杰出文学翻译奖（2014）、中华图书特殊贡献奖（2015）；国际奖项包括法国文学艺术骑士勋章（1987）、国际译联荣誉奖（1999）。

指令 3：以下词汇或专有名词如何翻译？优势竞赛论，意美，北极光翻译奖，可表演性，翻译目的论......

DS输出结果 3：以下是您提到的术语或专有名词的标准英译及简要解释，供参考：优势竞赛论（Theory of Creative Competition in Translation）;意美（Beauty in Conception）;北极光翻译奖（Aurora Borealis Prize for Translation）;可表演性（Performability）;翻译目的论（translation teleology）

指令 4：有哪些知名学者研究过许渊冲的作品及翻译理论？请按国内外分类回答。

DS输出结果 4：国内学者包括刘宓庆（著名翻译理论家，在《中西翻译思想比较》中分析许渊冲的“三美论”与中国传统美学的关联）、王宏印（西安外国语大学教授，在《中国传统译论经典诠释》中探讨许渊冲对古典诗歌翻译的创造性转化）、谢天振(比较文学与翻译研究学者，从译介学视角评价许渊冲的“文化竞赛论”对文学外译的启示)、黄国彬(诗歌翻译研究者，对比分析许渊冲与西方译者在唐诗英译中的策略差异)；国外学者包括André Lefevere(西方翻译研究“操纵学派”代表，在《翻译、改写与文学名声的制控》中提及许渊冲的归化策略对文化传播的影响)、Susan Bassnett(比较文学与翻译理论家，关注许渊冲的诗歌翻译如何平衡“忠实”与“再创造”)、Eugene Chen Eoyang(美籍华裔学者，在《透明的眼：翻译与中国文学的跨文化阐释》中讨论许渊冲的“意美”理论)、Lawrence Venuti(美国翻译理论家，从“异化/归化”角度分析许渊冲译作中的文化立场).

我在生成式人工智能的回答中找到了以下主要问题并在网上查询官方权威资料进行了纠正：

''翻译错误''

（意美）Beauty in Conception→Beauty in Sense

（翻译目的论）translation teleology→Skopos Theory

''事实性错误''

目前没有直接证据表明他专门研究或撰写过关于许渊冲的论文或专著。

File:XYC.jpg

2025-06-19T08:30:24Z

Yang Yue2: Yang Yue2uploaded a new version of "File:XYC.jpg"

User:Yang Yue2

2025-06-19T08:30:03Z

Yang Yue2: /* Abstract */

='''Literature: Xu Yuanchong: The Literary Ferryman Bridging Chinese and Western Cultures through Poetry Translation into English and French'''=

Yang Yue 202470081647

==Abstract==

Xu Yuanchong, a translator from Nanchang, Jiangxi, and a professor at the School of Journalism and Communication of Peking University, is known as the "only person who translates poetry into English and French". His study experience in the National Southwestern Associated University laid the foundation for his life. Spiritual of "perseverance and integrity" in this university shaped his sense of mission and cultural confidence in spreading Chinese cultural quintessence to the world. Xu Yuanchong focused on translating Chinese classical poetry, literary masterpieces and French literary masterpieces, and put forward the "Three Beauties Theory" and the "Superiority Competition Theory". He believed that translation is a "competition to create excellence", emphasizing the subjectivity and creativity of translators. In his later years, he won the "Aurora Borealis" Outstanding Literary Translation Award, becoming the first and only Asian winner of the award. His translation career has built a bridge for cultural exchange between China and the West, and made important contributions to the spread of Chinese culture.

[[File:File:XYC.jpg]]

==Translation Works of Xu==

After launching his translation career, Xu Yuanchong made a directional choice with distinct personal characteristics. He dedicated his entire life mainly to the translation and introduction of Chinese classical poetry and literary masterpieces, especially to spreading the treasures of Chinese culture to the Western world. "A new translation should be as different as possible from old translations and should also be as superior as possible to old translations" (Xu Yuanchong, 1996: 56). His translation objects covered the most brilliant pearls in the history of Chinese literature, such as ''The Book of Songs'', ''The Songs of Chu'', poetry of the Tang and Song dynasties , and dramatic classics such as ''The Western Chamber'' and ''The Peony Pavilion''. Xu Yuanchong (2021: 105) believed that whether to pursue truth or beauty in poetry translation is the main contradiction in poetry translation, and solving this contradiction solves the main problem of literary translation. At the same time, he also translated French literary masterpieces such as ''Le Rouge et le Noir'', ''Madame Bovary'', and ''In Search of Lost Time into Chinese'', demonstrating the grand vision of two-way cultural exchange. The back cover of the Zhejiang University Press edition of ''Xu Yuanchong's Translation of Shakespeare's Plays'' prints the translator's summary of the characteristics of his translations: "If a translation is to be unlike a translation and like the original author's creation, that is precisely what makes my translation of Shakespeare's plays unique" (Xu Yuanchong, 2020). After comparing five translations of "to be or not to be, that is the question" in ''Hamlet'', Xu Yuanchong (2017: 6-8) pointed out that the translation used in performances is "To live or not to live", and the Foreign Language Teaching and Research Press's translation "To die, or to live, that is the fundamental question" does not sound like it is performed on stage but like philosophy being discussed on a podium. It can be seen that performability is one of the purposes of Xu Yuanchong's translation of Shakespeare's plays. Particularly, he focused on the mutual translation between English and French, building a solid bridge between Chinese literature and the world in these two language families, and was known as "the only person who translates poetry into English and French".

==Translation Theories of Xu==

In the long-term translation practice, Xu Yuanchong's translation concepts experienced continuous germination and development. In his early practice, he constantly explored how to find the best way to transform between the two languages and cultures. Gradually, he broke through the constraints of traditional "faithfulness, expressiveness, and elegance" or strict "equivalence", forming a translation proposition with distinct personal characteristics, whose core is the famous "Three Beauties Theory" and "Superiority Competition Theory". The "Three Beauties Theory" includes "beauty in sense", "beauty in sound", and "beauty in form", forming the core of Xu Yuanchong's translation theory. (Zhu Yishu, 2019: 84) To achieve beauty in sense, Xu Yuanchong mainly used free translation in English translation of poetry, not be limited in the structure and form of the original poem, and attached importance to the conveyance of the artistic conception and emotional expression of the poem (Yang Yi, 2025). In ''Literature and Translation'', Xu Yuanchong believed that the three characters "信、达、雅" can be understood as "faithfulness, expressiveness, and superiority", where "superiority" means giving play to the advantages of the target language, using the best expressions of the target language, and using words full of beauty in sense, sound, and form. In other words, "superiority" is "beauty" (Gao Wei et al., 2012). In ''The Art of Translation'', Xu Yuanchong mentioned and affirmed what Lu Xun said in ''From Words to Articles'': "The Chinese language has three major advantages: beauty in sense, beauty in sound, and beauty in form" (Lu Xun, 2021). He also believed that translation is "a competition to create superiority". "Creation" refers to "creative translation" as ontology; "superiority" refers to "giving play to the advantages of the target language" and "the translation must be superior", which is the methodology; "similarity" refers to "resemblance" and "spiritual similarity", which is the teleology; "competition", competing with oneself and with others, is the epistemology. (Xu Yuanchong, 1999: 9) This theoretical system emphasizes the subjectivity and creativity of the translator, becoming the soul of his translation practice.

==Achievements of Xu==

In his last years, Xu Yuanchong entered a period of fruitful translation achievements and the peak of honors. Due to various reasons, his translation achievements were not many in the 30 years after the founding of New China. After reaching the age of 60, he devoted himself to translation, tirelessly writing, and achieved fruitful results, publishing nearly 100 translated works (Li Zhengsuan, Lü Xin, 2024). In 2014, he won the Aurora Borealis Translation Award. He systematically presented the essence of Chinese classical literature to readers worldwide. His outstanding contributions have been highly recognized at home and abroad. In 2010, Xu Yuanchong was awarded the Lifetime Achievement Award by the China Translators Association (now the Translators Association of China). Most notably, in 2014, at the age of 93, he won the highest award of the International Federation of Translators (FIT) - the "Aurora Borealis" Outstanding Literary Translation Award, becoming the first and so far the only Asian winner of this award. This is not only the highest affirmation of his personal translation artistic achievements but also an important international recognition of China's literary translation circle and even the strategy of "introducing Chinese culture to the world". His legendary experience has been widely reported (such as the The Reader program), and his social influence and cultural status have been continuously improved. From a scholar who worked silently, he has become a respected cultural messenger and a spiritual symbol in the translation field.

='''Terms and Expressions'''=

Three Beauties Theory：三美论

Superiority Competition Theory：优势竞赛论

faithfulness, expressiveness, and elegance：信达雅

beauty in sense：意美

beauty in sound：音美

beauty in form：形美

translator's subjectivity：译者主体性

spiritual similarity：神似

Aurora Borealis Translation Award：北极光翻译奖

Lifetime Achievement Award：终身成就奖

performability：可表演性

translation ontology：翻译本体论

translation epistemology：翻译认识论

two-way cultural exchange：双向文化交流

translation concept：翻译观

Skopos Theory：翻译目的论

faithfulness, expressiveness, and elegance：信达雅

='''Questions'''=

1. What are the three beauties specifically referred to in Xu Yuanchong's "Three Beauties Theory", and what is its core connotation?

2. What important principle did Xu Yuanchong emphasize in translating Shakespeare's plays?

3. How did Xu Yuanchong's study experience at the Southwest Associated University influence his translation concepts and cultural mission?

='''Answers'''=

1. The specific contents of the "Three Beauties" are beauty in sense, beauty in sound, and beauty in form. The specific connotations are as follows: "Beauty in sense" emphasizes that in the English translation of poetry, free translation should be the main approach, not sticking to the structure and form of the original poem, and focuses on conveying the artistic conception and emotions of the poetry. "Beauty in sound" and "beauty in form" are committed to making the translation close to the rhythm and form of the original poem, forming a translation that combines the beauty of content and form.

2. Performability is an important principle emphasized by Xu Yuanchong in translating Shakespeare's plays. He believed that the translation should meet the needs of stage performances rather than being only suitable for academic discussions.

3. At the National Southwestern Associated University, Xu Yuanchong studied under academic masters such as Qian Zhongshu, Wen Yiduo, Feng Youlan, and Ye Gongchao, receiving a profound education in Chinese and Western cultures, which laid a solid knowledge foundation for his translation practice and theoretical construction. The national crisis during the War of Resistance against Japan and the spirit of "perseverance and integrity" of the National Southwestern Associated University made him form a strong sense of mission and cultural confidence in "spreading the essence of Chinese culture to the world". This sense of mission became the core driving force for him to focus on the translation of Chinese classical literature and promote cultural exchange between China and the West in the future, and also prompted him to always adhere to the value orientation of spreading Chinese culture in his translations.

='''References'''=

[1] Gao Wei, Huang Jin. A Brief Discussion on the Re-creation of Beauty in Xu Yuanchong's Poetry Translation [J]. ''Overseas English'', 2012(15): 1-3.

[2] Lu Xun. ''Outline of the History of Chinese Literature'' [M]. Xiamen: Xiamen University Press, 2021.

[3] Li Zhengsuan, Lü Xin. A Study on the Translator's Behavior in Xu Yuanchong's English Translation of Mao Zedong's Poems [J]. ''Shanghai Journal of Translators'', 2024, (02): 55-60.

[4] Xu Yuanchong. Translation Studies Should Dare to Be the First in the World [J]. ''Chinese Translators Journal'', 1999(2): 4-9.

[5] Xu Yuanchong. On the English Translation of Poetry [J]. ''Chinese Translators Journal'', 2021(2): 102-108.

[6] Xu Yuanchong (Translator). ''Xu Yuanchong's Translation of Shakespeare's Plays'' [M]. Hangzhou: Zhejiang University Press, 2020.

[7] Xu Yuanchong. On Retranslation - and a Comment on Xu Jun [J]. ''Foreign Languages and Their Teaching'', 1996, (6): 56-59.

[8] Xu Yuanchong (Translator). ''Four New Translations of Shakespeare's Plays: Xu Yuanchong's Handwriting (Volume I) Macbeth'' [M]. Shenzhen: Haitian Press, 2017.

[9] Yang Yi. Xu Yuanchong's Strategies for English Translation of Classical Poetry [J]. ''Appreciation of Masterpieces'', 2025, (08): 11-13.

[10] Zhu Yishu. On the Characteristics of Xu Yuanchong's Translation Thoughts [J]. ''Shanghai Journal of Translators'', 2019(5): 83-87, 95.

='''AI Statement'''=

To help me to write my final paper, I have used the following AI chatbot: DeepSeek-V3.

I have prompted the chatbot with the following prompt:

Prompt 1: I'm about to write an introductory paper about Xu Yuanchong. What aspects can I cover?

DS Output 1:

Core Identity and Outstanding Achievements

Unique Translation Theories and Practices

Characteristics and Contributions of Translation Practice

Life Experiences and Spiritual Character

Influence, Evaluations, and Controversies

Prompt 2: What awards did Xu Yuanchong receive during his lifetime?

DS Output 2:

Domestic awards include:

Lifetime Achievement Award in Translation Culture (2010)

International Sinology Translation Daya Award (2014)

Aurora Borealis Prize for Outstanding Literary Translation (2014)

Special Contribution Award for Chinese Books (2015)

International awards include:

Chevalier de l'Ordre des Arts et des Lettres (France, 1987)

FIT Honorary Award (1999)

Prompt 3: How to translate into English the following terms or proper nouns? 优势竞赛论，意美，北极光翻译奖，可表演性，翻译目的论...

DS Output 3:

Here are standard English translations with brief explanations:

优势竞赛论（Theory of Creative Competition in Translation）;意美（Beauty in Conception）;北极光翻译奖（Aurora Borealis Prize for Translation）;可表演性（Performability）;翻译目的论（translation teleology）

Prompt 4: Which renowned scholars have studied Xu Yuanchong's works and translation theories? Please categorize by domestic and international scholars.

DS Output 4:

Domestic Scholars:

Liu Miqing (Famous translation theorist, analyzed the connection between Xu's "Three Beauties Principle" and traditional Chinese aesthetics in Comparative Studies of Chinese and Western Translation Thoughts)

Wang Hongyin (Professor at Xi'an International Studies University, explored Xu's creative transformation of classical poetry translation in Classical Interpretations of Chinese Translation Theories)

Xie Tianzhen (Scholar of comparative literature and translation studies, evaluated Xu's "Cultural Competition Theory" from the perspective of medio-translatology)

Huang Guobin (Poetry translation researcher, compared Xu's strategies with Western translators in Tang poetry translation)

International Scholars:

André Lefevere (Representative of the "Manipulation School" in Western translation studies, mentioned Xu's domestication strategy in Translation, Rewriting, and the Manipulation of Literary Fame)

Susan Bassnett (Theorist of comparative literature and translation, examined how Xu balanced "faithfulness" and "recreation" in poetry translation)

Eugene Chen Eoyang (Chinese-American scholar, discussed Xu's "Beauty in Sense" theory in The Transparent Eye: Translation and Cross-Cultural Interpretation of Chinese Literature)

Lawrence Venuti (American translation theorist, analyzed the cultural stance in Xu's translations from the perspective of "foreignization/domestication")

Corrections made after verifying authoritative sources:

''Translation Errors''

"Beauty in Conception" → "Beauty in Sense"

"translation teleology" → "Skopos Theory"

''Factual Errors''

There is currently no direct evidence that Lawrence Venuti specifically researched or wrote monographs about Xu Yuanchong.

='''文学：许渊冲：诗译英法，沟通中西的文学摆渡人'''=

杨悦 202470081647

==摘要==

许渊冲是江西南昌籍翻译家，生前为北京大学新闻与传播学院教授，被誉为 “诗译英法唯一人”。他在西南联合大学的求学经历奠定了一生根基，该校 “刚毅坚卓” 的精神塑造了他向世界传播中华文化精粹的使命感与文化自信。许渊冲专注于中国古典诗词、文学名著及法国文学名著的翻译，提出 “三美论”和 “优势竞赛论”。他认为翻译是 “创优似竞赛”，强调译者的主体性与创造性。晚年的他荣获 “北极光” 杰出文学翻译奖，成为首位且迄今为止唯一获此殊荣的亚洲人。其翻译生涯为中西文化交流架起桥梁，为中华文化传播作出重要贡献。

==许渊冲的翻译作品==

翻译生涯开启后，许渊冲做出了极具个人特色的方向性选择。他将毕生精力主要倾注于中国古典诗词和文学名著的译介工作，尤其是向西方世界传播中华文化瑰宝。“新译应该尽可能不同于旧译，还应该尽可能高于旧译”（许渊冲，1996：56)。其翻译对象涵盖了中国文学史上最璀璨的明珠，如《诗经》、《楚辞》、唐诗宋词，以及戏剧经典《西厢记》、《牡丹亭》等。许渊冲（2021:105）认为诗歌翻译最终求真还是求美是诗歌翻译的主要矛盾，解决了这一对矛盾就解决了文学翻译的主要问题。同时，他也将法国文学巨著如《红与黑》、《包法利夫人》、《追忆似水年华》等译成中文，展现了双向文化交流的宏愿。浙大版《许渊冲译莎士比亚戏剧集》的封底上印有译者对译作特色的总结：“如果译文要不像翻译，而像原作者的创作，那正是我译的莎剧与众不同之处”（许渊冲，2020)。在对比了《哈姆雷特》中“to be or not to be, that is the question”的五种译文之后，许渊冲(2017:6-8)指出“演出时用的是（之琳)译‘活下去还是不活’，外研社的译文‘死，还是生，这才是问题根本’不像是舞台上演出，而像是讲台上谈哲学…”。由此可见，可表演性是许渊冲的翻译莎剧的宗旨之一。尤为突出的是，他专注于英法两种语言的互译，在这两大语系之间架设起沟通中国文学与世界的坚实桥梁，被誉为“诗译英法唯一人”。

==许渊冲的翻译理论==

在漫长的翻译实践中，许渊冲的翻译理念经历了持续的萌芽与发展。早期实践中，他不断摸索如何在两种语言文化间找到最佳的转换方式。逐渐地，他突破了传统“信达雅”或严格“对等”的束缚，形成了极具鲜明个人特色的翻译主张，其核心便是著名的“三美论”和“优势竞赛论”。“三美论”包括“意美”“音美”和“形美”，构成许渊冲翻译理论的核心。（祝一舒，2019:84)为了达到意美，许渊冲在诗歌英译中以意译为主，不拘泥于原诗的结构与形式，重视诗歌的意境传达和情感表达(杨艺，2025)。《文学与翻译》中，许渊冲认为：“信、达、雅”三字可以理解为“信、达、优”，“优”就是发挥译语优势，就是用译语最好的表达方式，用富有意美、音美、形美的词语，换句话说，“优”就是“美”（高巍等，2012）。许渊冲在《翻译的艺术》中提到并肯定了鲁迅在《自文字至文章》中所说的“汉语具有意美、音美、形美三大优点”（鲁迅，2021）。”他还认为翻译是“创优似竞赛“创”是指“创造性翻译”是本体论；“优”是指“发挥译语优势”“译文必须优”，是方法论；“似”指“像”“神似”，是目的论；“竞赛”，与自己竞赛，与别人竞赛，是认识论。（许渊冲，1999:9)这一理论体系强调译者的主体性和创造性，成为其翻译实践的灵魂。

==许渊冲的主要成就==

晚年的许渊冲进入了翻译成果的丰硕期和荣誉的顶峰。由于种种原因，新中国成立后30年间其翻译成果并不多。至花甲之年后，才投身翻译，不知疲倦，笔耕不辍，成果丰硕，出版译著近百本（李正栓，吕欣，2024）。2014年，获北极光翻译奖。系统性地将中国古典文学精华呈现给世界读者。其卓越贡献获得了国内外高度认可。2010年，许渊冲获中国翻译工作者协会颁发的终身成就奖。最引人瞩目的是2014年，时年93岁的他荣获国际翻译家联盟（FIT）颁发的最高奖项——“北极光”杰出文学翻译奖，成为该奖项首位也是迄今唯一一位亚洲得主。这不仅是对他个人翻译艺术成就的至高肯定，也是对中国文学翻译界乃至中国文化“走出去”战略的重要国际认可。其传奇经历被广泛报道（如《朗读者》节目），社会影响力与文化地位不断提升，从一位默默耕耘的学者，成为受人敬仰的文化传播使者和翻译界的精神象征。

='''术语与表达'''=

Three Beauties Theory：三美论

Superiority Competition Theory：优势竞赛论

faithfulness, expressiveness, and elegance：信达雅

beauty in sense：意美

beauty in sound：音美

beauty in form：形美

translator's subjectivity：译者主体性

spiritual similarity：神似

Aurora Borealis Translation Award：北极光翻译奖

Lifetime Achievement Award：终身成就奖

performability：可表演性

translation ontology：翻译本体论

translation epistemology：翻译认识论

two-way cultural exchange：双向文化交流

translation concept：翻译观

Skopos Theory：翻译目的论

faithfulness, expressiveness, and elegance：信达雅

='''问题'''=

1. 许渊冲提出的 “三美论” 具体指哪三美？其核心内涵是什么？

2. 许渊冲在翻译莎士比亚戏剧时强调的重要原则是什么？

3. 西南联大的求学经历如何影响许渊冲的翻译观和文化使命感？

='''回答'''=

1. “三美”的具体内容是意美、音美、形美。具体内涵分别是“意美”强调在诗歌英译中以意译为主，不拘泥于原诗的结构与形式，注重传达诗歌的意境和情感。“音美”和“形美”则致力于在译文韵律和形式上贴近原诗，形成兼具内容与形式美感的翻译。

2. 可表演性是许渊冲翻译莎剧的重要原则。他认为译文应符合舞台演出的需求，而非仅适用于学术讨论。

3.在西南联大，许渊冲师从钱钟书、闻一多、冯友兰、叶公超等学术大师，接受了深厚的中西文化教育，为其翻译实践和理论构建奠定了坚实的知识基础。抗战时期的民族危亡与西南联大“刚毅坚卓”的精神，使他形成了“向世界传播中华文化精粹”的强烈使命感和文化自信。这种使命感成为他日后专注于中国古典文学译介、推动中西文化交流的核心动力，也促使他在翻译中始终坚持传播中华文化的价值取向。

='''参考文献'''=

[1]高巍.黄瑾.浅谈许渊冲诗歌翻译中美的再造[J].海外英语，2012(15):1-3.

[2]鲁迅.汉文学史纲要[M]. 厦门：厦门大学出版社，2021.

[3]李正栓,吕欣.许渊冲英译毛泽东诗词译者行为研究[J].上海翻译,2024,(02):55-60.

[4]许渊冲.译学要敢为天下先[J].中国翻译，1999（2):4-9.

[5]许渊冲.谈诗歌英译[J]中国翻译，2021(2):102-108.

[6]许渊冲(译）.许渊冲译莎士比亚戏剧集[M]. 杭州：浙江大学出版社，2020.

[7]许渊冲.谈重译——兼评许钧[J].外语与外语教学，1996,(6):56-59.

[8]许渊冲(译).莎翁戏剧新译四种：许渊冲手迹（上卷)马克白[M]. 深圳：海天出版社，2017.

[9]杨艺.许渊冲古典诗歌英译策略[J].名作欣赏,2025,(08):11-13.

[10]祝一舒.试论许渊冲翻译思想的特质[J].上海翻译，2019(5):83-87,95.

='''AI 声明'''=

为帮助撰写我的期末论文，我使用了以下生成式人工智能：DeepSeek - V3。

我向该生成式人工智能输入了以下指令内容：

指令 1：我即将写关于许渊冲的一篇介绍性论文，请问我能写一些什么方面的内容？

DS输出结果 1：一、核心身份与卓越成就；二、独特的翻译理论与实践；三、翻译实践的特点与贡献；四、生平经历与精神品格；五、影响、评价与争议。

指令 2：许渊冲生前得过哪些奖项？

DS输出结果 2：国内奖项包括中国翻译文化终身成就奖（2010）、国际汉学翻译大雅奖（2014）、北极光杰出文学翻译奖（2014）、中华图书特殊贡献奖（2015）；国际奖项包括法国文学艺术骑士勋章（1987）、国际译联荣誉奖（1999）。

指令 3：以下词汇或专有名词如何翻译？优势竞赛论，意美，北极光翻译奖，可表演性，翻译目的论......

DS输出结果 3：以下是您提到的术语或专有名词的标准英译及简要解释，供参考：优势竞赛论（Theory of Creative Competition in Translation）;意美（Beauty in Conception）;北极光翻译奖（Aurora Borealis Prize for Translation）;可表演性（Performability）;翻译目的论（translation teleology）

指令 4：有哪些知名学者研究过许渊冲的作品及翻译理论？请按国内外分类回答。

DS输出结果 4：国内学者包括刘宓庆（著名翻译理论家，在《中西翻译思想比较》中分析许渊冲的“三美论”与中国传统美学的关联）、王宏印（西安外国语大学教授，在《中国传统译论经典诠释》中探讨许渊冲对古典诗歌翻译的创造性转化）、谢天振(比较文学与翻译研究学者，从译介学视角评价许渊冲的“文化竞赛论”对文学外译的启示)、黄国彬(诗歌翻译研究者，对比分析许渊冲与西方译者在唐诗英译中的策略差异)；国外学者包括André Lefevere(西方翻译研究“操纵学派”代表，在《翻译、改写与文学名声的制控》中提及许渊冲的归化策略对文化传播的影响)、Susan Bassnett(比较文学与翻译理论家，关注许渊冲的诗歌翻译如何平衡“忠实”与“再创造”)、Eugene Chen Eoyang(美籍华裔学者，在《透明的眼：翻译与中国文学的跨文化阐释》中讨论许渊冲的“意美”理论)、Lawrence Venuti(美国翻译理论家，从“异化/归化”角度分析许渊冲译作中的文化立场).

我在生成式人工智能的回答中找到了以下主要问题并在网上查询官方权威资料进行了纠正：

''翻译错误''

（意美）Beauty in Conception→Beauty in Sense

（翻译目的论）translation teleology→Skopos Theory

''事实性错误''

目前没有直接证据表明他专门研究或撰写过关于许渊冲的论文或专著。

File:LDZ.jpg

2025-06-19T08:28:55Z

Yang Yue2:

2025-06-19T08:09:24Z

Yang Yue2:

User:Yang Yue2

2025-06-19T08:04:47Z

Yang Yue2:

2025-03-11T11:20:14Z

Yang Yue2: /* Presentations */

File:China's Four new Great Inventions Spring 2025.pptx

2025-03-11T11:17:38Z

Yang Yue2:

Presentations

Chinese Language and Culture, Spring 2025

2025-03-11T11:13:53Z

Yang Yue2: /* Presentations */

Chinese Language and Culture, Spring 2025

2025-03-11T11:10:57Z

Yang Yue2: /* Presentations */

File:Four new Spring 2025.pptx

2025-03-11T10:57:20Z

Yang Yue2: Yang Yue2 uploaded a new version of "File:Four new Spring 2025.pptx"

China's Four New Great Inventions

File:Four new Spring 2025.pptx

2025-03-11T10:56:36Z

Yang Yue2: China's Four New Great Inventions

China's Four New Great Inventions

File:China's Four new Great Inventions Spring 2025.pptx

2025-03-11T10:54:28Z

Yang Yue2:

Chinese Language and Culture, Spring 2025

2025-03-07T07:23:16Z

Yang Yue2: /* Presentations */

Chinese Language and Culture, Spring 2025

2025-03-07T07:16:17Z

Yang Yue2: /* Presentations */

Chinese Language and Culture, Spring 2025

2025-03-06T15:10:20Z

Yang Yue2:

--[[User:Miao Yunlong|Miao Yunlong]] ([[User talk:Miao Yunlong|talk]]) 13:12, 24 February 2025 (UTC)[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!

=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=

==What we learn in this class==
*We learn about Chinese culture from international, especially Western perspective.
*We learn about cultural phenomena, traditional Chinese culture.
*We learn English and Chinese terminology in the area of Chinese culture.
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.
*We learn how to determine the location and role of Chinese culture within global culture.
*We learn basics of theories and models of intercultural communication and comparison.
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.

==Agreement on use of classroom time==
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)

----
==Homework for every session==
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]

==Homework for Session 2==
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation").

Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!

1. Geographic Nature as a Basis for Cultural Development 17

2. Aesthetic ideals and social customs: Chinese Marriage Customs 22

3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31

4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40

5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49

6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203 (Zhang Mai)

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236

27. Chinese Writing: Calligraphy 246 (Tang Yan)

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

39. Education: Historical Figures, The Four Talented Women of Ancient China 361

40. Education: Modern Chinese Education System 371

41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386

42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395

43. Facial Make-up 406

44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413

45. Facial Make-up: Face Changing in Sichuan Opera 431

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

55. Garden Culture: The Summer Palace 519（Li Mei）

56. Garden Culture: Qingming Riverside Landscspe Garden 526

57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

61. Landscapes and Tourism: Four State-Level Cultural Relics 573

62. Landscapes and Tourism: Landscape, Five Famous Mountains 585

63. Landscapes and Tourism: Mogao Grottoes 593

64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)

65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621

66. Landscapes and Tourism: The Ancient Tea Horse Road 635

67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

71. Literature: Ancient literature - Chinese Classical Fairy Tales 681

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

74. Literature: Ancient Literature - Four satirical novels in ancient China 706

75. Literature: Ancient literature: Four Folk Stories of Ancient China 715

76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)

77. Literature: Ancient Literature: The Classic of Mountains and Seas 748

78. Literature: Ancient literature: Yuefu 765

79. Literature: Premodern literature - China's Four Great Classical Novels 773

80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780

81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786

82. Literature: Premodern literature: Tang-Song 794

83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823

84. Literature: Modern Literature 832

85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）

86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873

91. Martial Arts: Wushu 885

92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

96. Medicine: TCM - The Development of Chinese Medicine 917

97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924

98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934

99. Minority cultures: The Ethnic Minorities’ Costumes 941

100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952

101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026 （Liao Zuoyun）

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064

113. Philosophical Schools: Four Main Philosophical Schools 1076

114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087

115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093

116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099

117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106

118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235

130. Science and Technology: Four Domestic Mobile Phone Companies 1257

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)

134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291

135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296

136. Silk Road - by land and by sea: Zheng He's Voyages 1300

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317

139. Stage entertainment: Crosstalk 相声 1325

140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348

143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373

146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）

147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)

157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573 Lv Jiahao

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）

175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655

176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685 （Lu Wei）

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712（Xiao Yawen）

182. Chinese Economy: rich businessmen 1719 (Fu Sihui)

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

188. Science and Technology: Mobile Games（手游） 1783

189. Clothing: Vintage Clothing 1790.(Chen Sisi)

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)

194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845

195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)

196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)

197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845

198. Stage entertainment: Northeast Errenzhuan (二人转) 1845

199. Traditional Crafts: Dough Sculpture 面塑 1845

200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845

201. The culture of Grass cloth 夏布 1845

202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)

203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)

204. Stand-up comedy 单口喜剧 1845（Huang Sinan）

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）

210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845

211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845

212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan)

213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)

214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845

215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)

216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)

217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)

218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)

219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)

220. Rice cake (年糕) 1845 （Dong Jiating）

221. Zhongyuan festival 1845 （Ou Huang）

222. Dulong: Facial tattoo (独龙族：纹面) 1845

223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）

224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)

225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)

226. Landscapes and Tourism: Junshan Island (君山岛) 1845

227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)

228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

230. Gayageum（伽倻琴） 1845 (Zhang Meiling)

231. The plaque and couplet in Chinese garden（园林匾额对联） 1845

232. Sun Wukong（孙悟空） 1845 （Li Yuan2）

233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)

234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）

235. Bamboo Weaving (竹编） 1845 (Chen Anqi)

236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)

237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）

238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）

239. Female Emperor---Wu Zetian 1845 (Song Xin)

240. Clay sculpture (泥塑） 1845 (Chen Lin)

241. Abacus (中国珠算） 1845

242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)

243. Chinese name（中国姓名文化） 1845

244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)

245. Douzhi (豆汁) 1845(Li Linyao)

246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）

247. Carved lacquer（雕漆） 1845 （Liu Qi）

248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）

249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845

250. Language: Hakka Dialect（客家话） 1845

251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )

252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）

253. Yuelu Mountain (岳麓山) 1845（Chen Ting）

254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）

255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845（Yang Jing)

259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)

260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao)

261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845

262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845

263. Shaolin Temple (少林寺) 1845 (Zuo Fang)

264. Single bamboo drifting（独竹漂） 1845

265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）

266. Hui Culture (徽文化) 1845(Liu Jianan)

267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)

268. Table Manners 1845（Luo Yan）

269. Music of the Mongol nationality (蒙古族音乐) 1845

270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)

271. Palace Lantern（宫灯） 1845

272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Cheng Sixiang)

273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)

274. God of Wealth(财神) 1845 （Zeng Zhi）

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）
277. Mirror (镜子) 1845 (Cheng Sixiang)

278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)

279. Huo Qubing (霍去病） 1845 （Luo Jingyan）

280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)

281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）

282. Black Myth: Wukong（黑神话悟空） 1845 (Chen Zhen)

283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）

=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=
==Teacher presentation: Introduction to Culture==
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]

https://zoom.us/j/5739416744?pwd=c3h5L0NnY0xCWjlEMWhuNTBMbE92UT09#success

==Topics for today==
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)

You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?

Please remember that you have to indicate the 10 topics for Friday on the course website under "Session 2" with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.

27. Chinese Calligraphy (Tang Yan)

52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]

55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]

76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[Media:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]

85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]
Tea Latte Art (Xiang Jianning)

Topic 7

Topic 8

Topic 9

Topic 10

=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=
Topic 64:Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi)
Topic101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)
Topic107:National Symbols: National Flag 1026 （Liao Zuoyun）
Topic155:Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)

=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=
清明节4月4日——4月6日
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=
242. Hunan Rice Noodles (湖南米粉） 1845 (Gong Wei)
167. History: Wang Shouren 1573 (Lv Jiahao)

=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=
劳动节5月1日——5月5日
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=

=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=
231. The plaque and couplet in Chinese garden（园林匾额对联）Wang Yuxin

=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=
端午节5月31日——6月2日
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]